Velvet Sighs at Sundance

Yesterday’s free screening of Ryan White’s “Come See Me in the Good Light” at the Jim Santy Auditorium was less a cultural pilgrimage than a queue for a well‑timed public‑service announcement. The film, a left‑leaning ode to Andrea Gibson’s final months, drew its usual mix of solipsistic philanthropists, college‑aged Instagrammers, and the occasional ex‑Vogue stylist who tried, instinctively, to hug the stage‑sized dossier of avant‑gard. The crowd, a collage of plush coats and meticulously chosen neon necklaces, seemed to lack even the minimal gravitas expected of a Sundance Festival flier. The traffic outside the Snow Canyon back‑lots was a muted skirmish, but the inside remained gated by a velvet rope only the brass‑knotted arm of the first‑draft line‑up could afford access to it. The sting of an over‑popular event, like a crowded Main Street crush, is tempered here by the director’s neat organizing, but the sense of exclusivity feels a little less ironclad. Verdict: Attend.