Storytelling—this was a common theme that echoed through my mind this week.
It had started with a full-day workshop led by Bill Hoogterp, a renown communications and public speaking coach. I wrote a separate post outlining some of the lessons learned from the experience. One of the most impactful teachings was on how to craft a powerful story. It’s not just about what you say, but how you embody your story, engaging the audience through every gesture and expression.
A compelling tactic we explored was to tell a story not from the beginning, but from the middle. This approach, contrary to traditional storytelling draws the audience into the narrative right from the outset. It’s about crafting a scene so tangible that listeners are transported, becoming active participants in the drama.
This principle of storytelling—starting with a scene—came to life vividly at the Sundance Film Festival as I experienced it for the first time over the weekend. Celebrating its 40th anniversary, the festival was a testament to the art of independent filmmaking, showcasing a spectrum from gripping documentaries to lighthearted comedies. There, I realized that storytelling is not just an art; it's a bridge, the shortest distance between two people, allowing us to share experiences and emotions instantaneously.
The festival reinforced a profound message: the essence of storytelling lies in the moment. As Robert Redford, Founder of the Sundance Institute shared:
“There is trust in the power of storytelling, and no one is thinking about legacies or decades ahead when a film’s opening moments flash across a screen. They’re just ready to become part of that present moment.”
I was particularly captivated by a few films at the festival. In light of this technique, here are a couple scenes from them:
A Real Pain: Jesse Eisenberg and Kieran Culkin play cousins traveling to Lublin, Poland, paying homage to their ancestors and late grandmother who survived the Holocaust. They’re on a train. Despite sitting in first class, Kieran's unease about their luxurious setting compared to their ancestors' tragic transport prompts him to move to the train's standard section, with Jesse reluctantly accompanying him. After an unintended nap causes them to miss their stop, a frantic scramble onto another train ironically lands them back in first class. Ironically, Kieran shares, "Well now we've earned it.”
Black Box Diaries: this documentary captures Shiori, a 25-year-old Japanese journalist confront the aftermath of sexual assault over eight years of fighting the Japanese government for legal action against her perpetrator. On the eve of her court trial, the camera focuses on her on a phone call. She’s speaking to the doorman who was on call on the night of her assault at the Sheraton Hotel in Tokyo. We’re reminded of the footage Shiori shares earlier of her assailant dragging her from a taxi into the hotel. The doorman idly standing by. Shiori asks for his permission to share his testimony that will corroborate that she was unconscious that night. Despite facing consistent rejections from authorities, her plea finds an ally in the doorman, who pledges his support and acknowledges how supportive he is of her. Overwhelmed by this, Shiori begins to cry and repeatedly says to him: "arigato gozaimasu," conveying her long and arduous journey toward justice.
Freaky Tales: In a scene that blends reality with fantasy, two best friends share a reflective moment in a bathroom. The girl vividly narrates a dream, her story coming to life through Ryan Fleck's direction, which intersperses Marvel-style visual effects and charming animations. We see her animated counterpart leap from bed and soar through the window. Meanwhile, the boy harbors his own dream about her, revealing unspoken admiration. Despite his feelings, he keeps his dream a secret, maintaining the sanctity of their platonic relationship. Two underdogs, on the cusp of a shared event that will bring them together.
The Greatest Night in Pop: this documentary transports you to Los Angeles in the 80s, when iconic talent from Michael Jackson to Prince to Tina Turner to Bruce Springsteen were touring and performing at their peak. We’re now viewing footage from the recording session of “We Are the World.” The entire group is in attendance. Fatigue sets in as the group pushes through a 5-hour recording session. Diana Ross begins to sing Harry Belafonte’s “Day-O”. Bruce Springsteen, Bob Dylan, Tina Turner, Stevie Wonder all began to chime in: “daylight come, and we wanna go home”. Harry Belafonte, appearing in the back, brimming from ear to ear, reflecting deep appreciation and a shared sense of unity among these powerful figures of pop.
Drago: This animated short film poetically illustrates the silent sacrifices made by one generation to pave the way for the next. The scene is of an aging bus driver reflecting on his life's journey. As a child, his fascination with science was ignited by his first microscope, a symbol of dreams and potential. Life's relentless pace swept him along — from the loss of his father to the responsibilities of caring for his mother. Now, as a father himself, he bestows a microscope upon his daughter, planting the seed of curiosity and ambition. The film culminates with the father visiting his daughter's home in New York City. Surrounded by her scientific accolades, the home stands as a testament to her success as a doctor, a dream realized through generations of love, sacrifice, and hope.