“Maybe it won’t be OK.”
The world is hell right now. My life is hell right now. So talking about art, let alone participating in such an insular and silly in-fighting realm as film journalism, can feel futile, let alone irrelevant. But out of ritual, or obsession, or survival, we continue to do it anyway. By some weird sort of coincidence of thought, a collision of confirmation bias and larger anthropological forces invisible without hindsight, 2018’s cinematic output thus far has echoed these fears and frustrations. This is either a gift or an overgeneralized lens through which to view contemporary art. Likely, it’s both.
Paul Schrader’s First Reformed is perhaps the most direct and obvious film to tackle this sort of fiery personal apocalypse; Ethan Hawke’s grieving pastor in Upstate New York reckoning with eco-radical terrorism. It’s a fittingly preachy, obsessively Catholic baby boomer descent into the almost mythic purgatory of the very real, very mundane world—a tribute to Bresson’s coarse neo-realism and a necessary referendum on Taxi Driver’s existential bullshit. Hawke gives his first performance to appear distinctly un-theatrical, blending in with the ashes at a toxic waste dump. It is an old man’s film, the sum of its influences, and an aggressively uncomplacent staring contest with global deterioration and communal apathy.
The only other film to match that fury would be Sorry to Bother You, Boots Riley’s authentic, imperfect surrealist deep-dive into racial tensions under late capitalism. Yet, for all its political voracity and infectious wit, I wish the film had been equally as ambitious in its comedic stylings. There should be more memes, more Vines, more Twitter. Despite being miles above pretty much every comedy in recent years, and carrying an undeniably distinctive visual vernacular, the humor feels discordantly grouchy. It is urgent, radical, and exhilarating, but it lacks a certain vitality.
If it feels odd to draw comparisons between such an anti-establishment battle cry and a movie borne from Pepsi commercials, so be it. The excellent Uncle Drew is unapologetically branded content and also a personal, golden-age romp, pragmatic and dumb and oddly affecting. The two films each welcome the audience into their world with ease and clarity of vision. Listen, late capitalism and eccentric, goofy passion projects are weird but fun—just like basketball.
Further radical visions of blackness come to life in essay films like Khalik Allah’s revolutionary, jaw-dropping Black Mother, or the black queer nightclubs of Leilah Weinraub’s Shakedown, to the sprawling and ever-elusive rhythms and livelihood of Donald Glover’s Atlanta. Even Zama, Lucretia Martel’s grimly funny, shell-shocked revisionist epic deconstruction of colonialist literature offers something totally separate from the traditional historical visions that so often dominate the multiplex.
Yet the most exciting work I’ve come across this year is Josephine Decker’s Madeline’s Madeline, her first bonafide masterpiece. Comparisons to Rivette are easy to view shallowly (potentially obtuse, kinetic, theatrically self-consumers), but this goes deeper; Decker is genuinely the first of his descendants, so to speak, to carry on a double-barreled head-trip into aesthetics and dramatics equally. This is as much about performance as it is cinema’s bastard child status as a medium as it is about the state of indie cinema, a first wave of Generation Z, and, above all, a grand bildungsroman. I have genuinely never seen anything like what Helena Howard does here, willing to hone in with a specificity not even granted to the best sociologists on her identity. Through all the film’s engaging with Greek Tragedy (including Caroline Shaw’s mystically composed score), the battles of authorship, exploitation, maternity, and madness, there is a sensitivity and openness, an unmistakable modernity. Madeline’s Madeline is remarkable not just for the facts of what it does, but for how it teaches you to view its slipperiness, how its vibrancy manifest temporally, how it takes those most sensual and concrete pleasures and pushes them towards a work that argues for itself through an intense love and belief into and coming from every single person involved. I’ve rarely seen something so confident and smart and multifaceted and essential out of American cinema.
Paddington 2 and Black Panther are two excellent, classically-minded slices of entertainment, both conservative in their soothing reaffirmations of the troubling and fucked systems of government and societal standards, while still providing deeply progressive, optimistic, and rigorously anti-oppressive sentiment. On top of all that, a portion of Black Panther is set in Oakland, and Paddington 2 has a finale that recalls silent Lubitsch, and those two facts are absolute magic.
