Sundance means big business for Park City. Last year, the festival’s 85,000 visitors brought almost $200 million into the town’s economy, and major sponsors like Chase, Acura, United Airlines, and Adobe took over entire restaurants and event spaces up and down Main Street. In March 2025, however, the Sundance Institute — the nonprofit that operates the festival — announced that Sundance would be moving to Boulder. Sundance officials had spoken for years about the possibility of moving the festival out of Park City. In 2022, the institute lost millions of dollars after being forced to shut down in-person screenings in response to that winter’s omicron outbreak. Now Colorado was offering more than $34 million in state tax credits to incentivize the move. The 2026 Sundance Film Festival would be the last to take place in its original home, as well as the first not overseen by Sundance’s talismanic founder, Robert Redford, who died at 89 in September 2025. [...]
Park City, it should be said, is neither a park nor a city. As a location for a festival it is, and always has been, a giant pain in the ass. Getting to Park City is pricey, and driving and parking are impossible. There are only a handful of hotels in town, and all of them jack up their usual prices by criminal orders of magnitude. Most people end up sharing cramped rooms in condos that still cost thousands of dollars. Eating and drinking are equally outrageous. Utah state law requires restaurant patrons to buy food to order a drink, and liquor-based drinks may contain only 1.5 ounces of any primary spirit, measured through a calibrated dispensing device called the Berg. This is a serious problem for bored, overworked critics who must sit through dozens of the nation’s least ambitious films every year.
Then there are the lines. Lines to corporate-sponsored events that snake up Main Street; lines to parties that take hours even when your name is on the list; lines to press screenings longer than the film’s runtime. In 2026, a single ticket to one of these films cost $35; a package of ten tickets, with the ability to reserve screenings in advance, was $920. For filmmakers it’s even worse. Sundance sometimes provides a small stipend to productions to help offset the costs of participating in the festival. This year, the payment was around $1,000, hardly enough money to fly in a director, let alone a cast and crew, to spend several days posing for photos in front of step and repeats, participating in interviews, and attending Q&As — standard but punishing procedures for selling a film at Sundance. Add in the price of hiring a publicist and throwing a party for the film’s premiere — as well as meals, hotels, and transportation — and launching a low-budget film at Sundance can quickly run up tens of thousands of dollars in expenses.
Robert Redford was an unlikely champion of independent film. As the face of polished 1970s studio filmmaking and the decade’s biggest box office star, he was the ultimate Hollywood insider. His name was listed in dictionaries under words like glamour and idol, and he was too good-looking to be anything but a leading man — a point the actor famously learned early in his career after auditioning for the lead in Mike Nichols’s The Graduate. “I said, ‘You can’t play it. You can never play a loser,’” Nichols later told Vanity Fair. “And Redford said, ‘What do you mean? Of course I can play a loser.’ And I said, ‘OK, have you ever struck out with a girl?’ and he said, ‘What do you mean?’”
But Redford was always ambivalent about his success. He disliked the trappings and never-ending demands of celebrity, and mistrusted the studio executives and yes-men around him. By the early 1980s, the major Hollywood studios had shut out most of the successful creative filmmakers of the previous decade and pivoted to family-friendly, cash-fueled spectacles like Star Wars, Superman, and E.T. Redford saw Sundance as the solution. The next generation of pathbreaking auteurs would come to the actor’s compound, which included a ski resort near Mount Timpanogos, to receive artistic guidance and mentorship far from the corrupting influence of the Barry Dillers and Jerry Bruckheimers of the world.
by Will Travlin, N+1 | Read more:
Image: Chason Matthams, Untitled (Technica 3D rig, yellow). 2024
