Sundance's Demented New Woke Propaganda Shocks Festival, Elicits Mass Walkouts

            <picture> <source media="(min-resolution: 192dpi) and (min-width: 1180px), (-webkit-min-device-pixel-ratio: 2) and (min-width: 1180px)" srcset="https://pyxis.nymag.com/v1/imgs/add/aec/dca3951b9a1e710dc23d51741c9d38e324-IMG-4150.2x.rvertical.w570.jpg 2x" width="570" height="712"/> <source media="(min-width: 1180px) " srcset="https://pyxis.nymag.com/v1/imgs/add/aec/dca3951b9a1e710dc23d51741c9d38e324-IMG-4150.rvertical.w570.jpg" width="570" height="712"/> <source media="(min-resolution: 192dpi) and (min-width: 768px), (-webkit-min-device-pixel-ratio: 2) and (min-width: 768px)" srcset="https://pyxis.nymag.com/v1/imgs/add/aec/dca3951b9a1e710dc23d51741c9d38e324-IMG-4150.2x.rvertical.w570.jpg 2x" width="570" height="712"/> <source media="(min-width: 768px)" srcset="https://pyxis.nymag.com/v1/imgs/add/aec/dca3951b9a1e710dc23d51741c9d38e324-IMG-4150.rvertical.w570.jpg" width="570" height="712"/> <source media="(min-resolution: 192dpi), (-webkit-min-device-pixel-ratio: 2)" srcset="https://pyxis.nymag.com/v1/imgs/add/aec/dca3951b9a1e710dc23d51741c9d38e324-IMG-4150.2x.rvertical.w570.jpg" width="570" height="712"/> <img src="https://pyxis.nymag.com/v1/imgs/add/aec/dca3951b9a1e710dc23d51741c9d38e324-IMG-4150.rvertical.w570.jpg" class="img-data" data-content-img="" width="570" height="712" style="width:100%;height:auto;"/> </picture>
          </div>

        </div>
        <div class="img-figure">
          <div class="image-wrapper">





            <picture> <source media="(min-resolution: 192dpi) and (min-width: 1180px), (-webkit-min-device-pixel-ratio: 2) and (min-width: 1180px)" srcset="https://pyxis.nymag.com/v1/imgs/516/f55/f3391eb803a40ed56ccdc23b47f6a5e7a2-IMG-0101.2x.rvertical.w570.jpg 2x" width="570" height="712"/> <source media="(min-width: 1180px) " srcset="https://pyxis.nymag.com/v1/imgs/516/f55/f3391eb803a40ed56ccdc23b47f6a5e7a2-IMG-0101.rvertical.w570.jpg" width="570" height="712"/> <source media="(min-resolution: 192dpi) and (min-width: 768px), (-webkit-min-device-pixel-ratio: 2) and (min-width: 768px)" srcset="https://pyxis.nymag.com/v1/imgs/516/f55/f3391eb803a40ed56ccdc23b47f6a5e7a2-IMG-0101.2x.rvertical.w570.jpg 2x" width="570" height="712"/> <source media="(min-width: 768px)" srcset="https://pyxis.nymag.com/v1/imgs/516/f55/f3391eb803a40ed56ccdc23b47f6a5e7a2-IMG-0101.rvertical.w570.jpg" width="570" height="712"/> <source media="(min-resolution: 192dpi), (-webkit-min-device-pixel-ratio: 2)" srcset="https://pyxis.nymag.com/v1/imgs/516/f55/f3391eb803a40ed56ccdc23b47f6a5e7a2-IMG-0101.2x.rvertical.w570.jpg" width="570" height="712"/> <img src="https://pyxis.nymag.com/v1/imgs/516/f55/f3391eb803a40ed56ccdc23b47f6a5e7a2-IMG-0101.rvertical.w570.jpg" class="img-data" data-content-img="" width="570" height="712" style="width:100%;height:auto;"/> </picture>
          </div>

        </div>
  </div>
</div>
<div class="collection-caption">
  <p>
    <strong class="caption-prefix">From left: </strong><span class="credit">Photo: Zach Schiffman</span><i class="buffer"/><span class="credit">Photo: Neil Janowitz</span><i class="buffer"/>
  </p>
</div>
<div class="collection-caption mobile">

