“Kokomo City,” D. Smith’s documentary about four trans Black women in New York and Georgia, led all films in nominations for the 17th annual Cinema Eye Honors, the New York-based awards designed to spotlight all facets of nonfiction filmmaking.
The film received six nominations, including Outstanding Nonfiction Feature and Outstanding Direction. Mstyslav Chernov’s “20 Days in Mariupol,” Maite Alberdi’s “The Eternal Memory” and Sam Green’s “32 Sounds” followed with five nominations each.
In the Outstanding Nonfiction Feature category, “Kokomo City,” “The Eternal Memory,” “20 Days in Mariupol” and “32 Sounds” were joined by “Four Daughters,” “Going to Mars: The Nikki Giovanni Project” and “Still: A Michael J. Fox Movie.”
Matthew Heineman’s “American Symphony” received nominations for Outstanding Production and Outstanding Score, making Heineman the third-most-nominated filmmaker in Cinema Eye history. With 12 nominations overall, he now trails Steve James and Laura Poitras by one.
While many...
The film received six nominations, including Outstanding Nonfiction Feature and Outstanding Direction. Mstyslav Chernov’s “20 Days in Mariupol,” Maite Alberdi’s “The Eternal Memory” and Sam Green’s “32 Sounds” followed with five nominations each.
In the Outstanding Nonfiction Feature category, “Kokomo City,” “The Eternal Memory,” “20 Days in Mariupol” and “32 Sounds” were joined by “Four Daughters,” “Going to Mars: The Nikki Giovanni Project” and “Still: A Michael J. Fox Movie.”
Matthew Heineman’s “American Symphony” received nominations for Outstanding Production and Outstanding Score, making Heineman the third-most-nominated filmmaker in Cinema Eye history. With 12 nominations overall, he now trails Steve James and Laura Poitras by one.
While many...
- 11/16/2023
- by Steve Pond
- The Wrap
The Cinema Eye Honors has announced the full slate of nominees for its 16th Annual Awards Ceremony meant to recognize outstanding artistry and craft in nonfiction filmmaking.
Two National Geographic films — Sara Dosa’s “Fire of Love” and Alex Pritz’s “The Territory”— not only led all nominees with seven nominations (including Outstanding Nonfiction Feature for both), but tied the record for most nominations in a single year. Next in line is the Cannes-winning feature, “All That Breathes,” directed by Shaunak Sen, which got six nominations. The Laura Poitras-directed documentary “All the Beauty and the Bloodshed” and Payal Kapadia’s “A Night of Knowing Nothing” followed with four nominations.
This year’s awards mark the first time in Cinema Eye history that five women were nominated for Outstanding Direction, with “Beba” director Rebeca Huntt and “Descendant” filmmaker Margaret Brown joining Sara Dosa, Payal Kapadia, Laura Poitras, and Shaunak Sen in the category.
Two National Geographic films — Sara Dosa’s “Fire of Love” and Alex Pritz’s “The Territory”— not only led all nominees with seven nominations (including Outstanding Nonfiction Feature for both), but tied the record for most nominations in a single year. Next in line is the Cannes-winning feature, “All That Breathes,” directed by Shaunak Sen, which got six nominations. The Laura Poitras-directed documentary “All the Beauty and the Bloodshed” and Payal Kapadia’s “A Night of Knowing Nothing” followed with four nominations.
This year’s awards mark the first time in Cinema Eye history that five women were nominated for Outstanding Direction, with “Beba” director Rebeca Huntt and “Descendant” filmmaker Margaret Brown joining Sara Dosa, Payal Kapadia, Laura Poitras, and Shaunak Sen in the category.
- 11/10/2022
- by Marcus Jones
- Indiewire
“Fire of Love” and “The Territory” led all films in nominations for the 16th annual Cinema Eye Honors, awards that were established in 2007 to honor all aspects of nonfiction filmmaking.
“Fire of Love” is a documentary from Sara Dosa about scientists Katia and Maurice Krafft, set against the volcanoes they spent much of their lives studying; “The Territory” is director Alex Pritz’s look at an indigenous Brazilian tribe threatened by deforestation. Both films received seven nominations, tying the record for the most Cinema Eye noms in a single year.
