Independent film is at a crossroads. After a decade of outstanding growth, the emergence of a new generation of filmmakers and the maturation of an older one, the effective transformation of an industry and of an art form, the question of what independent film actually is and where it's headed is bound to stir discussion and debate. After eleven years of directing the Sundance Film Festival, perhaps I can offer perspective from a post that has allowed me a special understanding of the trends and developments that have characterized the growth of the independent film arena.

Throughout the past ten years, the remarkable success of independent film has been accompanied by a constant drumbeat thumping out the message that independent film is dead, or has become synonymous with studio output. Simply put, this isn't true. There are reasons one might believe this to be the case, but an examination of the broader independent arena leads, I think, to a different conclusion.

That independent film, generally speaking, has ambitions to be commercially successful is certainly true. But that does not mean it is now no more than a creature of the market, like most studio productions. Indeed, independent film at its best is still aggressively, passionately, creatively driven and original. Just look at the films. Which of this year's Independent Spirit Award nominees--Crouching Tiger, Hidden Dragon; Requiem for a Dream; Before Night Falls; You Can Count on Me; or Chuck & Buck--could have been made as a major studio film? None. Perhaps more significant, do any of these works suggest an arena that is aesthetically indistinguishable from even high-quality studio productions like Gladiator, Cast Away or, for that matter, Erin Brockovich? To anyone familiar with these works the answer is, I think, the same. None of the Independent Spirit nominees are derivative of commercial product. None are formulaic or mainstream in their appeal.

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