Let's see. Films whose big stars are Parker Posey, Rose McGowan, James Legros, Laurel Holloman, Martha Plimpton and Gina Gershon.
It can only be the Sundance Film Festival.In fact, Posey and McGowan each star in three different films, and Plimpton appears in two - all to be screened during the '97 festival, which began in earnest Friday and continues through Jan. 26.
But if you're looking for the really big stars, there are also films featuring Sandra Bullock, Peter Fonda, Keanu Reeves, Roy Scheider, Wesley Snipes and Martin Sheen.
And they're not just in films. Most of them will be hanging out in Park City, live and in the flesh, visiting local hangouts, introducing their films in the Sundance theaters and seeking audience approval.
Sheen and Snipes are narrating documentaries, while Bullock makes her directing debut with the short film "Making Sandwiches" (and no, it isn't about a delicatessen).
Tim Robbins and companion Susan Sarandon will also be around, but not to promote any films. Robbins has starred in a couple of past Sundance premieres ("Tapeheads" in 1988 and "The Hudsucker Proxy" in 1994), but this year he's here to receive the festival's Piper-Heidsick Tribute to Independent Vision, an award previously given to Denzel Washington, Gena Rowlands, Nicolas Cage, Dianne Wiest and John Turturro.
As for the movies themselves, the competition films take center stage, with young, struggling filmmakers hoping to have their movie singled out as the next "sex, lies & videotape" or "Spitfire Grill."
This year there are 16 documentaries and 18 dramatic pictures competing for the coveted grand prize in their respective categories, each awarded by a jury. But, increasingly, the more important validation is the Audience Award, which is voted upon by moviegoers who cast ballots as they leave screenings.
There are also plenty of Premiere films with slightly higher profiles, more independent productions in the American Spectrum section, an international flavor in the World Cinema sidebar, wacky Midnight at Park City presentations and a large contingent of short films. And much more.
As always, the numbers are up - 127 films will be screened this year. And submissions climbed to an all-time high. "The dramatic competition went up another 20 percent," festival director Geoffrey Gilmore says.
"That's 600 films submitted. And when I was saying 500 films last year and about 375 films the year before and 250 films the year before that - in three years we have more than doubled the number of dramatic films that were produced independently.
"Documentaries went up slightly, to about 210. So we had over 800 features submitted for competition. And another 400 films were submitted to the festival in either foreign categories or as premieres. And another 1,500 shorts.
"We actually saw some 2,700 films."
Numbers aside, Sundance remains the pre-eminent showcase for American independent cinema, and Gilmore says this year's is a particularly diverse festival. "There's a lot of work by women. There's a lot of work by black and Latino filmmakers.
And while in years past it might have been sufficient to have been a different voice - to say, `OK, here's a voice from a different community, and we want to hear this voice' - now we're saying, `That's not sufficient. There also needs to be a level of quality above and beyond that voice.'
"There are also a lot of films that are unseen, films that distributors haven't seen and critics haven't seen. This year we have a festival that is as fresh as it's ever been. I think most of that has just come from the fact that so much new work has been done and pointed toward us."
Writer/director Steve James, whose film "Prefontaine" will have its world premiere as part of the festival Friday, describes Sundance as "an oasis for films that weren't made on a large budget."
James, whose documentary "Hoop Dreams" was the smash of the 1994 festival, claims he originally made that film with the simple desire of possibly getting it aired on PBS. Instead, "Hoop Dreams" made such a big splash at Sundance that it turned his filmmaking career around.
"What's so important is that this is a home for more personal films - films about characters," he said. "These aren't the types of films you typically associate with Hollywood these days. They don't want to be `Pulp Fiction,' or even the umpteenth rehash of William Shakespeare."
But success stories like James' aren't typical of Sundance.
Or are they?
Connie Marks, whose documentary "Green Chimneys" is in competition this year, says that once her film was accepted by the festival committee, the phone calls from curious movie companies and distributors began - and they haven't stopped yet.
"I had one woman from Columbia-Tri Star call me the next day, wanting to talk about the movie, even though her company doesn't distribute documentaries," Marks said.
"I told her what my film was about and that I knew about their policy, so she just politely said goodbye and hung up."