Shaunak Sen’s “All That Breathes” received six nominations, while Laura Poitras’ “All the Beauty and the Bloodshed” and Payal Kapadia’s “A Night of Knowing Nothing” each received four.
In the Outstanding Nonfiction Feature category, those five films were joined by Daniel Roher’s “Navalny.”
Also Read:
‘Fire of Love,’ ‘Good Night Oppy’ Lead Critics Choice Documentary Awards Nominations...
“Fire of Love” is a documentary from Sara Dosa about scientists Katia and Maurice Krafft, set against the volcanoes they spent much of their lives studying; “The Territory” is director Alex Pritz’s look at an indigenous Brazilian tribe threatened by deforestation. Both films received seven nominations, tying the record for the most Cinema Eye noms in a single year.
Shaunak Sen’s “All That Breathes” received six nominations, while Laura Poitras’ “All the Beauty and the Bloodshed” and Payal Kapadia’s “A Night of Knowing Nothing” each received four.
In the Outstanding Nonfiction Feature category, those five films were joined by Daniel Roher’s “Navalny.”
Also Read:
‘Fire of Love,’ ‘Good Night Oppy’ Lead Critics Choice Documentary Awards Nominations...
- 11/10/2022
- by Steve Pond
- The Wrap
In this age where documentaries have become more like narrative films in approach and content, “Riotsville, USA” can’t help but seem old-school in scope. For those seeking information, or some version of the truth even, that is not a bad quality.
At the heart of the doc from director Sierra Pettengill (“The Reagan Show”) is the genesis of police militarization primarily through the phenomena of fictional towns known as Riotsvilles, built by the U.S. military to train law enforcement how to ward off the perceived growing militancy in the nation in the late 1960s.
To do this, Pettengill and her squad — including film editor Nels Bangerter (“Cameraperson”) and producer Jamila Wignot (“Ailey”) — rely on archival footage, a significant portion of which has never before been seen by the public. While some of the older footage leans towards the mundane, none of it is unimportant.
Also Read:
‘Till’ Trailer...
At the heart of the doc from director Sierra Pettengill (“The Reagan Show”) is the genesis of police militarization primarily through the phenomena of fictional towns known as Riotsvilles, built by the U.S. military to train law enforcement how to ward off the perceived growing militancy in the nation in the late 1960s.
To do this, Pettengill and her squad — including film editor Nels Bangerter (“Cameraperson”) and producer Jamila Wignot (“Ailey”) — rely on archival footage, a significant portion of which has never before been seen by the public. While some of the older footage leans towards the mundane, none of it is unimportant.
Also Read:
‘Till’ Trailer...
- 9/16/2022
- by Ronda Racha Penrice
- The Wrap
As police brutality and the militarization of law enforcement continue to be debated in America, it’s increasingly important to investigate the way those issues have shaped the nation’s past. “Riotsville U.S.A.,” Sierra Pettengill’s documentary that explores the model towns that were set up in the 1960s to train police officers for violent confrontation with rioters, seeks to fill an essential gap in that discourse. The film premiered at the 2022 Sundance Film Festival and is currently gearing up for a September theatrical release, with the first trailer premiering exclusively on IndieWire today.
According to the official synopsis from Magnolia Pictures, “Riotsville, U.S.A.” tells the story of a turning point in American history where the protest movements of the late 1960s came into conflict with increasingly militarized police departments. Focusing on unearthed military training footage of Army-built model towns called “Riotsvilles,” where military and police were trained to respond...
According to the official synopsis from Magnolia Pictures, “Riotsville, U.S.A.” tells the story of a turning point in American history where the protest movements of the late 1960s came into conflict with increasingly militarized police departments. Focusing on unearthed military training footage of Army-built model towns called “Riotsvilles,” where military and police were trained to respond...
- 8/16/2022
- by Christian Zilko
- Indiewire
Opening her masterclass at doc film festival Visions du Réel in Switzerland, cinematographer and filmmaker Kirsten Johnson – an Emmy and Sundance award winner for “Dick Johnson Is Dead” – started by naming each and every member of the technical crew on set.
