PARK CITY, Utah ? A mythical film starring an 8-year-old girl and a documentary about the war on drugs took top honors at the Sundance Film Festival.
"Beasts of the Southern Wild" won the grand jury prize in the U.S. dramatic competition, and "The House I Live In" won the same honor in the U.S. documentary category Saturday at the independent film festival's awards ceremony.
Directed and co-written by 29-year-old first-time filmmaker Benh Zeitlin, "Beasts of the Southern Wild" follows a girl named Hushpuppy who lives with her father in the southern Delta. The film also won the cinematography prize.
Zeitlin said he was grateful to the Sundance Institute and labs, where he worked on the film for more than three years.
"This project was such a runt, this sort of messy-hair, dirty, wild child, and we just have been taken care of and just eased along until we were ready to stand up on our own," he said in an interview after the ceremony. "It's just great that it happened here. This is the right place for the world to meet the film."
Zeitlin described his spunky young star, Quvenzhane Wallis, as "the biggest person I know." She said she is ready to be a movie star, but first will be going back to third grade.
Fox Searchlight acquired the film earlier this week.
Eugene Jarecki's documentary "The House I Live In" examines the social, human and financial costs of the war on drugs. The filmmaker won the same award in 2005 for his documentary "Why We Fight."
As he accepted his award, Jarecki called the war on drugs "tragically immoral, heartbreakingly wrong and misguided."
"If we're going to reform things in this country, putting people in jail for nonviolent crime, in many cases for life without parole, for possession of a drug, for sentences longer than is now given for murder in this country, must end," he said.
Kirby Dick's documentary about rape in the military, "The Invisible War," won the audience award, as did Ben Lewin's heartfelt drama "The Surrogate," which stars John Hawkes as a paralyzed 38-year-old man who hires a sex surrogate, played by Helen Hunt, to help him lose his virginity. Fox Searchlight acquired that film, too.
"I don't think most people have ever seen this sort of story before," Lewin said after the ceremony. "I think it was very new and unexpected... From the experiences I've had seeing it with an audience, it seems to be a real emotional ride."
"The Surrogate" also won a special jury prize for its ensemble cast.
World cinema jury prizes went to the documentary "The Law in These Parts," about Israel's legal system in occupied Palestinian territories, and the drama "Violeta Went to Heaven," about Chilean musician Violeta Parra.
The audience favorites in world cinema were the documentary "Searching for Sugar Man," which also won a special jury award, and the drama "Valley of the Saints," which also claimed the Alfred P. Sloan film prize. A second winner of the Sloan Award, which recognizes films with science as a theme or a scientist as a major character, was "Robot and Frank." The film, which premiered at Sundance, stars Frank Langella as a retired jewel thief who befriends the caretaker robot his children have given him, eventually bringing the robot along on his illegal outings.
Other winners:
? U.S. drama directing award: Ava DuVernay, "Middle of Nowhere."
? U.S. documentary directing award: Lauren Greenfield, "The Queen of Versailles."
? World cinema drama directing award: Mads Matthiesen, "Teddy Bear."
? World cinema documentary directing award: Emad Burnat, Guy Davidi, "5 Broken Cameras."
? U.S. drama screenwriting award: Derek Connolly, "Safety Not Guaranteed."
? World cinema screenwriting award: Marialy Rivas, Camila Gutierrez, Pedro Peirano, Sebastian Sepulveda, "Young & Wild."
? U.S. documentary editing award: Enat Sidi, "Detropia."
? World cinema editing award: Lisanne Pajot, James Swirsky, "Indie Game: The Movie."
? U.S. documentary cinematography award: Jeff Orlowski, "Chasing Ice."
? World cinema drama cinematography award: David Raedeker, "My Brother the Devil."
? World cinema documentary cinematography award: Lars Skree, "Putin's Kiss."
? U.S. drama special jury prize for producing: Andrea Sperling and Jonathan Schwartz, "Smashed" and "Nobody Walks."
? U.S. documentary special jury prizes: "Love Free or Die," "Ai Weiwei: Never Sorry."
? World cinema drama special jury prize: "Can."
? Short film audience award: "The Debutante Hunters."
? Best of NEXT audience award: "Sleepwalk With Me."
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Follow Entertainment Writer Sandy Cohen at www.twitter.com/APSandy.
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Online:
http://www.sundance.org/festival/
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The longer the 2012 Sundance Film Festival deal-making stalemate continues, the more VOD-centric deals will take center stage as they did in Toronto. A lot of the movies that came in with visions of theatrical releases are considering overtures from bidders who intend to emulate the Margin Call model where video-on-demand is equal to or more important than theatrical.
If VOD is to become a viable business that leads films on the margins to being widely seen, some obstacles have to be worked out of the system. The biggest: convincing actors accustomed to seeing their work play on 2,000 movie screens that the VOD model doesn?t mean their careers are on the downswing and that they?ve been relegated to pay-per-view. The only real equivalent actors have had for this was when they made a stinker that went straight to video obscurity. Will those actors spark to the potential of VOD riches and embrace the idea of promoting films to cable delivery systems instead of the ego-boosting traditional selling system of commercials and print ads? This is a psychological hurdle for stars. When Margin Call sold at Sundance last year with the Lionsgate/Roadside Attraction distribution VOD deal, veteran actors like Kevin Spacey had to be convinced this wasn?t necessarily a step down from a traditional theatrical release.
Another consideration is Oscar eligibility. The Academy rule has been that a film that premiered on television prior to theatrical was ineligible for an Oscar. Several major talent agents I spoke to said they weren?t exactly clear how this works. For example, the distributors behind Margin Call and Melancholia protected their movies and talent by booking ?stealth? qualifying runs in a theater, just in case. On the Oscar front, the Academy tells me that as long as a film opens in an LA County theater for seven consecutive days either before or at the same time it is released VOD, Oscar eligibility is preserved. If the film makes its commercial debut on VOD, it cannot be considered for an Oscar. So a VOD revolution will likely lead to a lot of unadvertised runs in LA theaters.
?As long as there is a clear line on how to retain Oscar eligibility, actors are going to have to get used to this, because this is the way that adult dramas are going to be seen,? said one senior agent. ?The practical reality isn?t as bad as the perception. The people who watch these kinds of films usually have great sound systems and large-screen TVs, and most Oscar voters already watch eligible films on video in their homes. We?re all just going to have to get used to this. We?re already having those conversations. Isn?t a movie that?s seen by millions across the country on VOD better than a few people watching in ratty arthouse theaters, which are uncomfortable and screens that aren?t that much bigger than large TV screens? Enough actors have made projects they thought would get on the screen, only to see them get dumped. You hear about movies with stars that never came out theatrically and grossed $5 million VOD. This is a process that will evolve, but it will enable these movies to get made.?
Another talent agent said that convincing actors will get easier when more test cases like Margin Call overachieve on VOD. ?It?s all about the economics and distribution modes and how a film reaches an audience,? said the rep. ?These conversations happen after a movie has been shot and is trying to find a life. It will take a few wins and maybe a breakout success to make it easier, but it?s coming.??Also coming are the Sundance sales. Films like Beasts Of The Southern Wild, Arbitrage, The Surrogate, Lay The Favorite, Celeste and Jesse Forever are rumored to have offers, and buyers are turning out in force tonight for Bachelorette. The expectation coming in has been that after seeing the bulk of the big titles by tonight, that the deals will begin flowing.
Supporters of the Stop Online Piracy Act (SOPA) may be