As is to be expected during a week in which Sundance, Slamdance and Rotterdam all run in parallel, an avalanche of wonderful coverage, interviews and reviews has been sliding out of Park City all week, but before I attempt to sort through the good, the bad and the ugly of that whole situation, I’d first like to remind you that the Winter ’15 season of Stranger Than Fiction is set to kick off tomorrow evening at the IFC Center in NYC at 8 pm with THE HAND THAT FEEDS. Directors Rachel Lears and Robin Blotnick, as well as film subject Mahoma López are set to appear for a post screening Q&A. If you like, you can purchase tickets in advance here.

I’d also like to point out that a handful of non-fiction films, mostly shorts, quietly found their way onto the interwebs this week, most excitingly a new politically incisive, online-only BBC released feature by director Adam Curtis, entitled BITTER LAKE. Writing for RT, Tony Gosling examined Curtis’ prior work and the reasoning behind an online-only release. A new entry into the Profiles By Vice series entitled THE LEGEND OF CAMBO, directed by none other than Harmony Korine, also found its way into the world. For Newsweek, Stav Ziv highlighted the online release of ANATOMY OF A SNOW DAY, a short directed by a 12 year old named Zachary Maxwell, which had its world premiere last year at DOC NYC. A pair of shorts in Joe Callander’s MIDNIGHT THREE & SIX and Elizabeth Lo’s HOTEL 22 also made their debut as part of the ongoing New York Times Op-Docs series. And while on the topic of Op-Docs, Heather McIntosh of the POV Documentary Site Blog wrote a piece on the coming semester in which she intends to teach a junior-level course in news writing and reporting based around the series.

And lastly before we get to a wealth of festival coverage, a slew of great articles regarding the development and promotion of documentaries and documentary filmmaking were also published this week. Leading off, an article by Katharine Relth which was published on the IDA blog gives a list of helpful tips for creating a sustainable doc career. Director and critic Charlie Lyne took to his Ultra Culture blog to list 10 things he learned while self-releasing his raucously fun essay film BEYOND CLUELESS in the UK. In great news for doc development, Sundance has announced the groundbreaking new Transparency Project as part of their #ArtistServices Workshop “that will allow aggregated film financial data to be shared among producers and filmmakers using an online analytics tool”. Scott Macaulay of Filmmaker Magazine has the in-depth story. Lastly, as quoted from Adam Benzine‘s report at Realscreen states,”The Independent Television Service (ITVS) and the John D. and Catherine T. MacArthur Foundation have formed a partnership to encourage collaboration between journalists and indie filmmakers”. Exciting opportunities on the development horizon!

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Now that Sundance is in full swing, it is near impossible to keep up with every single relevant publication of the week. That said, here we go none-the-less, but before I get to all the news coming out of Park City, there were a few interesting stories that came out this week that looked back, including a great piece at The Talk House by Jeff Reichert, director of REMOTE AREA MEDICAL, on the most overlooked docs of 2014, while, writing for NonFics, Christopher Campbell reflected on what he considers the top ten best Sundance documentaries of all time. For The Guardian, Guy Lodge considered the possibilities of what docs could take home an Oscar next month, while David Bloom over at Deadline reported that the recently Oscar nominated LAST DAYS IN VIETNAM would be available to stream for free at PBS from Feb. 5 to Feb. 7. Bridging the gap between last year and the here and now, Tom Roston wrote a piece for the POV Blog that highlighted a few overlooked films of 2014, as well as a handful of docs making their premiere at Sundance this week.

Among the many other thorough previews of the many films making their way into the world via a Park City premiere were David Fear and Phoebe Reilly‘s top 25 most anticipated Sundance films for Rolling Stone, Kate Aurthur & Adam B. Vary‘s comparable piece for Buzzfeed, and a list of the 15 best black films at Sundance by Julie Walker for The Root – each touching on the fact that docs are making an ever-increasing imprint on the visibility of the massive American fest. At Variety, Addie Morfoot previewed the many docs profiling a variety of famous folks, while at What (not) To Doc, Basil Tsiokos concluded his massive profiling of every non-fiction film at Sundance, as well as a quick preview of others making their debut at the parallel running Slamdance. Our own Thom Powers also listed his personal docs not to be missed right here at Stranger Than Fiction.

One of the things that sets Sundance apart from other domestic fests is its feroscious sink or swim massive market place, as evidenced by a variety of reports on the issue this week, such as Gregg Goldstein‘s look at documentary distro prospects for Variety or Brian Stelter‘s article on how digital distribution is shaking up the Sundance marketplace at CNN Money. Also, let’s not forget Anya Jaremko-Greenwold‘s filmmakers’ guide to the distributors at Sundance at Indiewire, nor in the same vein (though not directly Sundance related), Meredith Miller‘s filmmakers’ guide to non-theatrical and educational rights, also at Indiewire, and Cynthia Close‘s write-up of the new edition of the doc-makers’ resource, ‘Clearance & Copyright’, at IDA. Writing new distro deals for Realscreen, Michael Speier reports that Vimeo and Indiegogo have entered a distribution partnership, while CNN is launching its own short form documentary strand.

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