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That big surprise, of course, was Lee Daniels' " Precious: Based on the Novel 'Push' by Sapphire " (screened at last year's festival simply as "Push"), which came out of nowhere to win both the audience and jury prizes and went on to gross a startling $45 million-plus at the box office. I haven't crunched the numbers down to the final detail, but I'm virtually certain that makes "Precious" the most financially successful Sundance award winner in the festival's history. While I don't expect Tanya Hamilton's Sundance 2010 feature "Night Catches Us" — set in Philadelphia's African-American community, circa 1976 — to replicate the "Precious" phenomenon, I can guarantee it'll get a lot of attention.

So on the one hand, Cooper's first Sundance features a new section for films made for budgets below $500,000 — he has said most of them cost less than $200,000 — along with a near-total dearth of quasi-Hollywood premieres. Nobody expects any near-term resurgence of the late-night bidding wars of years gone by, when overhyped movies sold for inflated prices in the back rooms of Park City restaurants, on the way to box-office disaster. ("Grace Is Gone," anyone? "Hamlet 2"? "Son of Rambow"? Didn't think so.) On the other hand, Sundance 2010 opens on the heels of one of the best box-office years in recent history, a fact that remains true even if you discount the recent release of what will soon become the most popular film in history (that one with the tall blue people and Sigourney Weaver smoking those healthful 23rd-century cigarettes).

So it's best of times, worst of times, etc. On balance this looks like a terrific Sundance lineup, light on dreary minimalism and middle-class indie navel gazing. Here are some of the storylines I see emerging as I wend my way to Park City. I'll be back here Friday morning with a report on the opening-night film, Rob Epstein and Jeffrey Friedman's "Howl," which stars James Franco as the young Allen Ginsberg in beat-era San Francisco.

Cut-price films from low-budget land While Sundance has long thrived on movies made on microscopic budgets, Cooper has made that official this year by inaugurating the festival's NEXT section, open only to movies with sub-$500,000 budgets. Prominent examples this year include Linas Phillips' likable, lyrical road movie "Bass Ackwards," Habib Azar's demented marriage farce "Armless" (it's actually about a guy who wants to get his arms chopped off), and Eyad Zahra's "The Taqwacores," adapted from Michael Muhammad Knight's book about the Muslim punk scene. (I'll bet you didn't know there was one.)

They long to be close to you More and more indie filmmakers will bypass theatrical distribution, take their movies right out of Sundance, SXSW and similar festivals, and bring them straight to their small but loyal audience via video on demand, Internet stream/download or some combination thereof. Phillips' "Bass Ackwards" (see above) will go out nationwide Feb. 1, just after Sundance wraps, by way of "major digital retailers" (I assume this means iTunes), cable VOD and "DVD on demand," with a conventional DVD release to follow.

Meanwhile, the festival's own Sundance Selects VOD label will release three Sundance films, simultaneous with their Park City openings, through various major cable-TV systems. Titles selected for the first round of releases are Michael Winterbottom and Mat Whitecross' "The Shock Doctrine," a documentary based on Naomi Klein's bestseller; "Daddy Longlegs," a new feature from micro-indie talespinners Josh and Benny Safdie; and "7 Days," a gritty, gruesome revenge-horror fable from French-Canadian director Daniel Grou.

The whole world is watching Although known around the world principally as a showcase for new American films, Sundance has tried to establish a global reach in recent years. While we're not talking Venice or Cannes here, the imported offerings have gotten better, and more surprising. Italian director Luca Guadagnino's ravishing family melodrama "I Am Love," co-produced by its star, Tilda Swinton, while one of the un-Sundanciest films I can imagine, is also among the highlights of this year's roster. The same goes for Jacques Audiard's prison drama "A Prophet," with its amazing performance from Tahar Rahim as a teenage Arab-French convict.

Other high-profile foreign flicks include French provocateur Gaspar Noé's "Enter the Void," reported to be a hallucinatory, violent journey through the mind of a dying drug dealer, and Chris Morris' "Four Lions," a ruthless farce about homegrown British Islamic terrorism. I am sworn to secrecy on the last film until its premiere, but let's just say OMFG.

Can we still blame everything on Bush? While Sundance built its '80s-'90s reputation as a foster parent to indie dramas of the Coen-Jarmusch-Soderbergh ilk, I would argue that in the 21st century it's been at least as much a launching pad for social-political documentaries. This year, Oscar-winner and Sundance perennial Alex Gibney returns with "Casino Jack and the United States of Money," his film on the Jack Abramoff influence-peddling scandal. Heidi Ewing and Rachel Grady of the Oscar-nominated " Jesus Camp " are also back with "12th & Delaware," which captures the street drama outside a Florida abortion clinic. Amir Bar-Lev (" My Kid Could Paint That ") examines the death of NFL star-turned-war-hero Pat Tillman in "The Tillman Story," and a wide range of intriguing international documentaries stretch from Pakistan ("Bhutto") to the Russia-Georgia conflict ("Russian Lessons") and anthropology's sins in the Amazonian jungle (Brazilian director José Padilha's "Secrets of the Tribe").

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