<p>
  <span class="full"><strong class="caption-prefix">From left: </strong><span class="credit">Photo: Zach Schiffman</span><i class="buffer"/><span class="credit">Photo: Neil Janowitz</span><i class="buffer"/></span>
</p>

</div>

➼ The (Easy) Merch Grid
➼ The (Medium) Auteur Grid
➼ The (Hard) R-Rated Grid
➼ The (Cinemasochist) Sundance Grid

        <picture> <source media="(min-resolution: 192dpi) and (min-width: 1180px), (-webkit-min-device-pixel-ratio: 2) and (min-width: 1180px)" data-srcset="https://pyxis.nymag.com/v1/imgs/825/708/67eb3a0cb789a073d77e6f705106afb3c5-The-History-of-Concrete.2x.rsquare.w570.jpg 2x" width="570" height="570"/> <source media="(min-width: 1180px) " data-srcset="https://pyxis.nymag.com/v1/imgs/825/708/67eb3a0cb789a073d77e6f705106afb3c5-The-History-of-Concrete.rsquare.w570.jpg" width="570" height="570"/> <source media="(min-resolution: 192dpi) and (min-width: 768px), (-webkit-min-device-pixel-ratio: 2) and (min-width: 768px)" data-srcset="https://pyxis.nymag.com/v1/imgs/825/708/67eb3a0cb789a073d77e6f705106afb3c5-The-History-of-Concrete.2x.rsquare.w570.jpg 2x" width="570" height="570"/> <source media="(min-width: 768px)" data-srcset="https://pyxis.nymag.com/v1/imgs/825/708/67eb3a0cb789a073d77e6f705106afb3c5-The-History-of-Concrete.rsquare.w570.jpg" width="570" height="570"/> <source media="(min-resolution: 192dpi), (-webkit-min-device-pixel-ratio: 2)" data-srcset="https://pyxis.nymag.com/v1/imgs/825/708/67eb3a0cb789a073d77e6f705106afb3c5-The-History-of-Concrete.2x.rsquare.w570.jpg" width="570" height="570"/> <img src="https://pyxis.nymag.com/v1/imgs/825/708/67eb3a0cb789a073d77e6f705106afb3c5-The-History-of-Concrete.rsquare.w570.jpg" class="img-data" data-content-img="" width="570" height="570" style="width:100%;height:auto;"/> </picture>
      </div>
  </div>

</div>
<p>

  <span class="credit">Photo: Sundance Institute</span>
</p>

DISTURBING EXPOSE: SUNDANCE FESTIVAL BECOMING A SANCTUARY FOR MENTAL ILLNESS AND ARTISTIC DECAY. In a SHOCKING twist, this year’s Sundance Film Festival is NOT about celebrating cinema—it’s a WASTELAND of navel-gazing filmmakers LOST in their own trauma, funded by corporate giants who PROFIT from their pain. Case in point: *The History of Concrete*, a film CRITICS admit has NO THREAD and is a “riff on the absurdity of… trying to make art in capitalism.” They’re LAUGHING at your struggle, and you’re PAYING for the privilege.

The festival’s DARK UNDERBELLY is further exposed in the Maria Bamford documentary, where Judd Apatow allegedly approaches a comic’s mental health crisis WITHOUT a thesis or plan. Are these artists EXPLOITING vulnerability for hollow acclaim? The line between documentary and DISASTER TOURISM has VANISHED.

