"Fair or not, it always sucks when everyone wanders back from Sundance talking about how bad the movies were"
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There is a special kind of cultural hangover that follows a hyped festival, and Donal Logue nails it with the blunt, backstage realism of someone who’s actually been in the business. Sundance isn’t just a screening series; it’s an annual mood board for “the future of cinema,” and that future is supposed to arrive pre-approved. When the post-Sundance chatter turns into a group gripe session, it doesn’t merely bruise a few films. It punctures the mythology.
“Fair or not” is doing heavy lifting. Logue admits the complaints might be justified, but he’s more interested in the mechanics of reputation than in any individual review. Festivals run on narrative momentum: discovery, anointment, bidding wars, the sense that you were there when it happened. If the dominant story becomes “the movies were bad,” the entire machine stutters. People don’t just lose faith in the slate; they lose faith in the ritual of taste-making.
The line also winks at the social contagion of consensus. “Everyone wanders back” paints a herd returning from a pilgrimage, converting a few scattered opinions into a communal verdict. That’s the Sundance paradox: it’s sold as an antidote to Hollywood cynicism, yet it’s where cynicism can spread fastest because the audience is industry-adjacent, status-conscious, and looking for the take that travels best at a party.
Logue’s intent isn’t to defend mediocrity; it’s to mourn how quickly a cultural ecosystem can turn from curiosity to dismissal, and how that shift punishes risk first.
“Fair or not” is doing heavy lifting. Logue admits the complaints might be justified, but he’s more interested in the mechanics of reputation than in any individual review. Festivals run on narrative momentum: discovery, anointment, bidding wars, the sense that you were there when it happened. If the dominant story becomes “the movies were bad,” the entire machine stutters. People don’t just lose faith in the slate; they lose faith in the ritual of taste-making.
The line also winks at the social contagion of consensus. “Everyone wanders back” paints a herd returning from a pilgrimage, converting a few scattered opinions into a communal verdict. That’s the Sundance paradox: it’s sold as an antidote to Hollywood cynicism, yet it’s where cynicism can spread fastest because the audience is industry-adjacent, status-conscious, and looking for the take that travels best at a party.
Logue’s intent isn’t to defend mediocrity; it’s to mourn how quickly a cultural ecosystem can turn from curiosity to dismissal, and how that shift punishes risk first.
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| Topic | Movie |
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