Pat Mitchell, a distinguished figure in the Sundance Institute and the Sundance Film Festival, recently shared her insights on Atlanta’s bid to host the festival.
Mitchell, who joined the Sundance board in 1994 after her collaboration with Robert Redford while producing a documentary about Native Americans, served as vice chair for seven years and board chair for a decade until 2021. Despite her departure from the chair position, she remains the longest-serving board member, contributing to Sundance’s longstanding legacy.
In 2024, Sundance announced it was seeking proposals for a new host city for the film festival, considering options beyond its historical venues in Park City and Salt Lake City, with a target move planned for 2027.
The announcement sparked interest from 90 cities, including 15 finalists. Notably, three cities from Georgia—Atlanta, Savannah, and Athens—stood out, marking Georgia as the only state to have multiple contenders. This unique situation led state leaders to remain neutral, avoiding favoritism.
Eventually, the competition was narrowed to six final candidates: Atlanta, Park City, Boulder, Cincinnati, Louisville, and Santa Fe. However, Atlanta’s site visit on July 29 was marred by unfortunate weather, deterring the team from fully experiencing the city’s vibrant atmosphere.
Mitchell shared her thoughts on the evaluation process after Sundance’s selection, which ultimately favored Boulder as the new host. While she made it clear that her perspectives were personal and did not officially represent Sundance, she highlighted how the festival’s relationship with Utah had begun to deteriorate since the COVID-19 pandemic.
“The Utah Health Department forced us to cancel the festival and make it all virtual just a couple of months before the 2021 festival,” Mitchell explained, noting that this unprecedented scenario resulted in significant debt for Sundance. The lack of support from the state exacerbated tensions as Park City increasingly focused on its skiing reputation rather than supporting the festival.
Mitchell remarked on how the local hospitality industry began inflating prices during the festival, complicating Sundance’s relationship with the region. This context made the competition for a new festival location even more critical.
Despite the challenges during the Atlanta site visit, Mitchell emphasized that the Sundance selection committee was initially optimistic about Atlanta’s candidacy. “With some degree of confidence, the committee came into Atlanta very excited and positive,” she said.
The city’s metropolitan appeal set it apart, making it a serious contender. However, concerns about the political climate in Georgia, particularly regarding LGBTQ and reproductive rights legislation, did factor into the decision-making process.
“There was concern about the laws on the books in Georgia,” Mitchell stated, indicating that these worries had been voiced by representatives of the creative community, as there was fear about potential restrictions impacting artists.
In assessing why Sundance ultimately opted for Boulder, Mitchell outlined how the board leaned towards a choice that felt familiar, citing the climate and communal aspects that came with a festival rooted in the mountains and snow.
Moreover, Boulder offered several small to mid-sized venues for independent films, all within walking distance, coupled with an assurance from local leaders to avoid price gouging during the festival, representing a commitment to maintaining a positive relationship going forward.
Chris Escobar, who operates the Plaza Theatre and Tara Theatre and organizes the Atlanta Film Festival, agreed with Sundance’s ultimate choice but expressed that Atlanta’s bid was hindered by the presence of other Georgian cities in the race.
“I don’t think we got the level of commitment outside the City of Atlanta that we should have gotten because there were two other Georgia cities on the list,” Escobar shared, pointing at a lack of unified support from stakeholders.
Mitchell remarked on the importance of political alignment, noting that when the major city’s politics do not sync with those of the state, it often hinders chances for success. Georgia’s consistently low rankings in public funding for the arts have also posed long-term challenges for its creative sector.
“It’s a worrisome fact that we rank towards the bottom of all 50 states when it comes to per-capita public funding for the arts,” Mitchell said, raising concerns about the sustainability of Georgia’s burgeoning film industry alongside its struggling arts community.
Despite these setbacks, both Mitchell and Escobar believe Atlanta possesses vast potential for fostering a thriving arts and film community, recognizing the economic benefits that investing in the arts could yield.
“We should invest in the arts because they create a tremendous economic return,” Escobar insisted, advocating for the allocation of tax dollars towards cultural initiatives.
Building on the reflections from the Sundance bid, Mitchell proposed a vision for a more cohesive arts community in Atlanta centered around the Woodruff Arts Center.
“I would love to see a more tangible arts community in the city where people could create a real arts alliance among all the creative institutions,” she said, emphasizing the need for a collaborative and accessible space for artists and audiences alike.
While Atlanta may not have secured the host city designation for the Sundance Film Festival this time, it has opened the door for future growth and investment opportunities in its arts and film landscape, setting the stage for a more vibrant cultural future.
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