1985 Sundance Film Festival

Now under the administration of Sundance Institute, The United States Film Festival presented over 80 feature-length films this year, including: Stranger than Paradise, The Falcon and the Snowman, Mrs. Soffel, Before Stonewall: The Making of a Gay and Lesbian Community, The Killing Floor, Blood Simple, The Times of Harvey Milk, The Brother from Another Planet, The Killing Fields, and Where the Green Ants Dream. The Festival also spotlighted the work of Christopher Petit (An Unsuitable Job for a Woman, Flight to Berlin), Francois Truffaut (The 400 Blows, Day for Night), Ivan Passer (Intimate Lighting, Cutter's Way) and the students of Roger Corman. There was an emphasis on international film, with screenings of seven new Australian works alone.

  • Awards
  • Credits
  • Panels
  • Projects


Grand Jury Prize: Documentary

Blood Simple

Grand Jury Prize: Dramatic

America and Lewis Hine

Special Jury Prize Documentary


Special Jury Prize Documentary


Special Jury Prize Documentary

The Times of Harvey Milk

Special Jury Prize Documentary

Almost You

Special Jury Prize Dramatic

The Killing Floor

Special Jury Prize Dramatic

The Brother from Another Planet

Special Jury Recognition

In Heaven There Is No Beer?

Special Jury Recognition Documentary

Stranger than Paradise

Special Jury Recognition Dramatic

Frederick Wiseman

Documentary Competition Juror

D.A. Pennebaker

Documentary Competition Juror

Barbara Kopple

Documentary Competition Juror

Robert M. Young

Dramatic Competition Juror

Peter Biskind

Dramatic Competition Juror

Mirra Bank

Dramatic Competition Juror

Lawrence Smith

Programmer, Sundance Film Festival

Tony Safford

Managing Director, Sundance Film Festival

A Boring Afternoon

A Flash of Green

A Joke of Destiny

A Love in Germany (Eine Leibe in Deutschland)

Almost You

America and Lewis Hine

An Unsuitable Job For a Woman

Antoine et Colette

Battle Beyond the Stars

Bed and Board (Domicile Conjugal)

Before Stonewall: The Making of a Gay and Lesbian Community

Between Wars

Blood Simple

Boxcar Bertha

Brady’s Escape

Caged Heat

Chinese Boxes

Cold Feet

Cutter’s Way

Day For Night (La Nuit Americaine)

Death Race 2000

Dementia 13

Dialogue with a Woman Departed

Far From Poland

Far Thunder (Enrai)

Flight to Berlin (Fluchtpunkt Berlin)

Gas-s-s! or, It may become necessary to Destroy the World in order to save It

Hard Choices


Hopi: Songs of the Fourth World

In Heaven There Is No Beer?

Intimate Lighting

Jack Kerouac’s America


Law and Disorder

Low Visibility

Mass Appeal

Monkey Grip

Mosquito on the Tenth Floor (Jukai No Mosukiito)

Mother’s Meat and Freud’s Flesh

Moving Out

Mrs. Soffel

Not For Publication

Paris, Texas

Pebbles (Kieselstein)


Radio On

Rock ‘n' Roll High School

Secret Honor


Silver Bears

Silver City

Sprout Wings and Fly

Squizzy Taylor

Stolen Kisses (Baisers Voles)

Stranger than Paradise

Strategic Trust: The Making of A Nuclear Free Palau




Tattoo [Irezumi] Ari (Tattoo)

The 400 Blows (Les Quarte Cents Coups)

The Brother from Another Planet

The Business of America

The Falcon and the Snowman

The Go Masters

The Gold Diggers

The Gospel According to Al Green

The Hit

The Illusionist (De Illusionist)

The Killing Fields

The Killing Floor

The Last Seduction

The Lift (De Lift)

The Little Shop of Horrors

The Night the Prowler

The Purple Rose of Cairo

The Real Thing

The Roommate

The Times of Harvey Milk

The Trip

The Work I’ve Done

The World of Tomorrow

Way Down East

Where the Green Ants Dream

Wild Angels

As you use our Online Archives, please understand that the information presented from Festivals, Labs, and other activities is taken directly from official publications from each year. While this information is limited and doesn't necessarily represent the full list of participants (e.g. actors and crew), it is the list given to us by the main film/play/project contact at the time, based on the space restrictions of our publications. Each entry in the Online Archives is meant as a historical record of a particular film, play, or project at the time of its involvement with Sundance Institute. For this reason, we can only amend an entry if a name is misspelled, or if the entry does not correctly reflect the original publication. If you have questions or comments, please email [email protected]