UK Radio Blog
Jan
27th
Top Ten Sundance Films You Must See
By Douglas McFarlane
TOP TEN SUNDANCE FILMS YOU MUST SEE
BRONSON
You have to see this film to believe it. Director Nicolas Winding Refn and actor Tom Hardy have rewritten the rules of filmmaking with an incredible and gruelling portrayal of notorious prisoner Michael Peterson. I loved everything about this film. From the unique style of acting that Hardy brings to the screen, the camera angles, telling the story from a theatrical perspective, the use of "It's A Sin" during a party scene with inmates. Every single choice the director made in setting the scene was different, fresh, exciting and worthy of recognising as a work of art. GO SEE IT !
AFGHAN STAR
A documentary about the equivalent of X-Factor in Afghanistan. We learn that it's only in 2004 that the government lifted a ban on broadcasting music and entertainment and this is the first programme which has a massive following. Like the mania that follows this type of program in the UK, some people were buying thousands of SIM cards in order to vote for their favourite more than once. The songs were quite amusing after translation, such as "You're like a scorpion with eyebrows meeting in the middle". The program also courted it's own controversy, due to one of the female participants dancing and showing hair resulting in death threats against her and an outcry from a political leader who felt she had disgraced Sharia Law. This documentary is as much a reflection of our own society, as it is of Afghanistan.
IN THE LOOP
This is a very funny film in which Peter Capaldi is a relentless Scottish loudmouth, aggressive, articulate politician. Side splitting humour and incredible dialogue.
AN EDUCATION
Peter Saarsgard is truly brilliant in this coming of age story. The screenplay is by Nick Hornby, so you can be assured of a well written and structured film.
FIVE MINUTES OF HEAVEN
Two great Irish actors, Liam Neeson and James Nesbitt meet in a fictional televised truth and reconciliation meeting after the end of "the troubles". It's told from the inner thoughts of each of the main characters which lets you know more about what they are thinking as the plan to see each for the first time after one witness the other shooting his brother in the early 80s. Look out for a fantastic fight scene which is both well choreographed and will stun you with it's amazing camera work. How did they do it ?
THE INFORMERS
One of the best openings of a film I've ever seen. An opulent mansion house in the 80s. It's LA and there's a party going on and we hear Simple Minds' New Gold Dream (81-82-83-84) playing loudly. The guys wear Raybans, the women are very attractive, Porsche cars come and go and then 1 minute into the film, and if you haven't sat down and settled into your seat, you'll have missed it. Some great performances from Amber Heard (whew!), Billy Bob Thornton, Kim Basinger, Mickey Rourke, Winona Ryder, and even musician turned actor Chris Isaak.
ENDGAME
It's South Africa in the 80s with the end of apartheid. This is the definitive story and a must see film for everyone. Johnny Lee Miller stood out as Mike Young an executive at Consolidate Goldfields in London, who we learn in the titles that he gave most of the story to the filmmakers. He was in the meetings and therefore had access to personal and private information. FW De Klerk and Nelson Mandela are well cast as was Thabo Mbeki, nicely played by Chiwetel Ejiofor. William Hurt also does well with his South African accent as an Afrikaans Professor.
TAKING CHANCE
Kevin Bacon is perfectly cast in this powerful drama based on the true story of a young soldier, Chance Phelps, who dies in the Iraq War.
http://www.ukfilm.tv/magazine/read/taking-chance_24.html
HUMPDAY
Seattle based director Lynne Shelton, creates an hilarious look at what might happen if two straight men took their friendship a little too far.
http://www.ukfilm.tv/magazine/read/humpday_23.html
MOON
Sam Rockwell takes us to the Moon in this intriguing sci-fi which explores the possibilities of cryogenics and cloning.
http://www.ukfilm.tv/magazine/read/moon_22.html
BRONSON
You have to see this film to believe it. Director Nicolas Winding Refn and actor Tom Hardy have rewritten the rules of filmmaking with an incredible and gruelling portrayal of notorious prisoner Michael Peterson. I loved everything about this film. From the unique style of acting that Hardy brings to the screen, the camera angles, telling the story from a theatrical perspective, the use of "It's A Sin" during a party scene with inmates. Every single choice the director made in setting the scene was different, fresh, exciting and worthy of recognising as a work of art. GO SEE IT !
AFGHAN STAR
A documentary about the equivalent of X-Factor in Afghanistan. We learn that it's only in 2004 that the government lifted a ban on broadcasting music and entertainment and this is the first programme which has a massive following. Like the mania that follows this type of program in the UK, some people were buying thousands of SIM cards in order to vote for their favourite more than once. The songs were quite amusing after translation, such as "You're like a scorpion with eyebrows meeting in the middle". The program also courted it's own controversy, due to one of the female participants dancing and showing hair resulting in death threats against her and an outcry from a political leader who felt she had disgraced Sharia Law. This documentary is as much a reflection of our own society, as it is of Afghanistan.
IN THE LOOP
This is a very funny film in which Peter Capaldi is a relentless Scottish loudmouth, aggressive, articulate politician. Side splitting humour and incredible dialogue.
AN EDUCATION
Peter Saarsgard is truly brilliant in this coming of age story. The screenplay is by Nick Hornby, so you can be assured of a well written and structured film.
FIVE MINUTES OF HEAVEN
Two great Irish actors, Liam Neeson and James Nesbitt meet in a fictional televised truth and reconciliation meeting after the end of "the troubles". It's told from the inner thoughts of each of the main characters which lets you know more about what they are thinking as the plan to see each for the first time after one witness the other shooting his brother in the early 80s. Look out for a fantastic fight scene which is both well choreographed and will stun you with it's amazing camera work. How did they do it ?
THE INFORMERS
One of the best openings of a film I've ever seen. An opulent mansion house in the 80s. It's LA and there's a party going on and we hear Simple Minds' New Gold Dream (81-82-83-84) playing loudly. The guys wear Raybans, the women are very attractive, Porsche cars come and go and then 1 minute into the film, and if you haven't sat down and settled into your seat, you'll have missed it. Some great performances from Amber Heard (whew!), Billy Bob Thornton, Kim Basinger, Mickey Rourke, Winona Ryder, and even musician turned actor Chris Isaak.
ENDGAME
It's South Africa in the 80s with the end of apartheid. This is the definitive story and a must see film for everyone. Johnny Lee Miller stood out as Mike Young an executive at Consolidate Goldfields in London, who we learn in the titles that he gave most of the story to the filmmakers. He was in the meetings and therefore had access to personal and private information. FW De Klerk and Nelson Mandela are well cast as was Thabo Mbeki, nicely played by Chiwetel Ejiofor. William Hurt also does well with his South African accent as an Afrikaans Professor.
TAKING CHANCE
Kevin Bacon is perfectly cast in this powerful drama based on the true story of a young soldier, Chance Phelps, who dies in the Iraq War.
http://www.ukfilm.tv/magazine/read/taking-chance_24.html
HUMPDAY
Seattle based director Lynne Shelton, creates an hilarious look at what might happen if two straight men took their friendship a little too far.
http://www.ukfilm.tv/magazine/read/humpday_23.html
MOON
Sam Rockwell takes us to the Moon in this intriguing sci-fi which explores the possibilities of cryogenics and cloning.
http://www.ukfilm.tv/magazine/read/moon_22.html
Jan
25th
2009 SUNDANCE FILM FESTIVAL ANNOUNCES AWARDS
By Douglas McFarlane
2009 SUNDANCE FILM FESTIVAL ANNOUNCES AWARDS
We Live in Public, Push, Rough Aunties and The Maid (La Nana)
Earn Top Jury Prizes;
Audience Favorites Feature Afghan Star, An Education, The Cove and Push
Park City, UT–The jury and audience award-winners of the 2009 Sundance Film Festival were announced tonight at the Festival’s closing Awards Ceremony hosted by actor Jane Lynch in Park City, Utah. Films receiving jury awards were selected from the four categories: U.S. Dramatic and Documentary Competition and World Dramatic and Documentary Competition. Films in these categories were also eligible for the 2009 Sundance Film Festival Audience Awards. The U.S. Audience Awards presented by Honda were announced by Joseph Gordon-Levitt. The World Cinema Audience Awards were announced by Benjamin Bratt. Highlights from the Awards Ceremony can be seen on the Sundance Channel, the Official Television Network of the 2009 Sundance Film Festival, beginning Sunday, January 25, as well as on the official Festival website, www.sundance.org/festival.
