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With World Cinema offering some of the best films, I was disheartened to see such small audiences in the cavernous Eccles for films like Emir Kusturica’s magical delirium of gypsy madness Black Cat, White Cat. or Tom Tykwer’s witty, propulsive Run Lola Run, especially when movies that seemed to have little reason to be at Sundance, such as Fox’s big-budget black-humored Ravenous drew packed houses. But then just as I often feel trapped in the future at Sundance – knowing that five years from now, unable to sleep, I will be clicking through the same unmemorable, no-budget pics on the Sundance Channel – Ifind something wonderful and unique. From abroad, there was Japanese director Kore-Eda Hirokazu’s haunting and serene Afterlife, Gaspar Noe’s corrosive French drama I Stand Alone and John Curran’s engaging, if ultra-quirky, Australian romance Praise. Young American filmmakers also showed up with some idiosyncratic films. The Midnight selection held one of the other big sales, the clever, jagged horror film The Blair Witch Project. Known for its films rather than sales, the Frontier section presented a glimpse of visually strong American work. Julian Goldberger’s distinctively crafted Trans provides an episodic portrait of the nocturnal wanderings of a young juvenile delinquent in Ft. Myers, Florida. Another look at young men was James Herbert’s Speedy Boys, a study of the naked and the nude with his protagonists lounging about as if in a narcotized version of pretty-boy gay porn. In Dresden, Ben Speth creates a lovingly photographed love letter to contemporary Manhattan and an utterly modern woman.

There was a special tribute to beat artist Alfred Leslie whose 1959 short Pull My Daisy (co-directed with Robert Frank and written by Jack Kerouac) is considered an underground classic. Leslie was present to introduce his films and take questions from the audience. In his The Last Clean Shirt (1964), a man and a woman get into a car, tape an alarm clock to the dashboard, and drive around with the woman talking continuously in an unknown language. This same action is repeated three times with different stream-of-consciousness subtitled narrations by poet Frank O’Hara. O’Hara’s writing brings a smartness to such silliness with lines like, "Our culture is embarrassed by its propensity to entertain." Birth of a Nation (1965), originally 120 minutes, was nearly totally destroyed in a fire, yet Leslie recovered fourteen minutes of the charred footage and recontructed the remaining pieces a few years ago. What remains is artist Willem de Kooning as Captain Nemo and actor Patrick McGee reading from the works of Marquis de Sade as two men and a woman tumble about in a freeform orgy. 041b061a72