And in genuinely new stuff, here's my second Sundance dispatch, on Mark Webber's second film as a director, The End of Love. Philadelphians are well aware of Webber's backstory, how he was raised, at times on the street, by local welfare-rights activist Cheri Honkala, and rose from roles in shoestring productions like Todd Solondz's Storytelling to minor movie stardom. (The applause as he took the stage in Park City was as enthusiastic as that greeting any of indie film's biggest stars.) In The End of Love, Webber starts opposite his then two-year-old son, Isaac, as a struggling actor mourning the death of his wife and faltering under the weight of single parenthood. It occurred to me midway through watching the film that you almost never see children that age on screen, for the simple reason that they're too young to act and too old to just lie there like a cute lump of flesh. As the father of a child who's almost exactly the same age as the one in the film, I'm perhaps not entirely objective, but I'm also extremely qualified to report on how accurately Webber captures that particular stage of life. (The most resonant moment for me is when Webber counsels his son to chew his food more thoroughly before eating, then picks up the leftover food when his son abandons it, only to have the boy repeat his father's advice back at him, word for word. That happens in my house at least once a day.) Much more on the pleasures and dangers of shooting with your own toddler in my Inquirer feature.