Jury Prizes in Shorts Filmmaking were awarded to American and international short-form films on Tuesday, January 20. Other awards recognized at the ceremony included the Sundance/NHK International Filmmakers Award, created to honor and support emerging filmmakers with their next screenplays, and the Alfred P. Sloan Prize, awarded to a film which excels in addressing compelling topics in science or technology.
"This has been a truly remarkable year for Sundance in ways even we did not fully predict. We opened the Festival with animation and closed with science fiction, and in between showcased some of the best films we've ever seen," said Geoffrey Gilmore, Director, Sundance Film Festival. "People ask us how independent film has evolved over the past 25 years and the answer is, quite simply, it's better."
"We knew this would be an historic year, given our anniversary and the inauguration," said John Cooper, Director of Programming, Sundance Film Festival. "But I have to say that adding to the excitement and experience was the selection of truly high quality films in this year's competition. We were blown away and so were audiences."
The 2009 Sundance Film Festival Juries consisted of:
U.S. Dramatic Competition:, Virginia Madsen, Scott McGehee, Maud Nadler, Mike White and Boaz Yakin; U.S. Documentary Competition: Patrick Creadon, Carl Deal, Andrea Meditch, Sam Pollard and Marina Zenovich; World Dramatic Competition: Colin Brown (U.S.), Christine Jeffs (New Zealand) and Vibeke Windeløv (Denmark); World Documentary Competition: Gillian Armstrong (Australia), Thom Powers (U.S.); Hubert Sauper (France); Shorts Competition: Gerardo Naranjo, Lou Taylor Pucci and Sharon Swart; The Alfred P. Sloan Prize: Fran Bagenal, Rodney Brooks, Raymond Gesteland, Jeffrey Nachmanoff and Alex Rivera.
For the 2009 Sundance Film Festival, 118 feature-length films were selected including 91 world premieres, 16 North American premieres, and 5 U.S. premieres representing 21 countries with 42 first-time filmmakers, including 28 in competition. These films were selected from 3,661 feature- length film submissions composed of 1,905 U.S. and 1,756 international feature-length films.
The 2009 Sundance Film Festival Award Winners:
The Grand Jury Prize: U.S. Documentary was presented to We Live in Public,directed by Ondi Timoner. The film portrays the story of the Internet's revolutionary impact on human interaction as told through the eyes of maverick web pioneer, Josh Harris, and his transgressive art project that shocked New York.
The Grand Jury Prize: U.S. Dramatic was presented to Push: Based on the novel by Sapphire, directed by Lee Daniels and written by Damien Paul. The film tells the redemptive story of Precious Jones, a young girl in Harlem struggling to overcome tremendous obstacles and discover her own voice.
The World Cinema Jury Prize: Documentary was presented to Rough Aunties, directed by Kim Longinotto. Fearless, feisty and unwavering, the 'Rough Aunties' protect and care for the abused, neglected and forgotten children of Durban, South Africa. United Kingdom
The World Cinema Jury Prize: Dramatic was presented to The Maid (La Nana), directed by Sebastián Silva. When her mistress brings on another servant to help with the chores, a bitter and introverted maid wreaks havoc on the household. Chile
The Audience Awards are presented to both a dramatic and documentary film in four Competition categories as voted by Sundance Film Festival audiences. The 2009 Sundance Film Festival Audience Awards are presented by Honda.
The Audience Award presented by Honda: U.S. Documentary was presented to The Cove, directed by Louie Psihoyos. The horrors of a secret cove nestled off a small, coastal village in Japan are revealed by a group of activists.
The Audience Award presented by Honda: U.S. Dramatic was presented to Push: Based on the novel by Sapphire, directed by Lee Daniels and written by Damien Paul. The film tells the redemptive story of Precious Jones, a young girl in Harlem struggling to overcome tremendous obstacles and discover her own voice.
The World Cinema Audience Award: Documentary was presented to Afghan Star, directed by Havana Marking. After 30 years of war and Taliban rule, Pop Idol has come to television in Afghanistan: millions are watching and voting for their favorite singer. Marking's film follows the dramatic stories of four contestants as they risk their lives to sing. Afghanistan/United Kingdom
The World Cinema Audience Award: Dramatic was presented to An Education, directed by Lone Scherfig from a screenplay by Nick Hornby. In the early 60s, a sharp 16-year-old with sights set on Oxford meets a handsome older man whose sophistication enraptures and sidetracks both her and her parents.United Kingdom
Directing Awards recognize excellence in directing for dramatic and documentary features.
The Directing Award: U.S. Documentary was presented to El General and director Natalia Almada. As great-granddaughter of President Plutarco Eliás Calles, one of Mexico's most controversial revolutionary figures, the filmmaker paints an intimate portrait of Mexico.
The Directing Award: U.S. Dramatic was presented to Sin Nombre, written and directed by Cary Joji Fukunaga. Filmmaker Fukunaga's first-hand experiences with Mexican immigrants seeking the promise of the U.S. form the basis of this epic Spanish-language dramatic thriller.
The World Cinema Directing Award: Documentary was presented to Afghan Star, directed by Havana Marking. After 30 years of war and Taliban rule, Pop Idol has come to television in Afghanistan: millions are watching and voting for their favorite singer. Marking's film follows the dramatic stories of four contestants as they risk their lives to sing. Afghanistan/United Kingdom
The World Cinema Directing Award: Dramatic was presented to Five Minutes of Heaven, directed by Oliver Hirschbiegel from a screenplay by Guy Hibbert. Two men from the same town but from different sides of the Irish political divide discover that the past is never dead. United Kingdom/Ireland
The Waldo Salt Screenwriting Award was presented to Nicholas Jasenovec and Charlyne Yi for Paper Heart. Even though performer Charlyne Yi doesn't believe in love, she bravely embarks on a quest to discover its true nature - a journey that takes on surprising urgency when she meets unlikely fellow traveler, actor Michael Cera.
The World Cinema Screenwriting Award was presented to Five Minutes of Heaven, directed by Oliver Hirschbiegel from a screenplay by Guy Hibbert. Two men from the same town but from different sides of the Irish political divide discover that the past is never dead. United Kingdom/Ireland
The U.S. Documentary Editing Award was presented to Sergio. Directed by Greg Barker and edited by Karen Schmeer, the film examines the role of the United Nations and the international community through the life and experiences of Sergio Vieira de Mello, the U.N.'s High Commissioner for Human Rights.
The World Cinema Documentary Editing Award was presented to Burma VJ. Directed by Anders Østergaard and edited by Janus Billeskov Jansen and Thomas Papapetros. The film takes place in September 2007 as Burmese journalists risk life imprisonment to report from inside their sealed-off country. Denmark
The Excellence in Cinematography Awards honor exceptional cinematography in both dramatic and documentary categories.
The Excellence in Cinematography Award: U.S. Documentary was presented to The September Issue. With unprecedented access, director R.J. Cutler, cinematographer Bob Richman and their crew shot for nine months to capture editor-in-chief Anna Wintour and her team preparing the 2007 Vogue September issue, widely accepted as the "fashion bible" for the year's trends.
The Excellence in Cinematography Award: U.S. Dramatic was presented to Sin Nombre, written and directed by Cary Joji Fukunaga. Cinematographer: Adriano Goldman. Filmmaker Fukunaga's first-hand experiences with Mexican immigrants seeking the promise of the U.S. form the basis of this epic Spanish-language dramatic thriller.
The World Cinema Cinematography Award: Documentary was presented to Big River Man, John Maringouin's documentary about at an overweight, wine-swilling Slovenian world-record-holding endurance swimmer who resolves to brave the mighty Amazon in nothing but a Speedo. U.S.A./United Kingdom
The World Cinema Cinematography Award: Dramatic was presented to An Education, directed by Lone Scherfig from a screenplay by Nick Hornby. Cinematographer: John De Borman. In the early 1960s, a sharp 16-year-old girl with sights set on Oxford meets a handsome older man whose sophistication enraptures and sidetracks both her and her parents. United Kingdom
A World Cinema Special Jury Prize for Originality was presented to Louise-Michel, directed by Benoit Delépine and Gustave de Kervern, about a group of disgruntled female French factory workers who, after the factory abruptly closes, pool their paltry compensation money to hire a hit man to knock off the corrupt executive behind the closure. France
A World Cinema Special Jury Prize: Documentary was presented to Tibet in Song directed by Ngawang Choephel. Through the story of Tibetan music, this film depicts the determined efforts of Tibetan people, both in Tibet and in exile, to preserve their unique cultural identity. Choephel served six years of an 18-year prison sentence for filming in Tibet. Tibet
A World Cinema Special Jury Prize for Acting was presented to Catalina Saavedra for her portrayal of a bitter and introverted maid in The Maid (La Nana). Chile
A Special Jury Prize: U.S. Documentary was presented to Good Hair, directed by Jeff Stilson, in which comedian Chris Rock travels the world to examine the culture of African-American hair and hairstyles.