If the aforementioned films are given more leeway in their politik because they so delightfully fulfill their role as pop escapism, the horror genre cannot be afforded that same luxury. Horror is so built on distortions, on the beyond-natural, that it’s rare that a work can be built on that. Something like Hereditary offers a level of disconnect with the real world—as if it exists in old horror movie posters, and no sense of terror, of dread, of inescapable trauma. The First Purge derives all its catharsis from distressingly omnipresent concerns over fascism, liberal passivity, divergence within progressive groups. It’s a “black body genre” film, almost radically militant and still cynically exploitative and messy.
My other sociopolitical horror film of choice from the year came out of nowhere. The wonderfully electric stupidity coursing through Gaspar Noe’s Cannes barnburner Climax comes as one of the more unexpected treats of the year’s festival circuit. Dizzying and dull in equal measure, Noe’s pansexual nightmare treatise on the dissolution of France’s multicultural dream is just smart enough to be both authentically avant-garde and authentically exploitative, an exhausting and trippy dance party that has no right being anywhere near as good as it is. Get woke, fuckers, or the blood will flood the cold wintry streets and blockade the raves inside.
An apocalyptic doom is even echoed in the worst film I’ve seen this year, let alone this decade. Avengers: Infinity War is excruciating, demoralizing, nihilistic, senseless, completely without stakes, basic competence, or a semblance of humanity. I cannot recall the last time I left the theater fuming. The first half of a supposed cumulation of the mostly bland Marvel Cinematic Universe, rarely has a picture been produced with so little internal logic, or a comic book project carried such flagrant disregard for the saga on which it is built. There is not one moment, not one plot point or character arc, not one gesture or shot, with any close to grace or mere functionality. It goes from unpleasant, to baffling, to infuriating, to deflatingly numb, with a climax without gravity or consequence. It is a film that conditions the viewer to feel nothing when presenting the ostensible end of the world. I have rarely seen a crueler picture.
Hong Sang-Soo is experiencing something of a renaissance in the public eye—or as much the prolific Korean writer-director has ever seen in the Western art world. Following the scandalous affair with Kim Min-Hee and last year’s scraggly and ravaging travel opus On the Beach at Night Alone, sandwiched between Grass and Claire’s Camera (both of which are wonderful if minor), The Day After is a film of swirling perspective and internal purgatory. With only a tinny, haunting motif to offer relief on the wonderfully dynamic black and white photography, Hong offers a post-Rohmerian melodrama that avoids self-deprecation and hagiography. Though its conceits are perhaps less explicitly fantastical than, say, the bifurcated dishonesty of Right Now Wrong Then, the slippery timeline creeps through, as characters shift in and out of focus, and parallels within relationships multiply and fracture, infidelity shifting from a classic moral conundrum to a sobering frisson between internal and public perception.
On the other end of the spectrum lies Lars von Trier’s bombastic The House That Jack Built. A cinematic exorcism and gloriously self-indulgent and at least a good bit phony discourse on art as personal violence, the film is meticulously constructed and a total scorcher. Perhaps von Trier is too giddily self-loathing to allow for anything beyond an ego trip, or so unwilling to change—in his art or persona—that this interrogation of von Trier’s filmic grammar plays shallow and tedious. This is to say nothing of the fact that von Trier’s miserabilism, corny humor, and proto-externalist philosophy plays better on a dramatic level than an abstract argument, his body-genre-cum-melodrama power trip. Whatever, though, I still loved it. I found its anguish deeply resonant even more for its irony, its structure continuously evolving and almost meditative, if it weren’t for the amorphous and galvanizing rhythms, a total re-sensitization watch and a fitting eulogy/celebration of the toxic tradition in whose footsteps von Trier has walked, and the shit he’s carried smeared on his shoes.
The male gaze in power, violence, sex, and trauma receives a blow to an already fractured skull with Lynne Ramsay’s razor-thin You Were Never Really Here, an increasingly abstracted deep dive into the dissolution of a culture’s seedy underbelly. Nothing here is empty or fetishistic. Ramsay’s anger fuels a worldview that doesn’t provide moral scolds as much as an inditement of our failure to reckon with pain as a cyclical tragedy. The impressionistic editing hacks the narrative down to only the essential pieces as if you’re witnessing the wake of a film-cum-hurricane. The physicality and abstraction here align nicely with the hyperviolence, creating an experience something close to dissociation. Just to hear “Angel Baby” from Rosie & the Originals cut out with the security cameras, one realizes that You Were Never Really Here is the first of Ramsay’s films to fully encapsulate her full artistic manifesto. Joaquin Phoenix’s central hero, his walk, his torso, his body willing towards sleep. The refusal of present tense and the collateral damage of genre trappings. This is a film that collapses in on itself from practically the first frame.
