Sam Mauro's Top 10 Favorite Movies of 2017
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We present film critic Sam Mauro’s immensely subject to change top 10 films of 2017 list

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A note before we begin: I wrestled with how I wanted to go about this list. 2017 isn’t a particularly lackluster year for film—it just seems that way.

Most of the movies worth talking about are old news to anyone who saw them at their 2016 premieres (Personal Shopper), or hold-overs into the new year (First Reformed), or arguably not even any of the films at all (ahem, we’ll get to that). Four of the films ranked below are 2016 premieres, and compared to my concurrent world premiere top ten, I only share four titles.

Regardless of my sometimes brutal film criticism and wantonly erratic change of taste, I present my immensely subject to change top ten of 2017:

10. On the Beach at Night Alone

A great climate change movie, among other things, which is cool, because it’s a cold, dark world out there. A staggering work on what chases you when you travel to get some “alone time.” Hong Sang-soo’s shaggiest and most straight-forward film in a minute, but it’s also a raging, shattering bleeding heart of a motion picture. People hurt each other and the world thinks you’re a star. There are a million ways to tell the same story, as per the usual with Hong: when a stranger comes to town, you want to be littler.

9. Good Time

“Untwisting and untangling these strings I’m in.” A desperate, dread-inducing rollercoaster, all flailing limbs, and bug-eyed glances. The emotional vulnerability here is shoved right up against the vicious sociopolitical climate until it feels suffocating. This is 70s New York (and 70s cinema) brought face to face with its bastard offspring. The kind of confrontational, invigorating cinema that brings you to your knees, a contradictory troll game of privilege and raging political relevance. New York City is a garbage city that will chew you up and spit you out and make you thank your lucky stars that you’re white. It’s a macho wistful crazy fucked micro tragedy epic. An island of 8 million people. A blotter-acid, massive interrogation into the nature of care – for one’s self-preservation, for those closest to us, for those numbed within bureaucratic systems, and those institutionally pushed aside and objectified, in both our art and our politic. A bleak, contradictory, magnum film.

8. The Ornithologist

Anti-anthropocentric cinema at its finest. A great parable of Christian belief and Biblical storytelling, which forms a wonderful joke of pulling triple-duty as a personal meta-treatise for director João Pedro Rodrigues. High canon queer cinema, and a rich document of modern Portugal. I also really like birds.

7. Princess Cyd

The most generous, exposed-heart sort of humanism; the kind with novelistic integrity and a fullness of vision, a work concerned with all sorts of intimacy, a visually and structurally mature gift feels light and pleasant and easy. Stephen Cone’s modern classic is an ode to Marilynne Robinson and Jonathan Demme, to be sure, but it is full of such clean air, and back-kisses, and a voice so utterly unique in today’s cinematic landscape, and so winning seventeen different ways over. It’s healing, empowered art, and a radical rejiggering of the prototypical American indie towards something more…considered. It is a film of fluidity (a work of genuine queerness, a utopian view of acceptance and a bleary-eyed, quiet catharsis) and also specificity. Having been born and partially raised in suburban Chicago, I saw myself in this movie. But moreover, I saw so many people I loved.

6. Nocturama

Won’t somebody think of the children! Precision-engineered formalism (the opening half hour is so technically perfect, and the shot of the two teenagers hands slinking away just as the light of the tunnel hits them, A sleek film of muddied philosophy: These children enact reactionary comforts and genre gestures so completely informed by a capitalist mentality that the film never shakes, a frisson of genuinely uncomfortable, terrifying ideas. This may well be an empty film of tragic things made clean. It is still probably as good an indicator as any as to how good and important movies are right now, an authentically progressive film with no answers and all questions, an obsessive and obsessively confounding object.

5. Dawson City: Frozen Time

A secret history, an entire town’s life at the movies, a rewriting and affirmation of cinema’s transistors pleasures and otherworldly power. Super-sad love story thesis ephemera. Movies are a reproduction of life imagined and life gone by, all the ways it was and could have been. It’s an exceptional an archival powerhouse and a cinephilic master text.

4. Personal Shopper

This is a movie where Kristen Stewart says the word ectoplasm multiple times and there are many references to Hilma af Klint and there is ghost texting and bondage and I have many other thoughts. A very sad, very lame movie, right down to the goofy-ass CGI and an A+ obnoxious murder scene. Stewart is at her best, a movie star incapable of not being herself, and a queer icon in a film that doesn’t fully do her justice. Assayas never quite nails it, but the films brushes and falls from perfection create an intangibly endearing, earnest, and truthful quality never before present in his work. I flipping love this messy mumbo jumbo movie. It helps that I believe in ghosts. Grief is a motherfucker.