A Special Jury Prize for Spirit of Independence was presented to Humpday, Lynn Shelton's farcical comedy about straight male bonding gone a little too far.
A Special Jury Prize for Acting was presented to Mo'Nique for her portrayal of a mentally ill mother who both emotionally and physically imprisons her daughter in Push: Based on the novel by Sapphire.
The 2009 Jury Prize in U.S. Short Filmmaking was awarded to: Short Term 12, directed by Destin Daniel Cretton. The jury also presented the International Jury Prize in International Short Filmmaking to Lies, directed by Jonas Odell. Honorable Mentions in Short Filmmaking were presented to The Attack of the Robots from Nebula-5, directed by Chema Garcia Ibarra; Protect You + Me, directed by Brady Corbet; Western Spaghetti, directed by PES; Jerrycan, directed by Julius Avery; Love You More, directed by Sam Taylor-Wood, I Live in the Woods, directed by Max Winston, Omelette, directed by Nadejda Koseva; and Treevenge, directed by Jason Eisener.
As announced on Friday, Adam, directed by Max Mayer, is the recipient of this year’s Alfred P. Sloan Prize. The Prize, which carries a $20,000 cash award to the filmmaker provided by the Alfred P. Sloan Foundation, is presented to an outstanding feature film focusing on science or technology as a theme, or depicting a scientist, engineer or mathematician as a major character.
We Live in Public, Push, Rough Aunties and The Maid (La Nana)
Earn Top Jury Prizes;
Audience Favorites Feature Afghan Star, An Education, The Cove and Push
Park City, UT–The jury and audience award-winners of the 2009 Sundance Film Festival were announced tonight at the Festival’s closing Awards Ceremony hosted by actor Jane Lynch in Park City, Utah. Films receiving jury awards were selected from the four categories: U.S. Dramatic and Documentary Competition and World Dramatic and Documentary Competition. Films in these categories were also eligible for the 2009 Sundance Film Festival Audience Awards. The U.S. Audience Awards presented by Honda were announced by Joseph Gordon-Levitt. The World Cinema Audience Awards were announced by Benjamin Bratt. Highlights from the Awards Ceremony can be seen on the Sundance Channel, the Official Television Network of the 2009 Sundance Film Festival, beginning Sunday, January 25, as well as on the official Festival website, www.sundance.org/festival.
Jury Prizes in Shorts Filmmaking were awarded to American and international short-form films on Tuesday, January 20. Other awards recognized at the ceremony included the Sundance/NHK International Filmmakers Award, created to honor and support emerging filmmakers with their next screenplays, and the Alfred P. Sloan Prize, awarded to a film which excels in addressing compelling topics in science or technology.
"This has been a truly remarkable year for Sundance in ways even we did not fully predict. We opened the Festival with animation and closed with science fiction, and in between showcased some of the best films we've ever seen," said Geoffrey Gilmore, Director, Sundance Film Festival. "People ask us how independent film has evolved over the past 25 years and the answer is, quite simply, it's better."
"We knew this would be an historic year, given our anniversary and the inauguration," said John Cooper, Director of Programming, Sundance Film Festival. "But I have to say that adding to the excitement and experience was the selection of truly high quality films in this year's competition. We were blown away and so were audiences."
The 2009 Sundance Film Festival Juries consisted of:
U.S. Dramatic Competition:, Virginia Madsen, Scott McGehee, Maud Nadler, Mike White and Boaz Yakin; U.S. Documentary Competition: Patrick Creadon, Carl Deal, Andrea Meditch, Sam Pollard and Marina Zenovich; World Dramatic Competition: Colin Brown (U.S.), Christine Jeffs (New Zealand) and Vibeke Windeløv (Denmark); World Documentary Competition: Gillian Armstrong (Australia), Thom Powers (U.S.); Hubert Sauper (France); Shorts Competition: Gerardo Naranjo, Lou Taylor Pucci and Sharon Swart; The Alfred P. Sloan Prize: Fran Bagenal, Rodney Brooks, Raymond Gesteland, Jeffrey Nachmanoff and Alex Rivera.
For the 2009 Sundance Film Festival, 118 feature-length films were selected including 91 world premieres, 16 North American premieres, and 5 U.S. premieres representing 21 countries with 42 first-time filmmakers, including 28 in competition. These films were selected from 3,661 feature- length film submissions composed of 1,905 U.S. and 1,756 international feature-length films.
The 2009 Sundance Film Festival Award Winners:
The Grand Jury Prize: U.S. Documentary was presented to We Live in Public,directed by Ondi Timoner. The film portrays the story of the Internet's revolutionary impact on human interaction as told through the eyes of maverick web pioneer, Josh Harris, and his transgressive art project that shocked New York.
The Grand Jury Prize: U.S. Dramatic was presented to Push: Based on the novel by Sapphire, directed by Lee Daniels and written by Damien Paul. The film tells the redemptive story of Precious Jones, a young girl in Harlem struggling to overcome tremendous obstacles and discover her own voice.
The World Cinema Jury Prize: Documentary was presented to Rough Aunties, directed by Kim Longinotto. Fearless, feisty and unwavering, the 'Rough Aunties' protect and care for the abused, neglected and forgotten children of Durban, South Africa. United Kingdom
The World Cinema Jury Prize: Dramatic was presented to The Maid (La Nana), directed by Sebastián Silva. When her mistress brings on another servant to help with the chores, a bitter and introverted maid wreaks havoc on the household. Chile
The Audience Awards are presented to both a dramatic and documentary film in four Competition categories as voted by Sundance Film Festival audiences. The 2009 Sundance Film Festival Audience Awards are presented by Honda.
The Audience Award presented by Honda: U.S. Documentary was presented to The Cove, directed by Louie Psihoyos. The horrors of a secret cove nestled off a small, coastal village in Japan are revealed by a group of activists.
The Audience Award presented by Honda: U.S. Dramatic was presented to Push: Based on the novel by Sapphire, directed by Lee Daniels and written by Damien Paul. The film tells the redemptive story of Precious Jones, a young girl in Harlem struggling to overcome tremendous obstacles and discover her own voice.
The World Cinema Audience Award: Documentary was presented to Afghan Star, directed by Havana Marking. After 30 years of war and Taliban rule, Pop Idol has come to television in Afghanistan: millions are watching and voting for their favorite singer. Marking's film follows the dramatic stories of four contestants as they risk their lives to sing. Afghanistan/United Kingdom
The World Cinema Audience Award: Dramatic was presented to An Education, directed by Lone Scherfig from a screenplay by Nick Hornby. In the early 60s, a sharp 16-year-old with sights set on Oxford meets a handsome older man whose sophistication enraptures and sidetracks both her and her parents.United Kingdom
Directing Awards recognize excellence in directing for dramatic and documentary features.
The Directing Award: U.S. Documentary was presented to El General and director Natalia Almada. As great-granddaughter of President Plutarco Eliás Calles, one of Mexico's most controversial revolutionary figures, the filmmaker paints an intimate portrait of Mexico.
The Directing Award: U.S. Dramatic was presented to Sin Nombre, written and directed by Cary Joji Fukunaga. Filmmaker Fukunaga's first-hand experiences with Mexican immigrants seeking the promise of the U.S. form the basis of this epic Spanish-language dramatic thriller.