For all this, the best film I’ve seen is Leave No Trace; Debra Granik’s return to cinema after eight years is quietly a perfect movie. Not a moment loses its touch with humanity, even as it becomes a. The ghosts of Kelly Reichardt and Monte Hellman populate the sparse cross-section between the natural world, childhood development, and class-consciousness as Granik’s gentle warm subjective document on the details of parental relationships tessellates outwards into nothing less than a monumental eulogy to how girls learn the world through men, and so much more. Leave No Trace provides neither respite nor release. It is simple here, and now, in a world of a billion little windows with not enough binoculars. We sure as hell don’t need nice right now, or contentment, but a moment of transitory serenity and strength doesn’t hurt.
THE DAY AFTER
THE HOUSE THAT JACK BUILT
LEAVE NO TRACE
YOU WERE NEVER REALLY HERE
Bong Joon Ho’s ‘Parasite’ becomes first foreign language film to win Best Picture at the 2020 Oscars
In what turned out to be a somewhat bearable Oscars ceremony, Bong Joon Ho’s wickedly delightful black comedy about class warfare Parasite picked up the coveted Best Picture — making it the first film not in the English language to do so — award along with several others, including Best Director, Best Original Screenplay, and Best International Feature Film.
The acting categories — which turned out to be the most predictable awards of the night — saw wins for Joaquin Phoenix for Joker, Renée Zellweger for Judy, Brad Pitt for Once Upon a Time in Hollywood, and Laura Dern for her performance in Marriage Story.
You can check out the complete list of 2020 Oscar winners below.
Ford v Ferrari
Once Upon a Time in Hollywood
Cynthia Erivo, Harriet
Scarlett Johansson, Marriage Story
Saoirse Ronan, Little Women
Charlize Theron, Bombshell
Renée Zellweger, Judy
Antonio Banderas, Pain and Glory
Leonardo DiCaprio, Once Upon a Time in Hollywood
Adam Driver, Marriage Story
Joaquin Phoenix, Joker
Jonathan Pryce, The Two Popes
Martin Scorsese, The Irishman
Todd Phillips, Joker
Sam Mendes, 1917
Quentin Tarantino, Once Upon a Time in Hollywood
Bong Joon Ho, Parasite
Best Supporting Actress
Kathy Bates, Richard Jewell
Laura Dern, Marriage Story
Scarlett Johansson, Jojo Rabbit
Florence Pugh, Little Women
Margot Robbie, Bombshell
Best Supporting Actor
Tom Hanks, A Beautiful Day in the Neighborhood
Anthony Hopkins, The Two Popes
Al Pacino, The Irishman
Joe Pesci, The Irishman
Brad Pitt, Once Upon a Time in Hollywood
Best Animated Feature
How to Train Your Dragon: The Hidden World
I Lost My Body
Toy Story 4
Best Animated Short
Best Original Screenplay
Once Upon a Time in Hollywood
Best Adapted Screenplay
The Two Popes
Best Live Action Short
Nefta Football Club
The Neighbors’ Window
Best Production Design
Once Upon a Time in Hollywood
Best Costume Design
Once Upon a Time in Hollywood
The Edge of Democracy
In the Absence
Learning to Skateboard in a Warzone (If You’re a Girl)
Life Overtakes Me
St. Louis Superman
Walk, Run, Cha-Cha
Ford v Ferrari
Once Upon a Time in Hollywood
Star Wars: The Rise of Skywalker
Ford v. Ferrari
Once Upon a Time in Hollywood
Once Upon a Time in Hollywood
Best Film Editing
Ford v Ferrari
Best Visual Effects
The Lion King
Star Wars: The Rise of Skywalker
Best Makeup and Hairstyling
Maleficent: Mistress of Evil
Best International Feature Film
Pain and Glory
Best Original Score
Star Wars: The Rise of Skywalker
Best Original Song
“I Can’t Let You Throw Yourself Away,” Toy Story 4
“(I’m Gonna) Love Me Again,” Rocketman
“I’m Standing With You,” Breakthrough
“Into the Unknown,” Frozen II
“Stand Up,” Harriet
Lee Isaac Chung’s ‘Minari’ takes home the Grand Jury Prize at the 2020 Sundance Film Festival
As the Sundance Film Festival came to a close this past weekend, several of the films that premiered there went home with awards in-hand, including Lee Isaac Chung’s Minari, which picked up both the Grand Jury Prize and the Audience Award in the U.S. dramatic competition.