“What I often find upsetting with cinema is that we forget to acknowledge all the people it takes to make these moments together. I learnt that through being a cameraperson, and I’m interested in understanding why we want to reduce it to just one person, because there’s something beautiful about the fact that all of these humans, collectively, help us be here today,” she said, employing her favorite word to describe her work, “Cameraperson,” which is also the title of second feature film.
Over three decades, Johnson has worked on some 60 films as a cinematographer, for the likes of Michael Moore and Laura Poitras, made a couple...
“What I often find upsetting with cinema is that we forget to acknowledge all the people it takes to make these moments together. I learnt that through being a cameraperson, and I’m interested in understanding why we want to reduce it to just one person, because there’s something beautiful about the fact that all of these humans, collectively, help us be here today,” she said, employing her favorite word to describe her work, “Cameraperson,” which is also the title of second feature film.
Over three decades, Johnson has worked on some 60 films as a cinematographer, for the likes of Michael Moore and Laura Poitras, made a couple...
- 4/16/2022
- by Lise Pedersen
- Variety Film + TV
The duo were speaking at the final Cph: Dox A Morning With… session in Copenhagen on Thursday (March 31).
Riotsville, USA director Sierra Pettengill and The Eclipse filmmaker Natasa Urban discussed the different ways documentaries can use historical archive footage in the final Cph: Dox A Morning With… session in Copenhagen on Thursday (March 31).
US professional archival researcher and filmmaker Pettengill said she felt compelled to make her film, about the full-scale town centre replicas built by the military in the 1960s for riot training, because they are “not part of our historical memory in the USA.”
Initially finding some intriguing...
Riotsville, USA director Sierra Pettengill and The Eclipse filmmaker Natasa Urban discussed the different ways documentaries can use historical archive footage in the final Cph: Dox A Morning With… session in Copenhagen on Thursday (March 31).
US professional archival researcher and filmmaker Pettengill said she felt compelled to make her film, about the full-scale town centre replicas built by the military in the 1960s for riot training, because they are “not part of our historical memory in the USA.”
Initially finding some intriguing...
- 4/1/2022
- by Nikki Baughan
- ScreenDaily
Riotsville isn’t just a place. It’s an idea; a fiction written by the enforcers of order to “demonstrate the presence of a superior force.” Riotsville is portable and meant to be transplanted no matter the material conditions of what it may disturb. Riotsville is violence done to civilians in the name of maintaining their own civilized society. To put it bluntly: Riotsville is federally funded facism, and as director Sierra Pettengill’s urgent, meticulously collaged documentary outlines, it laid the foundation for the tactics and overwhelming funding of police brutality we see today.
Riotsville, USA is a documentary made entirely of archival footage from the 1960s, much of it helpfully recorded by the U.S. military. Guided by stark intertitles and a poetic narration written by scholar Tobi Haslett, the film takes a micro and macro view of the ‘60s as a flashpoint for blatant disregard of American...
Riotsville, USA is a documentary made entirely of archival footage from the 1960s, much of it helpfully recorded by the U.S. military. Guided by stark intertitles and a poetic narration written by scholar Tobi Haslett, the film takes a micro and macro view of the ‘60s as a flashpoint for blatant disregard of American...
- 1/31/2022
- by Shayna Warner
- The Film Stage
Exclusive: Filmmakers Daniel Fradin and Kyle Rosenbluth today announced the launch of their bicoastal production company, Frank and Beans Pictures, which will focus on producing documentaries, narrative films, and branded content. The announcement comes as their EarthX-winning documentary short, Arctic Summer, premieres online as a Vimeo Staff Pick, following an extended run on the festival circuit.
Fradin and Rosenbluth are currently in development on the documentary Post No Bills, their first narrative feature Baby Boy Man, and Driverless, a sci-fi thriller they’re collaborating on with producer David Sweeney of Sweeney Entertainment. Baby Boy Man is billed as a comedy examining Broadway in the 1990s, with Driverless, scripted by Fradin, looking to examine a young female journalist who uncovers sinister secrets within the driverless car space. Fradin is also currently in post-production on his short film, A Funny Thing Happened to Bennie Baron.