The World Cinema Directing Award: Documentary was presented to Afghan Star, directed by Havana Marking. After 30 years of war and Taliban rule, Pop Idol has come to television in Afghanistan: millions are watching and voting for their favorite singer. Marking's film follows the dramatic stories of four contestants as they risk their lives to sing. Afghanistan/United Kingdom
The World Cinema Directing Award: Dramatic was presented to Five Minutes of Heaven, directed by Oliver Hirschbiegel from a screenplay by Guy Hibbert. Two men from the same town but from different sides of the Irish political divide discover that the past is never dead. United Kingdom/Ireland
The Waldo Salt Screenwriting Award was presented to Nicholas Jasenovec and Charlyne Yi for Paper Heart. Even though performer Charlyne Yi doesn't believe in love, she bravely embarks on a quest to discover its true nature - a journey that takes on surprising urgency when she meets unlikely fellow traveler, actor Michael Cera.
The World Cinema Screenwriting Award was presented to Five Minutes of Heaven, directed by Oliver Hirschbiegel from a screenplay by Guy Hibbert. Two men from the same town but from different sides of the Irish political divide discover that the past is never dead. United Kingdom/Ireland
The U.S. Documentary Editing Award was presented to Sergio. Directed by Greg Barker and edited by Karen Schmeer, the film examines the role of the United Nations and the international community through the life and experiences of Sergio Vieira de Mello, the U.N.'s High Commissioner for Human Rights.
The World Cinema Documentary Editing Award was presented to Burma VJ. Directed by Anders Østergaard and edited by Janus Billeskov Jansen and Thomas Papapetros. The film takes place in September 2007 as Burmese journalists risk life imprisonment to report from inside their sealed-off country. Denmark
The Excellence in Cinematography Awards honor exceptional cinematography in both dramatic and documentary categories.
The Excellence in Cinematography Award: U.S. Documentary was presented to The September Issue. With unprecedented access, director R.J. Cutler, cinematographer Bob Richman and their crew shot for nine months to capture editor-in-chief Anna Wintour and her team preparing the 2007 Vogue September issue, widely accepted as the "fashion bible" for the year's trends.
The Excellence in Cinematography Award: U.S. Dramatic was presented to Sin Nombre, written and directed by Cary Joji Fukunaga. Cinematographer: Adriano Goldman. Filmmaker Fukunaga's first-hand experiences with Mexican immigrants seeking the promise of the U.S. form the basis of this epic Spanish-language dramatic thriller.
The World Cinema Cinematography Award: Documentary was presented to Big River Man, John Maringouin's documentary about at an overweight, wine-swilling Slovenian world-record-holding endurance swimmer who resolves to brave the mighty Amazon in nothing but a Speedo. U.S.A./United Kingdom
The World Cinema Cinematography Award: Dramatic was presented to An Education, directed by Lone Scherfig from a screenplay by Nick Hornby. Cinematographer: John De Borman. In the early 1960s, a sharp 16-year-old girl with sights set on Oxford meets a handsome older man whose sophistication enraptures and sidetracks both her and her parents. United Kingdom
A World Cinema Special Jury Prize for Originality was presented to Louise-Michel, directed by Benoit Delépine and Gustave de Kervern, about a group of disgruntled female French factory workers who, after the factory abruptly closes, pool their paltry compensation money to hire a hit man to knock off the corrupt executive behind the closure. France
A World Cinema Special Jury Prize: Documentary was presented to Tibet in Song directed by Ngawang Choephel. Through the story of Tibetan music, this film depicts the determined efforts of Tibetan people, both in Tibet and in exile, to preserve their unique cultural identity. Choephel served six years of an 18-year prison sentence for filming in Tibet. Tibet
A World Cinema Special Jury Prize for Acting was presented to Catalina Saavedra for her portrayal of a bitter and introverted maid in The Maid (La Nana). Chile
A Special Jury Prize: U.S. Documentary was presented to Good Hair, directed by Jeff Stilson, in which comedian Chris Rock travels the world to examine the culture of African-American hair and hairstyles.
A Special Jury Prize for Spirit of Independence was presented to Humpday, Lynn Shelton's farcical comedy about straight male bonding gone a little too far.
A Special Jury Prize for Acting was presented to Mo'Nique for her portrayal of a mentally ill mother who both emotionally and physically imprisons her daughter in Push: Based on the novel by Sapphire.
The 2009 Jury Prize in U.S. Short Filmmaking was awarded to: Short Term 12, directed by Destin Daniel Cretton. The jury also presented the International Jury Prize in International Short Filmmaking to Lies, directed by Jonas Odell. Honorable Mentions in Short Filmmaking were presented to The Attack of the Robots from Nebula-5, directed by Chema Garcia Ibarra; Protect You + Me, directed by Brady Corbet; Western Spaghetti, directed by PES; Jerrycan, directed by Julius Avery; Love You More, directed by Sam Taylor-Wood, I Live in the Woods, directed by Max Winston, Omelette, directed by Nadejda Koseva; and Treevenge, directed by Jason Eisener.
As announced on Friday, Adam, directed by Max Mayer, is the recipient of this year’s Alfred P. Sloan Prize. The Prize, which carries a $20,000 cash award to the filmmaker provided by the Alfred P. Sloan Foundation, is presented to an outstanding feature film focusing on science or technology as a theme, or depicting a scientist, engineer or mathematician as a major character.
Jan
23rd
Taking Chance
By Douglas McFarlane
A powerful film. Kevin Bacon is superb. He's still fit and focussed enough to play army roles and there are few others you'd cast in this one.
We all respect a fallen soldier. Sometimes there are tears, other times with silent respect. It's the same in this film, as we take the journey of one such fallen soldier, Chance Phelps.
Kevin Bacon plays the senior officer who has the responsibility to chaperone the coffin back home to the waiting family who are preparing to mourn their son. On the long journey home, we watch the reaction of everyone from the baggage handlers and air stewards, to the young girl who initially texts "HOT SOLDIER NEXT TO ME" then realises he is a chaperoning the dead soldier.
Bacon's character goes through doubts about whether he should've gone to Iraq but his role as witness to the body arriving at the funeral, with personal belongings all polished and cleaned, is a role he has to perform today.
This film left me in tears at the end. A funeral is not an easy thing to watch without crying but when the film was complete, the real images of 20 year old Chance Phelps growing up, playing with his bike, swimming and waving to the camera, was enough to push me over the edge.
A powerful and truthful film which will make you think about war in a different way. Guaranteed.
We all respect a fallen soldier. Sometimes there are tears, other times with silent respect. It's the same in this film, as we take the journey of one such fallen soldier, Chance Phelps.
Kevin Bacon plays the senior officer who has the responsibility to chaperone the coffin back home to the waiting family who are preparing to mourn their son. On the long journey home, we watch the reaction of everyone from the baggage handlers and air stewards, to the young girl who initially texts "HOT SOLDIER NEXT TO ME" then realises he is a chaperoning the dead soldier.
Bacon's character goes through doubts about whether he should've gone to Iraq but his role as witness to the body arriving at the funeral, with personal belongings all polished and cleaned, is a role he has to perform today.
This film left me in tears at the end. A funeral is not an easy thing to watch without crying but when the film was complete, the real images of 20 year old Chance Phelps growing up, playing with his bike, swimming and waving to the camera, was enough to push me over the edge.
A powerful and truthful film which will make you think about war in a different way. Guaranteed.
Jan
23rd
Humpday
By Douglas McFarlane
Hilarious. If any independent filmmakers wanted to know what the ingredients are of a successful film, they need look no further than taking a look at what the very talented director Lynn Shelton has done with Humpday. Shelton has taken a subject never before dealt with in mainstream cinema and she let's it evolve by working closely and intimately with talented and committed actors.
It's a simple story. Two straight guys consider "boning each other". Mark Duplass ("The Puffy Chair") and Joshua Leonard ("The Blair Witch Project") are the two friends who come up with an idea in a mad and crazy drunken party, to create a movie to submit to Humpfest as an expression of their creativity. What follows is one of the most cringeworthy, honest and open films you're likely to see.
It's a simple story. Two straight guys consider "boning each other". Mark Duplass ("The Puffy Chair") and Joshua Leonard ("The Blair Witch Project") are the two friends who come up with an idea in a mad and crazy drunken party, to create a movie to submit to Humpfest as an expression of their creativity. What follows is one of the most cringeworthy, honest and open films you're likely to see.
From the moment the film opens with a loving relationship between a heterosexual couple, to the end scenes in a basic hotel room where the two best buddy's stand next to each other with matching boxers, the connection with the actors is compelling to watch. As I was watching and listening, I noticed that some of the conversations overlapped at times and there were often some natural hesitancy in their spoken words, two signs that suggest either a great screenplay or, as in this case, improvisation is adopted.
