The Hot Button by David Poland

As I thought about my day today, the true theme of this year's festival suddenly hit me. This is the real Year of the Woman. Like so many real phenomena, it has occurred without intent of fanfare. While there are great performances by men in many films and many male directors did exceptional work, most of my memories of greatness from this fest involve women. The mother and two daughters of Hideous Kinky, the eyes of first-time actress Lara Belmonte and the pregnancy-stretched body of Tilda Swinton in The War Zone, Patricia Neal and Glenn Close leading Cookie's Fortune, Edie Falco's turn in Judy Berlin, Susan Traylor's transcendent embodiment of Valerie Flake, the daring Sacha Horler in Praise, Run Lola Run and Heather Donahue in The Blair Witch Project. And I haven't even seen the female-dominated The 24-Hour Woman, Sugar Town, Santitos, The Passion of Ayn Rand or Splendor yet. Geez, there are even two films about porn actresses that are amongst the highest profile films of Sundance and Slamdance.

Today kind of cemented the thought, as I caught a screening of Guinevere and a live chat with two of the stars of Jawbreaker. Whether she likes it or not, Sarah Polley is the story of this festival. And forget the Parker Posey comparison. Sarah Polley is going to be, if she chooses to be, a bigger star than Winona Ryder, Claire Danes or any of the other teen-launched actresses out there. Polley has a gift of on-screen intelligence that is so great that it overwhelms her beauty. (That was Winona's promise in Heathers, but her career has proven the opposite -- her beauty is more important than her mind on screen.) If she has a limitation, it may be that she won't ever make a good on-screen victim, a role that has become a specialty of Ryder and Danes. Even when being victimized, Polley is always the sharpest one on the screen. She makes choices whether they are scripted or not. You can read it in her eyes. In both Guinevere and Go, two very different roles, Polley will outgross every film starring Gwyneth Paltrow (other than Shakespeare in Love) combined. And people will be thrilled to take the trip. There have been some great debuts by actresses in the last few years, but this one-two punch puts Polley, without the benefit of gimmick, amongst the leading actresses working today. And from Guinevere, add to my estrogen-laden theorem a great performance by Jean Smart that may finally break her free of "Designing Women."

As for the duo of Gayheart and McGowan, maybe you'll think it was the sheer folly of having two of Hollywood's sexiest young actresses sitting on my bed that makes me write this, but this was the most enjoyable chat I have ever done. And it wasn't the looks of the pair, but the way they invested in the chat. They jumped right in, by my side, looking through questions, making jokes on and off the record. (Much like Tim Roth did Tuesday night.) Both women were remarkably sharp and funny and truthful. And yes, they are an eyeful. This was a chat that I worried would go wrong, but it went really right. Rose showed up fresh from the chiropractor, but barely complained. Rebecca was game to take on any question. A live chat is a weird process, but I didn't have to explain it once. They got it from the start and charmed their way from start to finish. And both give me hope for young Hollywood. I still wish Gayheart hadn't allowed Jamie Blanks to photograph her so harshly in Urban Legend, but while that was coming out, this actress, dogged by the "former model" tag, was doing some serious stage work in Last Night in Ballyhoo. Also, I'm not sure she knows how funny she really is. I guarantee you that she is smarter and quicker than most directors and writers she has worked with. And she seems, even in person, fearless. I don't know what her future is, but I'm sure that she will define it more than it defines her.

But enough of the love fest.

Publicists, talent and journalists alike are far more prone to emotional outbursts (both happy and sad) today than they were a week ago -- back when we all were only a little insane. I feel as though I am establishing the tone of relationships that will last for many years, for better and for worse. And that is a feeling of great satisfaction, because it is human. And humanity is not always a luxury we are allowed in the many camps that make up Hollywood. Now onto today's movies.

