The Sundance Film Festival will add a new section, dubbed Indie Episodic, to the upcoming 2018 edition. The festival has also announced its short-film program and several titles in the Special Events section. Other festivals, such as the Toronto International Film Festival and the South By Southwest Film Festival, already have sections dedicated to episodic content. Sundance has previously explored screening episodic content, including Jane Campion’s miniseries “Top of the Lake” in 2013 and Ezra Edelman’s multi-part documentary “OJ: Made In America” in 2016, both in their entirety. The Sundance Institute has also been running a program for episodic projects among their talent labs for the last few years. “I think we’ve always prided ourselves on embracing what change is happening in these different mediums for storytellers to work in,” Trevor Groth, the festival’s director of programming, said in a recent interview of the festival’s embrace of episodic work. “We felt that a lot of the storytellers who were working in that form were Sundance artists. And so we started showing more and more.” Among the selections for the inaugural Indie Episodic section are “America To Me” directed by Steve James, “Cherries” directed by Diaz Jacobs, “Franchesca” executive produced by Franchesca Ramsey and directed by Kaitlin Fontana, “Halfway There” directed by Rick Rosenthal, “High & Mighty” directed by Carlos Lopez Estrada, “I’m Poppy” directed by Titanic Sinclair, “Leimert Park” directed by Mel Jones, “Mr. Inbetween” directed by Nash Edgerton, “The Passage” directed by Kitao Sakuri, “The Show About the Show (Season 2)” directed by Caveh Zahedi, “This Close” directed by Andrew Ahn and “Tropical Cop Tales” directed by Jim Hosking. “That’s what I love about this episodic work too, it’s allowing (for) all of these different voices,” said Groth. Groth said the ultimate goal of the section was “trying to create a bit of a market around this work like we did for film back in the late ’80s, early ’90s and you saw this whole industry grow up around it. I think the same thing will happen with the episodic work. Whether it’s connected to the film space or becomes its own industry, we