I felt very connected to this film for a few other reasons. When I arrived in Salt Lake City airport, I waited in line for a taxi and spoke to an actress who said she had helped write a script and acted in a film in the competition. It turned out to be Humpday. On the long road to Park City, Trina Millard, shared some more details of the film and how director Lynn Shelton created her masterpiece.
I thought it was a film I had to see, and as it was on the agenda of my press screenings list the following day, I strolled along to have a look. Trina played a pivotal role in the film, as she introduces the audience to her lifestyle and from there the film shifts into a daring exploration of intimacy between two big strapping blokes. Everyone's got friends like these guys. Larger than life for the most part, boystrous and playful to the point of falling about on the ground wrestling each other.
After the movie had finished, I immediately called Trina on her mobile to tell her I loved it. We kept in touch during the week and she sent me a text to invite me to their last night party. I met Joshua Leonard (pictured right), who was outside chilling and drinking a beer and director Lynn Shelton who was being inundated with offers to distribute the film. One of which was from director Randall Miller, who I had interviewed at last year's Sundance. It's a small world show business and I'm very much looking forward to seeing this talented team again if it has a premiere in London.
For clips and more details:
http://www.imdb.com/name/nm0502671/
Stop press: Variety has reported that Magnolia Films has bought Humpday for a "mid-six figure sum" and will be going for an August release.
Jan
23rd
Moon
By Douglas McFarlane
Let's go to the moon. It's 2025 and we've advanced as a species and know all about cryogenics, cloning and how to mine precious gases to use back on planet Earth as an endless supply of power.
Sam Rockwell takes on the biggest role of his career and is required to carry the entire film with his performance in this factually based sci-fi set entirely on the moon. Apart from an occassional videoconference with his bosses and family on Earth, and the voice of Kevin Spacey as the computer who looks after the wellbeing of the workers on the space station, this is a Sam Rockwell film.
Without giving too much of the plot away, Rockwell takes on challenges that would stretch any actor to the edges of their talent and required him to display a range of characters with significant depth. Good storytelling and a thought provoking look at the sciences of the future.
With music by the talented Englishman Clint Mansell, this film will put Sam Rockwell firmly on the map as a Hollywood actor to watch.
Jan
22nd
81st Academy Awards
By Douglas McFarlane
81st Academy Awards
Nominations Announced
Nominations Announced
Beverly Hills, CA — Nominations for the 81st Academy Awards were announced today (Thursday, January 22) by Academy of Motion Picture Arts and Sciences President Sid Ganis and Oscar® winner Forest Whitaker.
Ganis and Whitaker, who won an Academy Award® for his lead performance in “The Last King of Scotland” (2006), announced the nominees in 10 of the 24 categories at a 5:38 a.m. PT live news conference attended by more than 400 international media representatives. Lists of nominations in all categories then were distributed to the news media in attendance and via the Internet on the official Academy Awards Web site, www.oscar.com.
Academy members from each of the branches vote to determine the nominees in their respective categories – actors nominate actors, film editors nominate film editors, etc. In the Animated Feature Film and Foreign Language Film categories, nominations are selected by vote of multi-branch screening committees. All voting members are eligible to select the Best Picture nominees.
Nominations ballots were mailed to the 5,810 voting members in late December and were returned directly to Pricewaterhouse-Coopers, the international accounting firm, for tabulation.
Official screenings of all motion pictures with one or more nominations will begin for members this weekend at the Academy's Samuel Goldwyn Theater. Screenings also will be held at the Academy's Linwood Dunn Theater in Hollywood and in London, New York and San Francisco.
All active and life members of the Academy are eligible to select the winners in all categories, although in five of them – Animated Short Film, Live Action Short Film, Documentary Feature, Documentary Short Subject and Foreign Language Film members can vote only if they have seen all of the nominated films in those categories.
Academy Awards for outstanding film achievements of 2008 will be presented on Sunday, February 22, 2009, at the Kodak Theatre at Hollywood & Highland Center®, and televised live by the ABC Television Network. The Oscar presentation also will be televised live in more than 200 countries worldwide.
________________________________________
Nominations for the 81st Academy Awards
Performance by an actor in a leading role
• Richard Jenkins in “The Visitor” (Overture Films)
• Frank Langella in “Frost/Nixon” (Universal)
• Sean Penn in “Milk” (Focus Features)
• Brad Pitt in “The Curious Case of Benjamin Button” (Paramount and Warner Bros.)
• Mickey Rourke in “The Wrestler” (Fox Searchlight)
Performance by an actor in a supporting role
• Josh Brolin in “Milk” (Focus Features)
• Robert Downey Jr. in “Tropic Thunder” (DreamWorks, Distributed by DreamWorks/Paramount)
• Philip Seymour Hoffman in “Doubt” (Miramax)
• Heath Ledger in “The Dark Knight” (Warner Bros.)
• Michael Shannon in “Revolutionary Road” (DreamWorks, Distributed by Paramount Vantage)
Performance by an actress in a leading role
• Anne Hathaway in “Rachel Getting Married” (Sony Pictures Classics)
• Angelina Jolie in “Changeling” (Universal)
• Melissa Leo in “Frozen River” (Sony Pictures Classics)
• Meryl Streep in “Doubt” (Miramax)
• Kate Winslet in “The Reader” (The Weinstein Company)
Performance by an actress in a supporting role
• Amy Adams in “Doubt” (Miramax)
• Penélope Cruz in “Vicky Cristina Barcelona” (The Weinstein Company)
• Viola Davis in “Doubt” (Miramax)
• Taraji P. Henson in “The Curious Case of Benjamin Button” (Paramount and Warner Bros.)
• Marisa Tomei in “The Wrestler” (Fox Searchlight)
Best animated feature film of the year
• “Bolt” (Walt Disney), Chris Williams and Byron Howard
• “Kung Fu Panda” (DreamWorks Animation, Distributed by Paramount), John Stevenson and Mark Osborne
• “WALL-E” (Walt Disney), Andrew Stanton
Achievement in art direction
• “Changeling” (Universal), Art Direction: James J. Murakami, Set Decoration: Gary Fettis
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.), Art Direction: Donald Graham Burt, Set Decoration: Victor J. Zolfo
• “The Dark Knight” (Warner Bros.), Art Direction: Nathan Crowley, Set Decoration: Peter Lando
• “The Duchess” (Paramount Vantage, Pathé and BBC Films), Art Direction: Michael Carlin, Set Decoration: Rebecca Alleway
• “Revolutionary Road” (DreamWorks, Distributed by Paramount Vantage), Art Direction: Kristi Zea, Set Decoration: Debra Schutt
Achievement in cinematography
• “Changeling” (Universal), Tom Stern
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.), Claudio Miranda
• “The Dark Knight” (Warner Bros.), Wally Pfister
• “The Reader” (The Weinstein Company), Chris Menges and Roger Deakins
• “Slumdog Millionaire” (Fox Searchlight), Anthony Dod Mantle
Achievement in costume design
• “Australia” (20th Century Fox), Catherine Martin
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.), Jacqueline West
• “The Duchess” (Paramount Vantage, Pathé and BBC Films), Michael O’Connor
• “Milk” (Focus Features), Danny Glicker
• “Revolutionary Road” (DreamWorks, Distributed by Paramount Vantage), Albert Wolsky
Achievement in directing
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.), David Fincher
• “Frost/Nixon” (Universal), Ron Howard
• “Milk” (Focus Features), Gus Van Sant
• “The Reader” (The Weinstein Company), Stephen Daldry
• “Slumdog Millionaire” (Fox Searchlight), Danny Boyle
Best documentary feature
• “The Betrayal (Nerakhoon)” (Cinema Guild), A Pandinlao Films Production, Ellen Kuras and Thavisouk Phrasavath
• “Encounters at the End of the World” (THINKFilm and Image Entertainment), A Creative Differences Production, Werner Herzog and Henry Kaiser
