Insider's Diary: Sundance Film Festival Day Three: Quiet Power, Chance Meetings, and Full Houses

At the Adobe House with APM Music's Social Media Manager, Ezra Broder

Day three started early with a morning screening of Union County, directed by Adam Meeks and starring Will Poulter. The film is quiet, heavy, and deeply immersive in a way that makes you forget where you are while watching it. By the time the credits rolled, the room was visibly moved.

During the Q&A, several individuals from the real-life Union County Adult Recovery Program—who are featured often in the film—were recognized onstage, prompting a standing ovation and emotional audience response. The impact of this project clearly extends beyond the screen, and I felt very privileged to be in the theater with so many to see it.

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Watch Bailey's Sundance Film Festival Day Three Recap Video

Afterwards, I met up with reinforcements. That is, my colleague, Ezra, who arrived late the evening before for emotional support (kidding) and to do a better job with a camera than me (not kidding). We caught up with Taylor Rowley, a longtime APM client and music supervisor. She’s attending in support of not one but two films screening this week at Sundance that she worked on: The Oldest Person in the World and Joybubbles. More to come on the latter project…

The afternoon continued with the premiere of Chasing Summer, music supervised by Joe Rudge. The film blends coming-of-age themes with the chaos of returning to a hometown you’ve outgrown; funny, messy, and openly affectionate toward its characters. The audience responded enthusiastically, especially to the cast, making it a lively mid-festival screening.

The day closed with the premiere of Joybubbles, one of the documentary features I’d previously mentioned. The film tells the remarkable story of Joybubbles—born as Joe Engressia—a blind phone phreaker and the voice behind Zzzzyzzerrific Funline, whose life was driven by imagination, wonder, and a commitment to living with childlike curiosity.

The project features extensive use of APM’s catalog, particularly the KPM 1000 Series, which paired wonderfully with the film’s archival footage spanning decades. Having the chance to speak with Taylor beforehand, then support her at the premiere, made the experience especially meaningful.

Day three was a reminder that Sundance isn’t just about premieres. It’s about proximity; to the work, to the people behind it, and to the moments that stay with you long after the lights come back on in the theater.