The film, which is partially inspired by Chung’s own upbringing, follows a family of Korean immigrants who move to rural Arkansas in the 1980s in search of a new life and the pursuit of the American Dream.
Other Sundance 2020 winners include Jesse Moss and Amanda McBaine’s Boys State, which won the Grand Jury Prize in the U.S. documentary competition, and Massoud Bakshi’s Yalda, a Night for Forgiveness, which won the Grand Jury Prize in the world cinema dramatic competition.
The complete list of winners from the 2020 Sundance Film Festival is as follows:
2020 SUNDANCE FILM FESTIVAL FEATURE FILM AWARDS
The U.S. Grand Jury Prize: Documentary was presented to: Jesse Moss and Amanda McBaine, for Boys State / U.S.A. (Directors: Jesse Moss, Amanda McBaine, Producers: Amanda McBaine, Jesse Moss) — In an unusual experiment, a thousand 17-year-old boys from Texas join together to build a representative government from the ground up.
The U.S. Grand Jury Prize: Dramatic was presented to: Lee Isaac Chung, for Minari / U.S.A. (Director and screenwriter: Lee Isaac Chung, Producers: Dede Gardner, Jeremy Kleiner, Christina Oh) — David, a 7-year-old Korean-American boy, gets his life turned upside down when his father decides to move their family to rural Arkansas and start a farm in the mid-1980s, in this charming and unexpected take on the American Dream. Cast: Steven Yeun, Han Yeri, Youn Yuh Jung, Will Patton, Alan Kim, Noel Kate Cho.
The World Cinema Grand Jury Prize: Documentary was presented to: Hubert Sauper, for Epicentro / Austria, France, U.S.A. (Director and screenwriter: Hubert Sauper, Producers: Martin Marquet, Daniel Marquet, Gabriele Kranzelbinder, Paolo Calamita) — Cuba is well known as a so-called time capsule. The place where the New World was discovered has become both a romantic vision and a warning. With ongoing global cultural and financial upheavals, large parts of the world could face a similar kind of existence.
The World Cinema Grand Jury Prize: Dramatic was presented to: Massoud Bakhshi, for Yalda, a Night for Forgiveness / Iran, France, Germany, Switzerland, Luxembourg (Director and screenwriter: Massoud Bakhshi, Producers: Jacques Bidou, Marianne Dumoulin) — Maryam accidentally killed her husband Nasser and is sentenced to death. The only person who can save her is Mona, Nasser’s daughter. All Mona has to do is appear on a TV show and forgive Maryam. But forgiveness proves difficult when they are forced to relive the past. Cast: Sadaf Asgari, Behnaz Jafari, Babak Karimi, Fereshteh Sadr Orafaee, Forough Ghajebeglou, Fereshteh Hosseini.
The Audience Award: U.S. Documentary, Presented by Acura was presented to: Nicole Newnham and Jim LeBrecht, for Crip Camp / U.S.A. (Directors: Nicole Newnham, Jim LeBrecht, Producers: Sara Bolder, Jim LeBrecht, Nicole Newnham) — Down the road from Woodstock in the early 1970s, a revolution blossomed in a ramshackle summer camp for disabled teenagers, transforming their young lives and igniting a landmark movement.
The Audience Award: U.S. Dramatic, Presented by Acura was presented to: Lee Isaac Chung, for Minari / U.S.A. (Director and screenwriter: Lee Isaac Chung, Producers: Dede Gardner, Jeremy Kleiner, Christina Oh) — David, a 7-year-old Korean-American boy, gets his life turned upside down when his father decides to move their family to rural Arkansas and start a farm in the mid-1980s, in this charming and unexpected take on the American Dream. Cast: Steven Yeun, Han Yeri, Youn Yuh Jung, Will Patton, Alan Kim, Noel Kate Cho.
The Audience Award: World Cinema Documentary was presented to: Jerry Rothwell, for The Reason I Jump / United Kingdom (Director: Jerry Rothwell, Producers: Jeremy Dear, Stevie Lee, Al Morrow) — Based on the book by Naoki Higashida this immersive film explores the experiences of nonspeaking autistic people around the world.