Fradin and Rosenbluth met as undergraduates at the University of Pennsylvania,...
Fradin and Rosenbluth are currently in development on the documentary Post No Bills, their first narrative feature Baby Boy Man, and Driverless, a sci-fi thriller they’re collaborating on with producer David Sweeney of Sweeney Entertainment. Baby Boy Man is billed as a comedy examining Broadway in the 1990s, with Driverless, scripted by Fradin, looking to examine a young female journalist who uncovers sinister secrets within the driverless car space. Fradin is also currently in post-production on his short film, A Funny Thing Happened to Bennie Baron.
Fradin and Rosenbluth met as undergraduates at the University of Pennsylvania,...
- 12/9/2021
- by Matt Grobar
- Deadline Film + TV
“The Trial of the Chicago 7” got a big boost in its bid for Best Editing at the Oscars with a win at the Ace Golden Eddie Awards on April 17. It prevailed in the drama race at these awards bestowed by American Cinema Editors over two of its Oscar rivals — “Nomadland” and “Sound of Metal” — as well as “Mank” and “Minari.”
Another of the Oscar nominees, “Promising Young Woman,” lost the comedy/musical category to “Palm Springs.” The other contenders in that race were “Borat Subsequent Moviefilm,” “I Care a Lot” and “On the Rocks.”
Oscar watchers were sure to be watching Saturday’s virtual ceremony. These kudos have previewed of the 18 out of the last 30 Best Picture winners and a whopping 22 of the last 30 Film Editing Oscar champs. Not surprisingly, the Golden Eddies are also prescient when it comes to predicting the five Film Editing Oscar slots. Four of...
Another of the Oscar nominees, “Promising Young Woman,” lost the comedy/musical category to “Palm Springs.” The other contenders in that race were “Borat Subsequent Moviefilm,” “I Care a Lot” and “On the Rocks.”
Oscar watchers were sure to be watching Saturday’s virtual ceremony. These kudos have previewed of the 18 out of the last 30 Best Picture winners and a whopping 22 of the last 30 Film Editing Oscar champs. Not surprisingly, the Golden Eddies are also prescient when it comes to predicting the five Film Editing Oscar slots. Four of...
- 4/17/2021
- by Paul Sheehan
- Gold Derby
The American Cinema Editors guild, which hands out its awards on April 17, has a good track record as a preview of the Oscar winner for Best Picture (18 out of the last 30) and a great one for forecasting who will win the Film Editing Oscar (22 of the last 30). Not surprisingly, it is also fairly prescient when it comes to predicting the five Film Editing Oscar slots. Four of this year’s Academy Awards nominees contend for this cutting prize; “The Father” was snubbed by the American Cinema Editors.
The Ace Eddie Awards divide their prizes for editing between dramas and comedies/musicals. Oscar nominees “Nomadland,” “Sound of Metal and “The Trial of the Chicago 7” contend here in the drama race, which is rounded out by “Mank” and “Minari.” Facing off on the comedy side against Oscar nominee “Promising Young Woman” are “Borat Subsequent Moviefilm,” “I Care a Lot,” “On the Rocks” and “Palm Springs.
The Ace Eddie Awards divide their prizes for editing between dramas and comedies/musicals. Oscar nominees “Nomadland,” “Sound of Metal and “The Trial of the Chicago 7” contend here in the drama race, which is rounded out by “Mank” and “Minari.” Facing off on the comedy side against Oscar nominee “Promising Young Woman” are “Borat Subsequent Moviefilm,” “I Care a Lot,” “On the Rocks” and “Palm Springs.
- 4/16/2021
- by Paul Sheehan
- Gold Derby
The nominations for the 2021 Ace Eddie Awards announced on Thursday (March 11) include our Oscar frontrunner for Best Film Editing, “The Trial of the Chicago 7,” along with three of the other four films we’re predicting to reap bids in that race: “Mank,” “Nomadland” and “Sound of Metal.” While “The Father” was snubbed by the American Cinema Editors we expect it to be the fifth Academy Awards contender.
