It's akin to the old story about the blind men and the elephant: The way you think about the Sundance Film Festival has a lot to do with which parts of it you get your arms around. Since you really can only sample from the 100-plus features and eight shorts programs, you're always at risk of missing out on that one perspective-altering movie.
This year, I might have actually missed out on two. Vagaries of scheduling kept me from seeing the Grand Jury Prize winners in both the U.S. Dramatic competition (the surreal fantasy Beasts of the Southern Wild) and the U.S. Documentary competition (the "War on Drugs" critique The House I Live In).
So I can't offer any grand pronouncements about Utah's 2012 festival. I can, however, note that many attendees tried to reduce the lineup to "trends" — even when those assessments didn't make a lot of sense. There was plenty of talk about the "raunchy girl" comedies here, from the often inspired gal-pal craziness of For a Good Time, Call ..., about New York City roommates who start a phone-sex business, to the more scattershot crudeness of the Kirsten Dunst-led ensemble Bachelorette, to the appallingly sloppy faux-Sex and the City nonsense in That's What She Said. It was all attributable to the success of Bridesmaids, of course — except that the movie business doesn't really work in a way that allows copycats to appear seven months later.
Regardless, it's probably time to move on to the great stuff I was lucky enough to discover, starting in the documentary categories. Lauren Greenfield's The Queen of Versailles offered a fascinating glimpse at the collapsing economy through the eyes of "the 1 percent," showing how even a billionaire and his family felt the seismic shift on a different scale.
Lisanne Pajot and James Swirsky gave us Indie Game: The Movie, which offered a new perspective on the heroic battle to create something personal and singular through an art form — designing independent video games — that might not typically leap to mind. And Rodney Ascher took a hilarious look at the process of interpreting art in Room 237, his compendium of the wild theories that have sprung up around Stanley Kubrick's The Shining.
Even among the narrative films, some of the strongest work came from blurring the line between real life and fiction. As director, co-writer and star, comedian Mike Birbiglia adapted his autobiographical one-man show Sleepwalk With Me into a wonderfully satisfying romantic comedy, spiked with his casually self-deprecating sense of humor. The divisive Compliance told a real-life story of unquestioning obedience to authority in a way that got audiences shouting and arguing. Meanwhile, actor Mark Webber created an intensely personal, largely improvised drama in The End of Love by casting himself as a widowed struggling actor, and his own impossibly adorable 2-year-old son, Isaac, as his character's son.
But mostly, I'll probably remember Sundance 2012 leaving me with lots of laughs: Sleepwalk With Me, John Dies at the End, The First Time, Save the Date, For a Good Time, Call ..., Room 237, Robot & Frank and The Surrogate were about as different as movies can be, yet left audiences delighted and smiling. Yes, it was a very funny year in Park City, but maybe that's just the part of the elephant that I ended up grabbing.