Institute History


Jealousy and betrayal drive a high school basketball phenom to commit murder. This modern day adaptation of Othello depicts one of the most diabolical villains in history in a coming of age story.

Odin James is on his way to the state championship. A win there could bring him the notoriety necessary to become one of the youngest players ever drafted to the NBA. His life long dreams are coming true. The only obstacle…his best friend, Hugo, wants him dead.

The story is set at Bishop O’Dowd, a prestigious prep school. Odin, the school’s only black student, was born and raised on the streets. Odin’s past is checkered, but he’s a good kid and everyone likes him, especially the girls. Odin, however, has eyes for only one woman. He and Desi, the racist Dean’s daughter, are falling in love. They plan to be together forever. Hugo has other notions.

Hugo manipulates school officials, steals from friends, instigates bloody fights, partners with drug dealers. It’s all part of his scheme to create an atmosphere of racial tension and paranoia which will ultimately destroy the rising star.

As innuendo and rumor eat away at Odin’s very core, he starts to unravel, and resorts to cocaine for inspiration. Then, the ultimate manipulation: a scarf, given to Desi by Odin, shows up in another guy’s possession. How’d it get there? Hugo of course.

Hugo bends Odin’s ear, convincing him Desi is cheating. Odin self-destructs. His inner-city background surfaces, he resorts to violence and is kicked off the team. With his NBA dream fading, Odin turns to his only “friend,” Hugo. In his delusional state, Odin allows Hugo to talk him into a murder plot. A plot well conceived, but the business of murder is an untidy one, in which “loose ends undo men.” Will Hugo’s machinations be revealed before it’s too late? Will Hugo turn on Odin and kill him too? This tragic chain of events is “O.”

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]