Over the past few years, Sundance has arguably shunted most of its noteworthy titles off into its sidebars, whether they be prestigious premieres from world class auteurs deserving to compete rather than adorn a festival’s program (Kelly Reichardt’s Certain Women; Dee Rees’ Mudbound) or relegating daring, tantalizing boundary pushers like Sean Baker’s Tangerine, Josh Mond’s James White, or Sebastian Silva’s Nasty Baby into the wild child Next sidebar.
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- 1/18/2018
- by Nicholas Bell
- IONCINEMA.com
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