• “The Garden” A Black Valley Films Production, Scott Hamilton Kennedy
• “Man on Wire” (Magnolia Pictures), A Wall to Wall Production, James Marsh and Simon Chinn
• “Trouble the Water” (Zeitgeist Films), An Elsewhere Films Production, Tia Lessin and Carl Deal
Best documentary short subject
• “The Conscience of Nhem En” A Farallon Films Production, Steven Okazaki
• “The Final Inch” A Vermilion Films Production, Irene Taylor Brodsky and Tom Grant
• “Smile Pinki” A Principe Production, Megan Mylan
• “The Witness - From the Balcony of Room 306” A Rock Paper Scissors Production, Adam Pertofsky and Margaret Hyde
Achievement in film editing
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.), Kirk Baxter and Angus Wall
• “The Dark Knight” (Warner Bros.), Lee Smith
• “Frost/Nixon” (Universal), Mike Hill and Dan Hanley
• “Milk” (Focus Features), Elliot Graham
• “Slumdog Millionaire” (Fox Searchlight), Chris Dickens
Best foreign language film of the year
• “The Baader Meinhof Complex” A Constantin Film Production, Germany
• “The Class” (Sony Pictures Classics), A Haut et Court Production, France
• “Departures” (Regent Releasing), A Departures Film Partners Production, Japan
• “Revanche” (Janus Films), A Prisma Film/Fernseh Production, Austria
• “Waltz with Bashir” (Sony Pictures Classics), A Bridgit Folman Film Gang Production, Israel
Achievement in makeup
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.), Greg Cannom
• “The Dark Knight” (Warner Bros.), John Caglione, Jr. and Conor O’Sullivan
• “Hellboy II: The Golden Army” (Universal), Mike Elizalde and Thom Floutz
Achievement in music written for motion pictures (Original score)
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.),Alexandre Desplat
• “Defiance” (Paramount Vantage), James Newton Howard
• “Milk” (Focus Features), Danny Elfman
• “Slumdog Millionaire” (Fox Searchlight), A.R. Rahman
• “WALL-E” (Walt Disney), Thomas Newman
Achievement in music written for motion pictures (Original song)
• “Down to Earth” from “WALL-E” (Walt Disney), Music by Peter Gabriel and Thomas Newman, Lyric by Peter Gabriel
• “Jai Ho” from “Slumdog Millionaire” (Fox Searchlight), Music by A.R. Rahman, Lyric by Gulzar
• “O Saya” from “Slumdog Millionaire” (Fox Searchlight), Music and Lyric by A.R. Rahman andMaya Arulpragasam
Best motion picture of the year
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.), A Kennedy/Marshall Production, Kathleen Kennedy, Frank Marshall and Ceán Chaffin, Producers
• “Frost/Nixon” (Universal), A Universal Pictures, Imagine Entertainment and Working Title Production,Brian Grazer, Ron Howard and Eric Fellner, Producers
• “Milk” (Focus Features), A Groundswell and Jinks/Cohen Company Production, Dan Jinks and Bruce Cohen, Producers
• “The Reader” (The Weinstein Company), A Mirage Enterprises and Neunte Babelsberg Film GmbH Production, Nominees to be determined
• “Slumdog Millionaire” (Fox Searchlight), A Celador Films Production,Christian Colson, Producer
Best animated short film
• “La Maison en Petits Cubes” A Robot Communications Production, Kunio Kato
• “Lavatory - Lovestory” A Melnitsa Animation Studio and CTB Film Company Production, Konstantin Bronzit
• “Oktapodi” (Talantis Films) A Gobelins, L’école de l’image Production, Emud Mokhberi and Thierry Marchand
• “Presto” (Walt Disney) A Pixar Animation Studios Production, Doug Sweetland
• “This Way Up”, A Nexus Production, Alan Smith and Adam Foulkes
Best live action short film
• “Auf der Strecke (On the Line)” (Hamburg Shortfilmagency), An Academy of Media Arts Cologne Production, Reto Caffi
• “Manon on the Asphalt” (La Luna Productions), A La Luna Production, Elizabeth Marre and Olivier Pont
• “New Boy” (Network Ireland Television), A Zanzibar Films Production, Steph Green and Tamara Anghie
• “The Pig” An M & M Production, Tivi Magnusson and Dorte Høgh
• “Spielzeugland (Toyland)” A Mephisto Film Production, Jochen Alexander Freydank
Achievement in sound editing
• “The Dark Knight” (Warner Bros.), Richard King
• “Iron Man” (Paramount and Marvel Entertainment), Frank Eulner and Christopher Boyes
• “Slumdog Millionaire” (Fox Searchlight), Tom Sayers
• “WALL-E” (Walt Disney), Ben Burtt and Matthew Wood
• “Wanted” (Universal),Wylie Stateman
Achievement in sound mixing
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.), David Parker, Michael Semanick, Ren Klyce and Mark Weingarten
• “The Dark Knight” (Warner Bros.), Lora Hirschberg, Gary Rizzo and Ed Novick
• “Slumdog Millionaire” (Fox Searchlight), Ian Tapp, Richard Pryke and Resul Pookutty
• “WALL-E” (Walt Disney),Tom Myers, Michael Semanick and Ben Burtt
• “Wanted” (Universal), Chris Jenkins, Frank A. Montaño and Petr Forejt
Achievement in visual effects
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.), Eric Barba, Steve Preeg, Burt Dalton and Craig Barron
• “The Dark Knight” (Warner Bros.), Nick Davis, Chris Corbould, Tim Webber and Paul Franklin
• “Iron Man” (Paramount and Marvel Entertainment), John Nelson, Ben Snow, Dan Sudick and Shane Mahan
Adapted screenplay
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.), Screenplay by Eric Roth, Screen story by Eric Roth and Robin Swicord
• “Doubt” (Miramax), Written by John Patrick Shanley
• “Frost/Nixon” (Universal), Screenplay by Peter Morgan
• “The Reader” (The Weinstein Company), Screenplay by David Hare
• “Slumdog Millionaire” (Fox Searchlight), Screenplay by Simon Beaufoy
Original screenplay
• “Frozen River” (Sony Pictures Classics), Written by Courtney Hunt
• “Happy-Go-Lucky” (Miramax), Written by Mike Leigh
• “In Bruges” (Focus Features), Written by Martin McDonagh
• “Milk” (Focus Features), Written by Dustin Lance Black
• “WALL-E” (Walt Disney), Screenplay by Andrew Stanton, Jim
Ganis and Whitaker, who won an Academy Award® for his lead performance in “The Last King of Scotland” (2006), announced the nominees in 10 of the 24 categories at a 5:38 a.m. PT live news conference attended by more than 400 international media representatives. Lists of nominations in all categories then were distributed to the news media in attendance and via the Internet on the official Academy Awards Web site, www.oscar.com.
Academy members from each of the branches vote to determine the nominees in their respective categories – actors nominate actors, film editors nominate film editors, etc. In the Animated Feature Film and Foreign Language Film categories, nominations are selected by vote of multi-branch screening committees. All voting members are eligible to select the Best Picture nominees.
Nominations ballots were mailed to the 5,810 voting members in late December and were returned directly to Pricewaterhouse-Coopers, the international accounting firm, for tabulation.
Official screenings of all motion pictures with one or more nominations will begin for members this weekend at the Academy's Samuel Goldwyn Theater. Screenings also will be held at the Academy's Linwood Dunn Theater in Hollywood and in London, New York and San Francisco.
All active and life members of the Academy are eligible to select the winners in all categories, although in five of them – Animated Short Film, Live Action Short Film, Documentary Feature, Documentary Short Subject and Foreign Language Film members can vote only if they have seen all of the nominated films in those categories.
Academy Awards for outstanding film achievements of 2008 will be presented on Sunday, February 22, 2009, at the Kodak Theatre at Hollywood & Highland Center®, and televised live by the ABC Television Network. The Oscar presentation also will be televised live in more than 200 countries worldwide.
________________________________________
Nominations for the 81st Academy Awards
Performance by an actor in a leading role
• Richard Jenkins in “The Visitor” (Overture Films)
• Frank Langella in “Frost/Nixon” (Universal)
• Sean Penn in “Milk” (Focus Features)
• Brad Pitt in “The Curious Case of Benjamin Button” (Paramount and Warner Bros.)
• Mickey Rourke in “The Wrestler” (Fox Searchlight)
Performance by an actor in a supporting role
• Josh Brolin in “Milk” (Focus Features)
• Robert Downey Jr. in “Tropic Thunder” (DreamWorks, Distributed by DreamWorks/Paramount)
• Philip Seymour Hoffman in “Doubt” (Miramax)
• Heath Ledger in “The Dark Knight” (Warner Bros.)