The Ace Eddie Awards divide their prizes for editing between dramas and comedies/musicals. “Mank,” “Nomadland,” “Sound of Metal and “The Trial of the Chicago 7” contend here in the drama race, which is rounded out by “Minari.” Facing off on the comedy side are “Borat Subsequent Moviefilm,” “I Care a Lot,” “On the Rocks,” “Palm Springs” and “Promising Young Woman.”
In 1992, the Eddies went from three to five nominees (matching that of the Oscars) and in 2000 it split the award in two,...
The Ace Eddie Awards divide their prizes for editing between dramas and comedies/musicals. “Mank,” “Nomadland,” “Sound of Metal and “The Trial of the Chicago 7” contend here in the drama race, which is rounded out by “Minari.” Facing off on the comedy side are “Borat Subsequent Moviefilm,” “I Care a Lot,” “On the Rocks,” “Palm Springs” and “Promising Young Woman.”
In 1992, the Eddies went from three to five nominees (matching that of the Oscars) and in 2000 it split the award in two,...
- 3/11/2021
- by Paul Sheehan
- Gold Derby
“Mank,” “Minari,” “Nomadland,” “Sound of Metal” and “The Trial of the Chicago 7” have been nominated in the dramatic-film category at the American Cinema Editors’ 71st annual Ace Eddie Awards, which honors the best in film and television editing.
In the comedy film category, the nominees are “Borat Subsequent Moviefilm,” “I Care a Lot,” “On the Rocks,” “Palm Springs” and “Promising Young Woman.”
The films that were bypassed in the Ace nominations include “Tenet,” “News of the World,” “The Father,” “Da 5 Bloods” and “Ma Rainey’s Black Bottom.”
Over the past decade, 90% of the Oscar nominees for Best Film Editing have first been nominated by the American Cinema Editors. The Oscar nominees are heavily weighted toward the Ace dramatic category, with 34 nominees coming from that category since 2010, as opposed to 11 nominees from the comedy category.
The Ace Eddies’ animated feature nominations went to “The Croods: A New Age,” “Onward,” “Over the Moon,...
In the comedy film category, the nominees are “Borat Subsequent Moviefilm,” “I Care a Lot,” “On the Rocks,” “Palm Springs” and “Promising Young Woman.”
The films that were bypassed in the Ace nominations include “Tenet,” “News of the World,” “The Father,” “Da 5 Bloods” and “Ma Rainey’s Black Bottom.”
Over the past decade, 90% of the Oscar nominees for Best Film Editing have first been nominated by the American Cinema Editors. The Oscar nominees are heavily weighted toward the Ace dramatic category, with 34 nominees coming from that category since 2010, as opposed to 11 nominees from the comedy category.
The Ace Eddies’ animated feature nominations went to “The Croods: A New Age,” “Onward,” “Over the Moon,...
- 3/11/2021
- by Steve Pond
- The Wrap
This year’s American Cinema Editors (Ace) nominations include “Nomadland,” “Mank,” “Minari,” “Sound of Metal” and “The Trial of Chicago 7.”
The guild, which will hand out its awards in a virtual ceremony on April 17, has a good track record forecasting the Oscar best picture winner — it has predicted 18 out of the last 29 winners. Last year, best edited feature film – dramatic went to “Parasite’s” Yang Jin-mo, and the film went on to win best picture at the Oscars. It also has a good record for predicting who wins the best editing Oscar — 23 out of the last 29 winners.
Nominees in comedy feature include “Borat Subsequent Moviefilm,” “I Care a Lot,” “On The Rocks” “Palm Springs” and “Promising Young Woman.”
As previously announced, Spike Lee will receive the Ace Golden Eddie Filmmaker of the Year Award, recognizing a filmmaker who exemplifies distinguished achievement in the art and business of film. Editors Lynzee Klingman...
The guild, which will hand out its awards in a virtual ceremony on April 17, has a good track record forecasting the Oscar best picture winner — it has predicted 18 out of the last 29 winners. Last year, best edited feature film – dramatic went to “Parasite’s” Yang Jin-mo, and the film went on to win best picture at the Oscars. It also has a good record for predicting who wins the best editing Oscar — 23 out of the last 29 winners.
