Kieran Culkin and Jesse Eisenberg in A Real Pain. (Credit: Topic Studios)
Creative studio The-Artery is headed to the 2024 Sundance Film Festival with three films screening at the iconic independent film festival. The award-winning studio handled VFX on Stephen Soderbergh’s Presence, Jesse Eisenberg’s sophomore feature A Real Pain, and director Jane Shoenburn’s I Saw the TV Glow. The 2024 Sundance Film Festival runs from January 18th - 28th, with in-person screenings in Park City, Utah, and virtual screenings available on a limited schedule.
No stranger to Sundance premieres, The-Artery has worked on Sundance selections for over a decade, collaborating with top filmmakers such as Julie Taymor, Dan Fogelman and Lulu Wang.
Presence will appear as part of the festival’s Premieres programming. The film, starring Lucy Liu (Kill Bill, Charlie’s Angels), Chris Sullivan ('This Is Us') and Julia Fox (Uncut Gems), follows a family who moves into a suburban house and becomes convinced they’re not alone.
A Real Pain will appear in the festival’s Dramatic Competition and mark’s Jesse Eisenberg’s sophomore feature film launch. The film, starring Academy Award-nominated Eisenberg (The Social Network, Zombieland), Kieran Culkin ('Succession') and Jennifer Grey (Dirty Dancing, Ferris Bueller’s Day Off), follows mismatched cousins David and Benji as they reunite for a tour through Poland to honour their beloved grandmother. The adventure takes a turn when the pair’s old tensions resurface against the backdrop of their family history. Hear more about the film from Eisenberg in a 'Meet the Artist' short here. HERE.
I Saw the TV Glow will screen as a part of the festival’s Midnight offering. Starring Justice Smith (Jurassic World: Fallen Kingdom, Dungeons & Dragons: Honor Among Thieves) and Michael C. Maronna (Home Alone franchise), the feature follows teenager Owen who is just trying to make it through life in the suburbs when his classmate introduces him to a mysterious late-night TV show - a vision of a supernatural world beneath their own. In the pale glow of the television, Owen’s view of reality begins to crack.