• Michael Shannon in “Revolutionary Road” (DreamWorks, Distributed by Paramount Vantage)
Performance by an actress in a leading role
• Anne Hathaway in “Rachel Getting Married” (Sony Pictures Classics)
• Angelina Jolie in “Changeling” (Universal)
• Melissa Leo in “Frozen River” (Sony Pictures Classics)
• Meryl Streep in “Doubt” (Miramax)
• Kate Winslet in “The Reader” (The Weinstein Company)
Performance by an actress in a supporting role
• Amy Adams in “Doubt” (Miramax)
• Penélope Cruz in “Vicky Cristina Barcelona” (The Weinstein Company)
• Viola Davis in “Doubt” (Miramax)
• Taraji P. Henson in “The Curious Case of Benjamin Button” (Paramount and Warner Bros.)
• Marisa Tomei in “The Wrestler” (Fox Searchlight)
Best animated feature film of the year
• “Bolt” (Walt Disney), Chris Williams and Byron Howard
• “Kung Fu Panda” (DreamWorks Animation, Distributed by Paramount), John Stevenson and Mark Osborne
• “WALL-E” (Walt Disney), Andrew Stanton
Achievement in art direction
• “Changeling” (Universal), Art Direction: James J. Murakami, Set Decoration: Gary Fettis
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.), Art Direction: Donald Graham Burt, Set Decoration: Victor J. Zolfo
• “The Dark Knight” (Warner Bros.), Art Direction: Nathan Crowley, Set Decoration: Peter Lando
• “The Duchess” (Paramount Vantage, Pathé and BBC Films), Art Direction: Michael Carlin, Set Decoration: Rebecca Alleway
• “Revolutionary Road” (DreamWorks, Distributed by Paramount Vantage), Art Direction: Kristi Zea, Set Decoration: Debra Schutt
Achievement in cinematography
• “Changeling” (Universal), Tom Stern
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.), Claudio Miranda
• “The Dark Knight” (Warner Bros.), Wally Pfister
• “The Reader” (The Weinstein Company), Chris Menges and Roger Deakins
• “Slumdog Millionaire” (Fox Searchlight), Anthony Dod Mantle
Achievement in costume design
• “Australia” (20th Century Fox), Catherine Martin
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.), Jacqueline West
• “The Duchess” (Paramount Vantage, Pathé and BBC Films), Michael O’Connor
• “Milk” (Focus Features), Danny Glicker
• “Revolutionary Road” (DreamWorks, Distributed by Paramount Vantage), Albert Wolsky
Achievement in directing
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.), David Fincher
• “Frost/Nixon” (Universal), Ron Howard
• “Milk” (Focus Features), Gus Van Sant
• “The Reader” (The Weinstein Company), Stephen Daldry
• “Slumdog Millionaire” (Fox Searchlight), Danny Boyle
Best documentary feature
• “The Betrayal (Nerakhoon)” (Cinema Guild), A Pandinlao Films Production, Ellen Kuras and Thavisouk Phrasavath
• “Encounters at the End of the World” (THINKFilm and Image Entertainment), A Creative Differences Production, Werner Herzog and Henry Kaiser
• “The Garden” A Black Valley Films Production, Scott Hamilton Kennedy
• “Man on Wire” (Magnolia Pictures), A Wall to Wall Production, James Marsh and Simon Chinn
• “Trouble the Water” (Zeitgeist Films), An Elsewhere Films Production, Tia Lessin and Carl Deal
Best documentary short subject
• “The Conscience of Nhem En” A Farallon Films Production, Steven Okazaki
• “The Final Inch” A Vermilion Films Production, Irene Taylor Brodsky and Tom Grant
• “Smile Pinki” A Principe Production, Megan Mylan
• “The Witness - From the Balcony of Room 306” A Rock Paper Scissors Production, Adam Pertofsky and Margaret Hyde
Achievement in film editing
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.), Kirk Baxter and Angus Wall
• “The Dark Knight” (Warner Bros.), Lee Smith
• “Frost/Nixon” (Universal), Mike Hill and Dan Hanley
• “Milk” (Focus Features), Elliot Graham
• “Slumdog Millionaire” (Fox Searchlight), Chris Dickens
Best foreign language film of the year
• “The Baader Meinhof Complex” A Constantin Film Production, Germany
• “The Class” (Sony Pictures Classics), A Haut et Court Production, France
• “Departures” (Regent Releasing), A Departures Film Partners Production, Japan
• “Revanche” (Janus Films), A Prisma Film/Fernseh Production, Austria
• “Waltz with Bashir” (Sony Pictures Classics), A Bridgit Folman Film Gang Production, Israel
Achievement in makeup
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.), Greg Cannom
• “The Dark Knight” (Warner Bros.), John Caglione, Jr. and Conor O’Sullivan
• “Hellboy II: The Golden Army” (Universal), Mike Elizalde and Thom Floutz
Achievement in music written for motion pictures (Original score)
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.),Alexandre Desplat
• “Defiance” (Paramount Vantage), James Newton Howard
• “Milk” (Focus Features), Danny Elfman
• “Slumdog Millionaire” (Fox Searchlight), A.R. Rahman
• “WALL-E” (Walt Disney), Thomas Newman
Achievement in music written for motion pictures (Original song)
• “Down to Earth” from “WALL-E” (Walt Disney), Music by Peter Gabriel and Thomas Newman, Lyric by Peter Gabriel
• “Jai Ho” from “Slumdog Millionaire” (Fox Searchlight), Music by A.R. Rahman, Lyric by Gulzar
• “O Saya” from “Slumdog Millionaire” (Fox Searchlight), Music and Lyric by A.R. Rahman andMaya Arulpragasam
Best motion picture of the year
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.), A Kennedy/Marshall Production, Kathleen Kennedy, Frank Marshall and Ceán Chaffin, Producers
• “Frost/Nixon” (Universal), A Universal Pictures, Imagine Entertainment and Working Title Production,Brian Grazer, Ron Howard and Eric Fellner, Producers
• “Milk” (Focus Features), A Groundswell and Jinks/Cohen Company Production, Dan Jinks and Bruce Cohen, Producers
• “The Reader” (The Weinstein Company), A Mirage Enterprises and Neunte Babelsberg Film GmbH Production, Nominees to be determined
• “Slumdog Millionaire” (Fox Searchlight), A Celador Films Production,Christian Colson, Producer
Best animated short film
• “La Maison en Petits Cubes” A Robot Communications Production, Kunio Kato
• “Lavatory - Lovestory” A Melnitsa Animation Studio and CTB Film Company Production, Konstantin Bronzit
• “Oktapodi” (Talantis Films) A Gobelins, L’école de l’image Production, Emud Mokhberi and Thierry Marchand
• “Presto” (Walt Disney) A Pixar Animation Studios Production, Doug Sweetland
• “This Way Up”, A Nexus Production, Alan Smith and Adam Foulkes
Best live action short film
• “Auf der Strecke (On the Line)” (Hamburg Shortfilmagency), An Academy of Media Arts Cologne Production, Reto Caffi
• “Manon on the Asphalt” (La Luna Productions), A La Luna Production, Elizabeth Marre and Olivier Pont
• “New Boy” (Network Ireland Television), A Zanzibar Films Production, Steph Green and Tamara Anghie
• “The Pig” An M & M Production, Tivi Magnusson and Dorte Høgh
• “Spielzeugland (Toyland)” A Mephisto Film Production, Jochen Alexander Freydank
Achievement in sound editing
• “The Dark Knight” (Warner Bros.), Richard King
• “Iron Man” (Paramount and Marvel Entertainment), Frank Eulner and Christopher Boyes
• “Slumdog Millionaire” (Fox Searchlight), Tom Sayers
• “WALL-E” (Walt Disney), Ben Burtt and Matthew Wood
• “Wanted” (Universal),Wylie Stateman
Achievement in sound mixing
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.), David Parker, Michael Semanick, Ren Klyce and Mark Weingarten
• “The Dark Knight” (Warner Bros.), Lora Hirschberg, Gary Rizzo and Ed Novick
• “Slumdog Millionaire” (Fox Searchlight), Ian Tapp, Richard Pryke and Resul Pookutty
• “WALL-E” (Walt Disney),Tom Myers, Michael Semanick and Ben Burtt
• “Wanted” (Universal), Chris Jenkins, Frank A. Montaño and Petr Forejt
Achievement in visual effects
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.), Eric Barba, Steve Preeg, Burt Dalton and Craig Barron
• “The Dark Knight” (Warner Bros.), Nick Davis, Chris Corbould, Tim Webber and Paul Franklin
• “Iron Man” (Paramount and Marvel Entertainment), John Nelson, Ben Snow, Dan Sudick and Shane Mahan
Adapted screenplay
• “The Curious Case of Benjamin Button” (Paramount and Warner Bros.), Screenplay by Eric Roth, Screen story by Eric Roth and Robin Swicord
• “Doubt” (Miramax), Written by John Patrick Shanley
• “Frost/Nixon” (Universal), Screenplay by Peter Morgan
• “The Reader” (The Weinstein Company), Screenplay by David Hare
• “Slumdog Millionaire” (Fox Searchlight), Screenplay by Simon Beaufoy
Original screenplay
• “Frozen River” (Sony Pictures Classics), Written by Courtney Hunt
• “Happy-Go-Lucky” (Miramax), Written by Mike Leigh
• “In Bruges” (Focus Features), Written by Martin McDonagh
• “Milk” (Focus Features), Written by Dustin Lance Black
• “WALL-E” (Walt Disney), Screenplay by Andrew Stanton, Jim
Jan
20th
"Che: Part One" Movie Review
By Akhil Kamble
If there ever was a film project that took the history from the history textbook and applied it to film, that film project would be the “Che” saga. “Che: Part One”, follows (as the title suggests) the revolutionary life of Ernesto Che Guevara as he leaves the shores of Mexico with just 82 men, all commanded by Fidel Castro, onto the beaches of Cuba to ignite a revolution that would supplant the dictatorship regime friendly to the US.