On the Ropes: This Hoop Dreams-styled documentary has been a big buzz flick here in Park City. The word "great" has been liberally used. For me, it made me appreciate Hoop Dreams all the more. What was so singular about that film was that you really felt like you were spending years with these families. On the Ropes does its best to give you that feeling, but there is a lot of fudging on time and space. Also, when one character gets involved with the penal system, the film doesn't really face the possibility that one of the movie's heroes lied to the filmmakers and the court. I'm not saying that she did and there's no question that the portrait of criminal justice for the poor is horrifying, but by not asking the question, the film left me wondering. There was also some of this in other stories. Heroes are right and the rest are the bad guys. But where was the gray.

Guinevere: You've heard about Sarah Polley. A revelation. The movie itself is probably the best Svengali story since Scorsese's segment of New York Stories. Of course, Audrey Wells is no Scorsese, but she does a nice job. The film moves along crisply, catches every emotion and looks really good. Stephen Rea is no Nick Nolte, but, then again, he isn't trying to be. He shows once again that he is one of the greatest working actors alive in his portrayal of a man who needs the company of young, emotionally hungry women. This movie didn't hit a single wrong note on what can be a very delicate subject. I look forward to a return trip.

La Ciudad: This is more of the classical Sundance movie. It took six years to make and is an American-made Spanish-language movie. It's the story of four immigrants in joy and pain. There are no actors you would know, but if you are willing to keep your eyes open, you will find the truth of a world so many of us (and reading this on a computer tends to qualify you for this status in and of itself) never get close enough to see.

Trick: If you read yesterday's column, you saw that one of the ROTDs knows people in this film. I do believe that he isn't, in fact, a publicist. (I was really kidding about that.) I saw the movie tonight and it is a classic gay comedy. This is not a mainstream film. Period. Exclamation point. That doesn't mean that it isn't good. I just want to make it clear for you readers that this film is not going to be released the same way a movie like Happy, Texas (the big sale of the fest to date) is going to be released. (Both are gay-themed, but my understanding is that Happy, Texas is about as gay as Christopher Guest's Waiting for Guffman.) Think Billy's Hollywood Screen Kiss. In many ways, this is a better movie. The performances are strong and the production work is solid. Tori Spelling is a hoot as a talentless, clueless actress. Also, the fabulously topless Lorri Bagley probably doesn't sound like Marilyn Monroe and has to be pretty smart to play so dumb. I'll be keeping an eye out on that career. Overall, the movie is funny and sweet, even when it isn't hitting the home run.

Thick as Thieves: Simply put, a dud. There's nothing wrong with the actors. There are sporadic attempts at style, both visually and on the script. Basically, it's a mediocre crime thriller with no real thrills, no great laughs and no real reason to exist other than the fact that it got financing. The only two highlights: Janeane Garofalo as a girlfriend of Alec Baldwin (her first Baldwin!) and Michael Jai White in a role that doesn't have him playing the freak. This guy deserves to get acting roles like a regular actor. He's good-looking, well-built and has a dramatically deep voice. Give it up. Also, let's try to find some better roles for André Braugher. He is one of the finest that the acting world has to offer, but only when challenged. Except for one brief speech in this film, the role could have been played by anyone.

Tomorrow, my day starts with Sex at 8:00 a.m. It's capitalized because it's just a movie. The Annabel Chong Story screens then and I'm sure that despite the early hour, we'll be fighting for seats. Free food and porno, the two most irresistible forces in the lives of writers. Right after that, it's the much buzzed about Happy, Texas. After that, Tumbleweeds. Then the Hitchcock documentary. That takes me to about 6:00 p.m. Then, it's off to Lapdance. I'm not 100 percent sure that we'll be able to have our chat from that event as I've hoped. Check the listings at Yahoo! Chat as the day progresses. If it's still there by 7:00 p.m. ET, it will happen. If not, not. But either way, expect a lot of pictures and funny stories in tomorrow's column.

E ME: Until then, keep the cards and letters coming.