The Audience Award: World Cinema Dramatic was presented to: Fernanda Valadez, for Identifying Features (Sin Señas Particulares) / Mexico, Spain (Director: Fernanda Valadez, Screenwriters: Fernanda Valadez, Astrid Rondero, Producers: Astrid Rondero, Fernanda Valadez, Jack Zagha, Yossy Zagha) ― Magdalena makes a journey to find her son, gone missing on his way to the Mexican border with the US. Her odyssey takes her to meet Miguel, a man recently deported from the U.S. They travel together, Magdalena looking for her son, and Miguel hoping to see his mother again. Cast: Mercedes Hernández, David Illescas, Juan Jesús Varela, Ana Laura Rodríguez, Laura Elena Ibarra, Xicoténcatl Ulloa.
The Audience Award: NEXT, Presented by Adobe was presented to: Heidi Ewing, for I Carry You With Me / U.S.A., Mexico (Director: Heidi Ewing, Screenwriters: Heidi Ewing, Alan Page Arriaga, Producers: Mynette Louie, Heidi Ewing) — An epic love story spanning decades is sparked by a chance encounter between two men in provincial Mexico. Based on a true story, ambition and societal pressure propel an aspiring chef to leave his soulmate and make the treacherous journey to New York, where life will never be the same. Cast: Armando Espitia, Christian Vázquez, Michelle Rodríguez, Ángeles Cruz, Arcelia Ramírez, Michelle González.
The Directing Award: U.S. Documentary was presented to: Garrett Bradley, for Time / U.S.A. (Director: Garrett Bradley, Producers: Lauren Domino, Kellen Quinn, Garrett Bradley) Fox Rich, indomitable matriarch and modern-day abolitionist, strives to keep her family together while fighting for the release of her incarcerated husband. An intimate, epic, and unconventional love story, filmed over two decades.
The Directing Award: U.S. Dramatic was presented to: Radha Blank, for The 40-Year-Old Version / U.S.A. (Director and screenwriter: Radha Blank, Producers: Lena Waithe, Jordan Fudge, Radha Blank, Inuka Bacote-Capiga, Jennifer Semler, Rishi Rajani) — A down-on-her-luck New York playwright decides to reinvent herself and salvage her artistic voice the only way she knows how: by becoming a rapper at age 40. Cast: Radha Blank, Peter Y. Kim, Oswin Benjamin, Reed Birney, Imani Lewis, TJ Atoms.
The Directing Award: World Cinema Documentary was presented to: Iryna Tsilyk, for The Earth Is Blue as an Orange / Ukraine, Lithuania (Director: Iryna Tsilyk, Producers: Anna Kapustina, Giedrė Žickytė) — To cope with the daily trauma of living in a war zone, Anna and her children make a film together about their life among surreal surroundings.
The Directing Award: World Cinema Dramatic was presented to: Maïmouna Doucouré, for Cuties / France (Director and screenwriter: Maïmouna Doucouré, Producer: Zangro) — Amy, 11 years old, meets a group of dancers called “Cuties.” Fascinated, she initiates herself to a sensual dance, hoping to join their band and escape family dysfunction…Cast: Fathia Youssouf, Médina El Aidi-Azouni, Esther Gohourou, Ilanah Cami-Goursolas, Myriam Hamma, Maïmouna Gueye.
The Waldo Salt Screenwriting Award: U.S. Dramatic was presented to: Edson Oda, for Nine Days / U.S.A. (Director and screenwriter: Edson Oda, Producers: Jason Michael Berman, Mette Marie Kongsved, Matthew Lindner, Laura Tunstall, Datari Turner) — In a house distant from the reality we know, a reclusive man interviews prospective candidates—personifications of human souls—for the privilege that he once had: to be born. Cast: Winston Duke, Zazie Beetz, Benedict Wong, Bill Skarsgård, Tony Hale, David Rysdahl. Dolby Institute Fellowship
A U.S. Dramatic Special Jury Award for Ensemble Cast was presented to: the cast of Charm City Kings, for Charm City Kings / U.S.A. (Director: Angel Manuel Soto, Screenwriters: Sherman Payne, Chris Boyd & Kirk Sullivan, Barry Jenkins, Producers: Caleeb Pinkett, Clarence Hammond, Marc Bienstock) — Mouse desperately wants to join The Midnight Clique, the infamous Baltimore dirt bike riders who rule the summertime streets. When Midnight’s leader, Blax, takes 14-year-old Mouse under his wing, Mouse soon finds himself torn between the straight-and-narrow and a road filled with fast money and violence. Cast: Jahi Di’Allo Winston, Meek Mill, Will Catlett, Teyonah Parris, Donielle Tremaine Hansley, Kezii Curtis.
