In February 2022, a battle was brewing between two Sundance factions over the documentary “Jihad Rehab,” a film that earned critical raves during its run at the virtual festival a month earlier but…
,” a film that earned critical raves during its run at the virtual festival a month earlier but was being targeted by a small group of vocal detractors. The two sides — festival programmers and non-programmers — converged to discuss the spiraling controversy over the Meg Smaker-helmed film, which depicts a handful of Guantanamo detainees who have been released from the U.S. prison into a 12-month Saudi de-radicalization program.
“Sundance is considered a leader in our industry,” Smaker adds. “But when they started getting dragged through the mud on Twitter, instead of supporting a film slash filmmaker they chose to program, they threw that film and everyone involved with it under the bus to save their own ass.” Terracino, a one-name indie director with an A-list festival pedigree, has also been on the wrong side of the simmering culture wars on the circuit. In late 2021, he took a rough cut of his latest narrative feature, “Waking Up Dead,” to some of the major festivals that have shown his work in the past. Having directed the only SAG-cleared microbudget film in Los Angeles during the height of the COVID pandemic in fall 2020, Terracino figured he would be embraced with open arms.
“You can sense the fear out there among the festivals. They are terrified to show a film that someone may object to,” he adds. “A programmer at a Latino film festival told me, ‘If just one person objects to your film, I can lose my job.’” Perhaps to avoid a repeat of the “Jihad Rehab” maelstrom, the Sundance application now asks filmmakers about the backstory of docs being submitted and for additional information on the subjects. A Sundance rep says while the requirement is new, it had been in the works for some time.
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