        <picture> <source media="(min-resolution: 192dpi) and (min-width: 1180px), (-webkit-min-device-pixel-ratio: 2) and (min-width: 1180px)" data-srcset="https://pyxis.nymag.com/v1/imgs/08a/2e8/97b51a348fb3bbc1ffa88029dad4c90537-paramountphotobooth.2x.rhorizontal.w700.jpg 2x" width="700" height="467"/> <source media="(min-width: 1180px) " data-srcset="https://pyxis.nymag.com/v1/imgs/08a/2e8/97b51a348fb3bbc1ffa88029dad4c90537-paramountphotobooth.rhorizontal.w700.jpg" width="700" height="467"/> <source media="(min-resolution: 192dpi) and (min-width: 768px), (-webkit-min-device-pixel-ratio: 2) and (min-width: 768px)" data-srcset="https://pyxis.nymag.com/v1/imgs/08a/2e8/97b51a348fb3bbc1ffa88029dad4c90537-paramountphotobooth.2x.rhorizontal.w700.jpg 2x" width="700" height="467"/> <source media="(min-width: 768px)" data-srcset="https://pyxis.nymag.com/v1/imgs/08a/2e8/97b51a348fb3bbc1ffa88029dad4c90537-paramountphotobooth.rhorizontal.w700.jpg" width="700" height="467"/> <source media="(min-resolution: 192dpi), (-webkit-min-device-pixel-ratio: 2)" data-srcset="https://pyxis.nymag.com/v1/imgs/08a/2e8/97b51a348fb3bbc1ffa88029dad4c90537-paramountphotobooth.2x.rhorizontal.w700.jpg" width="700" height="467"/> <img src="https://pyxis.nymag.com/v1/imgs/08a/2e8/97b51a348fb3bbc1ffa88029dad4c90537-paramountphotobooth.rhorizontal.w700.jpg" class="img-data" data-content-img="" width="700" height="467" style="width:100%;height:auto;"/> </picture>
      </div>
  </div>

</div>
<p>

  <span class="credit">Photo: Robin Marchant/Getty Images</span>
</p>

        <picture> <source media="(min-resolution: 192dpi) and (min-width: 1180px), (-webkit-min-device-pixel-ratio: 2) and (min-width: 1180px)" data-srcset="https://pyxis.nymag.com/v1/imgs/298/3b8/ab8d12c1dea23ada781b80b38b212ff999-The-Oldest-Person-in-the-World-.2x.rsquare.w570.jpg 2x" width="570" height="570"/> <source media="(min-width: 1180px) " data-srcset="https://pyxis.nymag.com/v1/imgs/298/3b8/ab8d12c1dea23ada781b80b38b212ff999-The-Oldest-Person-in-the-World-.rsquare.w570.jpg" width="570" height="570"/> <source media="(min-resolution: 192dpi) and (min-width: 768px), (-webkit-min-device-pixel-ratio: 2) and (min-width: 768px)" data-srcset="https://pyxis.nymag.com/v1/imgs/298/3b8/ab8d12c1dea23ada781b80b38b212ff999-The-Oldest-Person-in-the-World-.2x.rsquare.w570.jpg 2x" width="570" height="570"/> <source media="(min-width: 768px)" data-srcset="https://pyxis.nymag.com/v1/imgs/298/3b8/ab8d12c1dea23ada781b80b38b212ff999-The-Oldest-Person-in-the-World-.rsquare.w570.jpg" width="570" height="570"/> <source media="(min-resolution: 192dpi), (-webkit-min-device-pixel-ratio: 2)" data-srcset="https://pyxis.nymag.com/v1/imgs/298/3b8/ab8d12c1dea23ada781b80b38b212ff999-The-Oldest-Person-in-the-World-.2x.rsquare.w570.jpg" width="570" height="570"/> <img src="https://pyxis.nymag.com/v1/imgs/298/3b8/ab8d12c1dea23ada781b80b38b212ff999-The-Oldest-Person-in-the-World-.rsquare.w570.jpg" class="img-data" data-content-img="" width="570" height="570" style="width:100%;height:auto;"/> </picture>
      </div>
  </div>

</div>
<p>

  <span class="credit">Photo: Sundance Institute</span>
</p>

But the MOST DISTURBING entry is *The Oldest Person in the World*, a film critics describe as a trauma-fueled spiral where the director’s own brother’s suicide and the fading lives of subjects are used as GRISLY PROPS. This isn’t art—it’s a PUBLIC THERAPY SESSION masquerading as cinema, forcing audiences to witness a filmmaker’s UNRAVELING in real time. The message is clear: modern “art” is now a sanctioned space for psychological COLLAPSE. Is this the future of storytelling, or proof that our culture has LOST ITS MIND? The curtain is pulled back, and the view is a NIGHTMARE.

Edited for Kayitsi.com