A U.S. Dramatic Special Jury Award: Auteur Filmmaking was presented to: Josephine Decker, for Shirley / U.S.A. (Director: Josephine Decker, Screenwriter: Sarah Gubbins, Producers: Christine Vachon, David Hinojosa, Sue Naegle, Sarah Gubbins, Jeffrey Soros, Simon Horsman) — A young couple moves in with the famed author, Shirley Jackson, and her Bennington College professor husband, Stanley Hyman, in the hope of starting a new life but instead find themselves fodder for a psycho-drama that inspires Shirley’s next novel. Cast: Elisabeth Moss, Michael Stuhlbarg, Odessa Young, Logan Lerman.
A U.S. Dramatic Special Jury Award: Neo-Realism was presented to: Eliza Hittman, for Never Rarely Sometimes Always / U.S.A. (Director and screenwriter: Eliza Hittman, Producers: Adele Romanski, Sara Murphy) — An intimate portrayal of two teenage girls in rural Pennsylvania. Faced with an unintended pregnancy and a lack of local support, Autumn and her cousin Skylar embark on a brave, fraught journey across state lines to New York City. Cast: Sidney Flanigan, Talia Ryder, Théodore Pellerin, Ryan Eggold, Sharon Van Etten.
A U.S. Documentary Special Jury Award for Editing was presented to: Tyler H. Walk, for Welcome to Chechnya / U.S.A. (Director: David France, Producers: Alice Henty, David France, Askold Kurov, Joy A. Tomchin) — This searing investigative work shadows a group of activists risking unimaginable peril to confront the ongoing anti-LGBTQ pogrom raging in the repressive and closed Russian republic. Unfettered access and a remarkable approach to protecting anonymity exposes this under-reported atrocity–and an extraordinary group of people confronting evil.
A U.S. Documentary Special Jury Award for Innovation in Non-fiction Storytelling was presented to: Kirsten Johnson, for Dick Johnson Is Dead / U.S.A. (Director: Kirsten Johnson, Screenwriters: Nels Bangerter, Kirsten Johnson, Producers: Katy Chevigny, Marilyn Ness) — With this inventive portrait, a cameraperson seeks a way to keep her 86-year-old father alive forever. Utilizing moviemaking magic and her family’s dark humor, she celebrates Dr. Dick Johnson’s last years by staging fantasies of death and beyond. Together, dad and daughter confront the great inevitability awaiting us all.
A U.S. Documentary Special Jury Award for Emerging Filmmaker was presented to: Arthur Jones, for Feels Good Man / U.S.A. (Director: Arthur Jones, Producers: Giorgio Angelini, Caryn Capotosto, Aaron Wickenden) — When indie comic character Pepe the Frog becomes an unwitting icon of hate, his creator, artist Matt Furie, fights to bring Pepe back from the darkness and navigate America’s cultural divide.
A U.S. Documentary Special Jury Award for Social Impact Filmmaking was presented to: Elyse Steinberg, Josh Kriegman, and Eli Despres, for The Fight / U.S.A. (Directors: Elyse Steinberg, Josh Kriegman, Eli Despres, Producers: Elyse Steinberg, Josh Kriegman, Eli Despres, Maya Seidler, Peggy Drexler, Kerry Washington) — Inside the ACLU, a team of scrappy lawyers battle Trump’s historic assault on civil liberties. As the president separates families, blocks abortion access, expels transgender soldiers, and rolls back voting rights, these gutsy attorneys struggle to stop an unpredictable adversary with unlimited resources.
A World Cinema Dramatic Special Jury Award for Acting was presented to: Ben Whishaw, for Surge / United Kingdom (Director: Aneil Karia, Screenwriters: Rupert Jones, Rita Kalnejais, Producers: Julia Godzinskaya, Sophie Vickers) ― A man goes on a bold and reckless journey of self-liberation through London. After he robs a bank he releases a wilder version of himself, ultimately experiencing what it feels like to be alive. Cast: Ben Whishaw, Ellie Haddington, Ian Gelder, Jasmine Jobson.
