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Irene (Vera Farmiga) and son, Ben (Jasper Moon Daniels) in Debra Granik’s “Down to th

Sundance brings indie flicks into limelight

Sommer Mathis
Published: Thursday, January 29, 2004

“Primer” Written and Directed by Shane Carruth Winner of the Grand Jury Prize for Dramatic Feature

If the goal of the Sundance Film Festival is to reward truly independent films that rely on well-crafted stories, then “Primer” is by far the obvious choice for top honors this year. Faintly reminiscent of “Pi” and “Memento,” Shane Carruth’s gripping tale of two engineers who stumble upon an invention that could change the entire world is a subtle, emotionally complex study on the joy of discovery and the perils of absolute power. The story itself is nearly impossible to summarize. At times infuriatingly confusing, at others exhilaratingly clear, the film opens in a garage-based laboratory not unlike the legendary one where Steve Jobs reportedly developed the first Apple computer. Here we find four friends looking for the next big thing to make them rich; two of them have aspirations that seem to dwarf those of their partners. So they begin working secretly on a machine that neither they nor audiences quite understand at first. What slowly unravels is a narrative so tightly held together that it should cause audiences often to lose their breath in nervous anticipation. Being a freshman effort produced for, according to Carruth, about the price of a used car, “Primer” is by no means without flaws. Originally shot on Super 16mm, the transfer to 35mm for its Sundance debut leaves many scenes looking a little grainy and washed out. And while the performances from the two leads, Carruth and standout David Sullivan, are both extraordinary, the inexperience of some of the supporting cast tends to show around the edges. Despite these few shortcomings, most of which are a testament only to how much Carruth was able to do with so little to work with, “Primer” serves as an announcement of the arrival of a confident young filmmaker with an uncanny feel for dramatic tension.

“Down to the Bone” Directed By Debra Granik; Written by Debra Granik, Richard Lieske Winner of the Dramatic Directing Award

Whether or not you think there have been too many films about drug addiction already made (and that is certainly a strong argument), Debra Granik’s “Down to the Bone” cannot easily be dismissed as just another junkie movie. It is simply too honest, thoughtfully conceived and emotionally wrenching to be ignored. Simply put, here is what “Down to the Bone” does better than almost any film about drugs: • Unlike “Trainspotting,” it never comes close to glamorizing drugs by showing users as exceptionally witty, fun people. • Unlike “28 Days,” it portrays a realistic, honest-to-goodness rehabilitation center populated by real people with real addictions instead of an eclectic mix of consistently witty and interesting people. • Unlike “Requiem for a Dream,” drug users are not either beautiful young people with great tastes in music or pathetic middle-aged people with no one to look after them. Irene, the main character in “Down to the Bone,” is a functioning, thirtysomething mother with a steady job and a husband who is still around. • Unlike “Traffic,” the performances of the characters affected by drug users are not over the top. Yes, the consequences of the main characters’ actions are often dire, but Granik chooses to let her actors react like actual people might, as opposed to featuring chest-beating histrionics and overacting. Of course, all of these distinctions are the mark of a smart director, so it’s fitting that Granik was honored by the Sundance jury. With a masterful performance from lead actress Vera Farmiga, “Down to the Bone” is one of the most elegant, realistic portrayals of addiction ever brought to the screen.