3. Song to Song

A string of perfect moments (thinking about right now: the kazoo sounds of Ryan Gosling and Michael Fassbender at the table morph into monkey howls as Fassbender chases Rooney Mara to the sounds of seagull above them on the beach). Silly and old-person youthful, biblical and freewheeling and something of an arthouse playlist, a panoramic view of Terrence Malick’s obsessions and delights, sprawling with Malick’s strongest storytelling yet (amazingly, this film feels like it could be edited in any order, and that this is, essentially, the best possible edit), an unabashedly graceful ode to the foolish pursuit of freedom above all else. Above all, it’s about how much Malick loves Patti Smith. It’s really sweet.

2. Columbus

Cigarettes and meth. Kogonada’s debut is a great examination of displacement in the Western inland of America, a quietly devastating ode to Ozu’s family dramas, a great work of architecture, modernism, and the notion of permanence. It is a film where every character supports each other, quietly. Haley Lu Richardson is, no exaggeration, the greatest actress of our generation, and her performance here is all-time. She walks like she dances and her performance is as camouflaged as it is calibrated and utterly recognizable. A movie about loving and learning to be familiar and still be awestruck. Admittedly, this is about as close as you come to a movie made specifically for me, but I still cry a lot whenever I watch it, and it makes the day good.

1. Twin Peaks: The Return

What is it like to spend 18 hours in a single moment of irresolution? The history of American iconography, a diatribe on film versus detail, television versus cinema, narrative versus conceptual art. Kyle McLaughlin gives six or seven of the year’s best performances. A total diatribe on genre in all its forms, on soap operas, and Sarah Palmer, and the history of electricity. So monumental, so clearly better than anything this year, in any medium, so full of hidden secrets, so unlike in feeling and amalgam, and it has total re-watchability (I have seen it four times through). An artistic event unparalleled in its ambition, success, and unifying yet diversely productive discourse this year.

Honorable Mentions (listed in alphabetical order): A Quiet Passion, Beach Rats, The Death of Louis XIV, Heal the Living, The Last Jedi, Roman J. Israel Esq., Wonderstruck

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Bong Joon Ho’s ‘Parasite’ becomes first foreign language film to win Best Picture at the 2020 Oscars

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Parasite Oscars
MATT PETIT/GETTY IMAGES

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.

Best Picture
Ford v Ferrari
The Irishman
Jojo Rabbit
Joker
Little Women
Marriage Story
1917
Once Upon a Time in Hollywood
Parasite

Best Actress
Cynthia Erivo, Harriet
Scarlett Johansson, Marriage Story
Saoirse Ronan, Little Women
Charlize Theron, Bombshell
Renée Zellweger, Judy

Best Actor
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

Best Director
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
Klaus
Missing Link
Toy Story 4

Best Animated Short
Dcera (Daughter)
Hair Love
Kitbull
Memorable
Sister

Best Original Screenplay
Knives Out
Marriage Story
1917
Once Upon a Time in Hollywood
Parasite

Best Adapted Screenplay
The Irishman
Jojo Rabbit
Joker
Little Women
The Two Popes

Best Live Action Short
Brotherhood
Nefta Football Club
The Neighbors’ Window
Saria
A Sister

Best Production Design
The Irishman
Jojo Rabbit
1917
Once Upon a Time in Hollywood
Parasite

Best Costume Design
The Irishman
Jojo Rabbit
Joker
Little Women
Once Upon a Time in Hollywood

Documentary Feature
American Factory
The Cave
The Edge of Democracy
For Sama
Honeyland

Documentary Short
In the Absence
Learning to Skateboard in a Warzone (If You’re a Girl)
Life Overtakes Me
St. Louis Superman
Walk, Run, Cha-Cha

Sound Editing
Ford v Ferrari
Joker
1917
Once Upon a Time in Hollywood
Star Wars: The Rise of Skywalker

Sound Mixing
Ad Astra
Ford v. Ferrari
Joker
1917
Once Upon a Time in Hollywood

Best Cinematography
The Irishman
Joker
The Lighthouse
1917
Once Upon a Time in Hollywood

Best Film Editing
Ford v Ferrari
The Irishman
Jojo Rabbit
Joker
Parasite

Best Visual Effects
Avengers: Endgame
The Irishman
The Lion King
1917
Star Wars: The Rise of Skywalker

Best Makeup and Hairstyling
Bombshell
Joker
Judy
Maleficent: Mistress of Evil
1917

Best International Feature Film
Corpus Christi
Honeyland
Les Misérables
Pain and Glory
Parasite

Best Original Score
Joker
Little Women
Marriage Story
1917
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

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Lee Isaac Chung’s ‘Minari’ takes home the Grand Jury Prize at the 2020 Sundance Film Festival

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Minari

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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Phoenix: Searchlight Pictures invites you to an advance screening of ‘Downhill’

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Downhill
SEARCHLIGHT PICTURES

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.

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