A World Cinema Dramatic Special Jury Award for Visionary Filmmaking was presented to: Lemohang Jeremiah Mosese, for This Is Not A Burial, It’s A Resurrection / Lesotho, South Africa, Italy (Director and screenwriter: Lemohang Jeremiah Mosese, Producers: Cait Pansegrouw, Elias Ribeiro) — When her village is threatened with forced resettlement due to reservoir construction, an 80-year-old widow finds a new will to live and ignites the spirit of resilience within her community. In the final dramatic moments of her life, Mantoa’s legend is forged and made eternal. Cast: Mary Twala Mhlongo, Jerry Mofokeng Wa Makheta, Makhoala Ndebele, Tseko Monaheng, Siphiwe Nzima.
A World Cinema Dramatic Special Jury Award for Best Screenplay was presented to: Fernanda Valadez amd Astrid Rondero, for Identifying Features (Sin Señas Particulares) / Mexico, Spain (Director: Fernanda Valadez, Screenwriters: Fernanda Valadez, Astrid Rondero, Producers: Astrid Rondero, Fernanda Valadez, Jack Zagha, Yossy Zagha) ― Magdalena makes a journey to find her son, gone missing on his way to the Mexican border with the US. Her odyssey takes her to meet Miguel, a man recently deported from the U.S. They travel together, Magdalena looking for her son, and Miguel hoping to see his mother again. Cast: Mercedes Hernández, David Illescas, Juan Jesús Varela, Ana Laura Rodríguez, Laura Elena Ibarra, Xicoténcatl Ulloa.
A World Cinema Documentary Special Jury Award for Creative Storytelling was presented to: Benjamin Ree, for The Painter and the Thief / Norway (Director: Benjamin Ree, Producer: Ingvil Giske) — An artist befriends the drug addict and thief who stole her paintings. She becomes his closest ally when he is severely hurt in a car crash and needs full time care, even if her paintings are not found. But then the tables turn.
A World Cinema Documentary Special Jury Award for Cinematography was presented to: Mircea Topoleanu and Radu Ciorniciuc, for Acasa, My Home / Romania, Germany, Finland (Director: Radu Ciorniciuc, Screenwriters: Lina Vdovii, Radu Ciorniciuc, Producer: Monica Lazurean-Gorgan) — In the wilderness of the Bucharest Delta, nine children and their parents lived in perfect harmony with nature for 20 years–until they are chased out and forced to adapt to life in the big city.
A World Cinema Documentary Special Jury Award for Editing was presented to: Mila Aung-Thwin, Sam Soko, and Ryan Mullins, for Softie / Kenya (Director and screenwriter: Sam Soko, Producers: Toni Kamau, Sam Soko) — Boniface Mwangi is daring and audacious, and recognized as Kenya’s most provocative photojournalist. But as a father of three young children, these qualities create tremendous turmoil between him and his wife Njeri. When he wants to run for political office, he is forced to choose: country or family?
The NEXT Innovator Prize was presented to: Heidi Ewing, for I Carry You With Me/ U.S.A., Mexico (Director: Heidi Ewing, Screenwriters: Heidi Ewing, Alan Page Arriaga, Producers: Mynette Louie, Heidi Ewing) — An epic love story spanning decades is sparked by a chance encounter between two men in provincial Mexico. Based on a true story, ambition and societal pressure propel an aspiring chef to leave his soulmate and make the treacherous journey to New York, where life will never be the same. Cast: Armando Espitia, Christian Vázquez, Michelle Rodríguez, Ángeles Cruz, Arcelia Ramírez, Michelle González.
Phoenix: Searchlight Pictures invites you to an advance screening of ‘Downhill’
Searchlight Pictures will release Downhill on February 14 and it’s giving Silver Screen Beat readers in Phoenix a chance to attend an advance screening of the film before it officially opens in theaters.
Our readers in Phoenix can click on this link right now to claim their free passes — good for you and one guest — to attend an advance screening of Downhill happening at Harkins Scottsdale 101 on Monday, February 14 at 7:00 p.m.
Keep in mind that these free passes are distributed on a first-come, first-served basis, so be sure to claim yours as soon as possible before they run out. Below is the official trailer for Downhill as well as some additional details about the film.
Directed by: Nat Faxon, Jim Rash
Cast: Julia Louis-Dreyfus, Will Ferrell, Miranda Otto, Zoe Chao, and Zach Woods
Opens: Friday, February 14
Rating: R for language and some sexual material.
Synopsis: Barely escaping an avalanche during a ski vacation in the Alps throws a seemingly picture-perfect family into disarray as they are forced to reevaluate life, and how they truly feel about each other.