Che is played by none other than Steven Soderbergh-veteran - Benicio Del Toro. Benicio's portrayal of the young Commandante is exacting and poignant. Although Benicio's Che looks sterile and stiff, it is in the subtleties that the character's portrayal truly shines. From the sporadic spasms of asthma that Che was famous for, to the significant pauses of thought in conversations taken between Che and the enigmatic TV journalist, Lisa Howard; Benicio vehemently succeeds in his depiction of the iconic general.
Part one of this two-piece series focuses on Che's accomplishments in the Cuban revolution. Fidel Castro's guerrilla warfare against Batista's army leads to many instances of heated battles and ultimately directs it to a successful war that installs a Communist regime in Cuba.
As a viewer, what struck me as refreshing is the absence of Director Steven Soderbergh's signature visual palettes such as over-saturated film, different colour hues and a noticeably shaky camera. Although you may argue for these artistic techniques; I, for one considered them too distracting and these techniques essentially left me at odds with his previous films such as "Traffic" and the "Ocean's" series. This time, Soderbergh instead lets the action on screen speaks for itself and uses subtle visual cues to highlight moments of importance such as the taking of Santa Clara and the black-white infused cinematography of Che's visit to the United Nations in the December of 1964.
I would not be surprised if Benicio's performance earns him high acclaim, but the other standout portrayal is Demián Bichir's depiction of Fidel Castro himself. After viewing some footage of the real Fidel Castro for comparison, I found Bichir's performance to be as exacting as the film itself. The numerous similarities, apart from the eerie resemblance, lends itself to awe-inspiring appreciation. The filmmakers were smart, however, as Fidel Castro is shown in bits and pieces and there aren't many scenes where Fidel is the centre of attention. Nevertheless, I felt that in every scene with both icons present, Bichir's performance outmatched Benicio's.
Many will argue, I'm sure, that the film's relentless effort to show everything and anything concerning Che's Cuban conflict is unnecessary and will likely yield itself to a boring view.
I disagree.
I think that the films exacting standards are well deserved and matches the epic nature of the entire 26th of July Movement that "freed" Cuba of its repressive government.
Watch it.
If you don't appreciate the detail, you will at least welcome it's result - a well made piece of historical cinema that deserves your complete attention.
Written by Akhil Kamble
http://www.imdb.com/title/tt0892255/
Jan
18th
"Waltz with Bashir" Movie Review by Akhil Kamble
By Akhil Kamble
"Waltz with Bashir" is a film like no other. An animated movie throughout (except in the end), the film is actually a documentary hidden under the dramatic trappings of portrayed events.
It is the story of Ari Folman and his journey, both physical and emotional, to find out why he doesn't remember certain events during the Lebanese Civil War which involved Lebanon, Syria, the Palestine Liberation Organization (PLO) and Israel.
Haunted by a strange, disturbing vision that was triggered when talking to an old friend about the war, Ari starts to question why he doesn't recount any of the details of the military strife during those days. His quest to find out what, where, when and why has him travelling to talk with former comrades and using their accounts and experiences to fill in the holes in his own troubled memory.
With each passing interview, Ari starts to rile in forgotten memories that now come back to haunt him. He re-"discovers" the many moments of war and destruction during the time when he was a soldier and attempts to arrange the puzzle pieces in order to figure out the original meaning of his vision.
His desire to fill the gaps in his memory turn back to plague him and near the end, Ari finally has an explanation of why he was involved and why him and his comrades took that 'waltz with Bashir'.
I am going to make a bold statement - "Waltz with Bashir" is the best movie of 2008. Forget the political ramifications of the movie releasing in the year that is rife with Middle Eastern conflict. Ari Folman (who is also the writer and director) has created something that borders on that thin line of art and exposition. His movie doesn't attempt to judge the accounts that took place, but instead, allows the viewer to come to their own conclusion based on the facts he presents. In effect, Ari is the witness on the stand, and the movie, his exhibit and we, the jurors, can either say "Yay" or "Nay".
At its core, the film is about human memory. How it can be manipulated, controlled and even let loose if, for a moment, the mind is unable to cope with what it deems to be "reality".
As a viewer, you may come to a conclusion that is drastically different than mine. I for one, consider memory a double-edged sword, a mechanism that delivers so much happiness and is yet, also capable to present to its human hostage, the worst nightmares.
All the accounts given by the various people in the film are all embedded in an eerie juxtaposition. War takes place in beautiful landscapes, the sun shines over the beaches while bombs drop over soldiers playing volleyball. It portrays war in a way I have never seen before. It makes you wonder, really, whether war can really be a product of humanity, because for all its alleged uses and justification, it remains, along with human memory; disturbingly unnatural.
Review written by Akhil Kamble
Jan
17th
Coincidental connections
By Douglas McFarlane
I was first aware of it when I started making the documentary MAKING IT IN HOLLYWOOD, and it has started again today at the first day of the SUNDANCE FILM FESTIVAL. Coincidences. Now, I appreciate that it's a small business and when you go to events like the Oscars etc, you are bound to meet people you know. However, to be coincidentally in the same place when Clint Eastwood unexpectedly walks into an event, or Kate Winslet sweeps past you on her way to the red carpet, then for me, there's something different going on. I called it the magic of filmmaking.
This time, it was a couple, who sat near me on the train to Gatwick. Their faces never really registered with me, but something about them was familiar. They got on the same flight via Cincinnatti and I noticed them a few times and heard that the woman was Scottish. I never thought anything of it until Salt Lake City. Meanwhile, at Cincinatti, my stop over point, I was just about to board the plane when I noticed Jess Search, who I co-founded Shooting People with in 1999. I hadn't seen her for about five years and we meet in a busy airport. If it wasn't for her flight being delayed for 5 hours, our paths wouldn't have crossed. As you may know, Jess is head of Channel 4's BRITDOC, and has two films in the competition. She invited me to both premieres and also to a private party with the rest of her C4 colleagues. Result.
When I arrived in Salt Lake City, I noticed the couple again and thought I'd go over and ask whether they were here to promote a film, as being Scottish, I guess I should make my self aware of it. After I said hello, my brain started feeding me with answers. "You're a producer of a film ?", my brain ticked over. I closed my eyes and concentrated. It then came to mind about Lisa in an article in TIMEOUT about a week ago. I asked her if that was her ? She said yes. Then I recalled it was MUM & DAD and in 2007, the writer of the film and Lisa came to the BBC/Film London Microwave school to give the budding newcomers an update, as they had won with Mum And Dad, in 2006. I had been following their success story at each Film London event I went to, but I hadn't seen the film. We exchanged numbers and I've got another invite.
Then finally, I shared a taxi with an actress, Trina Willard, in one of the films that could do well this year called Humpday. She told me all about her part and how it came about. A third invite was offered and I hadn't even arrived at my hotel.
It's going to be a busy week.
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