In a bit of an about-face, after issuing a press release announcing his intention to decline an invitation to screen his Tetro out of competition at Cannes, Francis Ford Coppola has agreed to allow the film to open that festival’s non-competitive Director Fortnight sidebar. For that reason and many more, the Fortnight lineup is terribly exciting: new movies from Josh and Benny Safdie, Pedro Costa and Hong Sang Soo will screen alongside Lynn Shelton’s Humpday and the still distributor-less Sundance comedy I Love You Phillip Morris. The full lineup, including shorts, after the jump.

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Celebrating the films of 1999, Rotten Tomatoes kicks off a 12-month, retrospective series of features with an exclusive behind-the-scenes look at the making of The Blair Witch Project. The groundbreaking, record-smashing indie horror flick made its debut at Sundance ten years ago this month, and RT writer Joe Utichi does a great job of reminding us of both the film’s legendary story and its lasting influence.

While I left The Blair Witch Project out of SpoutBlog’s five-day series of “Sundance Stories of Yore,” I wouldn’t have paid as great a tribute as Utichi has. Personally, I never appreciated the film in any way, but thanks to this video I’m now thinking differently about the merits of the production. I may never need to watch the actual film again, but I have to give the filmmakers credit for how they went about getting their 20 hours of footage.

That’s why it’s even more unfortunate that directors Eduardo Sanchez and Daniel Myrick haven’t done anything noteworthy since. At least Blair Witch actor Joshua Leonard has just made his “comeback” with a starring role in the 2009 Sundance hit Humpday. In the past ten years, he’s had small parts in films like Men of Honor, The Shaggy Dog and Prom Night, and interestingly enough he provided the voice of “Tyler Durden” in a video game version of Fight Club (another landmark film from 1999). But with Humpday, which like Blair Witch utilizes his talent for improvisation, he’s in the foreground once again. Now someone needs to give Heather Donahue and Michael C. Williams their due spotlights so we may continue to celebrate a Blair Witch renaissance.

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Fox Searchlight, the distributor that tends to get the most bang for its Sundance buck, has picked up worldwide rights to Max Mayer’s romantic film Adam with intent for a 2009 theatrical release. Other big deals of the past 24 hours include Sony Classics’ acquisition of North American rights to the blaxploitation tribute Black Dynamite and Magnolia’s pickup of worldwide rights to Lynn Shelton’s comedy Humpday, which will get a VOD release a month prior to its debut in theaters this summer.

Check out our Sundance Deals chart for the full scoop on these three deals and the rest of the acquisitions as of this morning.

• Aside from the Brooklyn’s Finest deal, there haven’t been any major acquisitions in Park City yet, even after a full weekend of significant premieres. The Hollywood Reporter headlines with “Sales stuck” but optimistically notes the following titles are expected to be picked up soon: Humpday; Amreeka; The Killing Room; Push: Based on the Novel by Sapphire.
• One reason for such a slow sales weekend may be that one of the only distributors with a lot of money to spend is IFC Films, the head of which told the New York Times, “We’re not going to get into a bidding war. That’s not our business.”
• Tech company B-Side Entertainment, which last year was a partner in the release of Super High Me, is now becoming a full-fledged distribution player. With $4.25 million in financing, B-Side aims to release 10 films in 2009, whether theatrically or via other outlets.
• 2008 Sundance doc Flow: For the Love of Water has been acquired by Sundance Channel, along with 25 other films including David Lynch’s Inland Empire and Eraserhead, to air on the cable station in 2009.
• Another 2008 selection, The Mysteries of Pittsburgh, has also been picked up. Peace Arch will release the film this Spring.

We’re almost 48 hours into the 2009 Sundance Film Festival, and Humpday seems to be the biggest break-out hit thus far — and according to Mike Jones at Variety, it could very well soon become the first narrative film to sell during the duration of this year’s festival. Days before the film had its hugely successful Friday afternoon premiere, we published one of our preview interviews with director Lynn Shelton. Last night, post-unveiling, I caught up with Shelton to talk about working like Mike Leigh, her cinematic interest in dudes, and why she’s glad her first two films didn’t premiere at Sundance.

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I’ve been accused in the past of having knee-jerk negative reactions to crowd-pleasers, and those accusations have not always been without a kernel of truth: it’s true that I tend to be skeptical of movies which instantly entertain but never ask us to ask what they’re really up to, and of that, I’m not ashamed. But this is not a problem with the tough-to-resist Humpday, Lynn Shelton’s whip-smart, uproariously funny comedy which uses a dumb, drunken, “bros will be bros” dare as the in point to talk about, amongst other things, the inevitable loss of self in long term relationships and the ongoing conquest to reconcile who we really are with who we’d like to think we could be.

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Here’s our running tally of each of the distribution deals announced just before, throughout the course of, and just after the 2009 Sundance Film Festival. We will update this post whenever new information comes in, so bookmark it and keep checking back for the newest latest.

I’ve scoured the various Sundance schedules and picked out the 13 films that I’m most looking forward to over the course of the ten days in Park City. Note that this list does not include films that I’ve already seen, either at other festivals or through other means. It didn’t seem fair to mix up films I haven’t seen with those I have kind of an inside scoop on, and anyway, you’ll hear about those films soon enough — this is purely a catalog of my own current anticipations.

1 & 2: Moon and The Clone Returns Home

It’s the Philosophical Astronaut Double Feature! First, Sam Rockwell stars in Moon (the feature debut of Duncan Jones, AKA Zowie Bowie, David’s son) as a contract in a space pod, alone save for his trusty robot, who is nudged by the monotony (or, moonotony) of life in space towards an existential crisis. Then, there’s Clone, a Japanese feature executive produced by Wim Wenders, about a cloned astronaut who “flees the lab in search of his childhood home [and] finds his own lifeless body in a space suit. Mistaking it for his brother, he continues his journey carrying the body on his back.” Seriously, go read the Sundance catalogue description — it’s maybe the most evocative festival guide copy I’ve ever read. Clone is in the World Dramatic competition, Moon is a Premiere.

3. Humpday

A bromance directed by a broad. Lynn Shelton’s follow-up to My Effortless Brilliance (and her return to Park City after taking the Grand Prize at Slamdance in 2006 for her first feature, We Go Way Back) stars Mark Duplass (The Puffy Chair) and Joshua Leonard (The Blair Witch Project) as two college buddies who reunite as thirtysomethings and end up entering an amateur porn contest. Defintiely the domestic Narrative Competition feature that’s come up most in conversation with friends and colleagues since the lineup was announced.

4. The September Issue

RJ Cutler’s portrait of editor Anna Wintour spans the nine months of work that go into the creation of fashion’s annual bible, the September issue of VOGUE. I’m bit of a sucker for fashion documentaries, but even if you’re not, one hopes Cutler (producer of The War Room, director of A Perfect Candidate) will apply lessons learned in the deep end of politics to the politics of the superficial.

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