Nominees in comedy feature include “Borat Subsequent Moviefilm,” “I Care a Lot,” “On The Rocks” “Palm Springs” and “Promising Young Woman.”
As previously announced, Spike Lee will receive the Ace Golden Eddie Filmmaker of the Year Award, recognizing a filmmaker who exemplifies distinguished achievement in the art and business of film. Editors Lynzee Klingman...
- 3/11/2021
- by Jazz Tangcay
- Variety Film + TV
Editors on films ranging from Amazon’s Borat Subsequent Moviefilm to Netflix’s The Trial of the Chicago 7 have been nominated for the 71st annual Ace Eddie Awards, presented by the American Cinema Editors to recognize the year’s best in picture editing in 14 film, TV and documentary categories.
Winners will be announced during a virtual awards ceremony April 17, where Spike Lee will receive the Ace Golden Eddie Filmmaker of the Year Award and Lynzee Klingman and Sidney Wolinsky will receive the group’s Career Achievement Awards.
As for today’s nominees, the marquee film categories are split into Dramatic and Comedy. The former features Chicago 7 along with Netflix’s Mank, A24’s Minari, Searchlight’s Nomadland (edited by writer-director Chloé Zhao) and Amazon’s Sound of Metal. The comedy nominees include Borat, Netflix’s I Care a Lot, Apple’s On the Rocks, Neon/Hulu’s Palm Springs...
Winners will be announced during a virtual awards ceremony April 17, where Spike Lee will receive the Ace Golden Eddie Filmmaker of the Year Award and Lynzee Klingman and Sidney Wolinsky will receive the group’s Career Achievement Awards.
As for today’s nominees, the marquee film categories are split into Dramatic and Comedy. The former features Chicago 7 along with Netflix’s Mank, A24’s Minari, Searchlight’s Nomadland (edited by writer-director Chloé Zhao) and Amazon’s Sound of Metal. The comedy nominees include Borat, Netflix’s I Care a Lot, Apple’s On the Rocks, Neon/Hulu’s Palm Springs...
- 3/11/2021
- by Patrick Hipes
- Deadline Film + TV
Nominees for the 71st annual Ace Eddie Awards include such Best Picture contenders as Chloé Zhao’s “Nomadland,” David Fincher’s monochromatic “Mank,” Aaron Sorkin’s “The Trial of the Chicago 7,” Lee Isaac Chung’s “Minari,” Emerald Fennell’s “Promising Young Woman” (as a comedy), and Darius Marder’s “Sound of Metal.”
The awards show will be held live on April 17 at 11:00 a.m. Pt.
Overlooked, though, were “News of the World” (edited by “Argo” Oscar-winner William Goldenberg) and “Tenet,” as well as three Black-led dramas, “Da 5 Bloods,” “Ma Rainey’s Black Bottom,” and “One Night in Miami.” However, there’s still the possibility of one or two of these making the final Oscar nominations, along with the buzzy “Minari” and “Promising Young Woman.”
In terms of using the Editing win as an Oscar bellwether for predicting Best Picture, the last time the winners coincided was “Argo” in...
The awards show will be held live on April 17 at 11:00 a.m. Pt.
Overlooked, though, were “News of the World” (edited by “Argo” Oscar-winner William Goldenberg) and “Tenet,” as well as three Black-led dramas, “Da 5 Bloods,” “Ma Rainey’s Black Bottom,” and “One Night in Miami.” However, there’s still the possibility of one or two of these making the final Oscar nominations, along with the buzzy “Minari” and “Promising Young Woman.”
In terms of using the Editing win as an Oscar bellwether for predicting Best Picture, the last time the winners coincided was “Argo” in...
- 3/11/2021
- by Bill Desowitz
- Indiewire
The Oscar documentary shortlist abounds with memorable love stories—between a woman and her incarcerated husband in Time, between a man and a mollusk in My Octopus Teacher, and in Dick Johnson Is Dead, between a daughter and her aging father.
Of those three films, Dick Johnson Is Dead qualifies as the most unusual stylistically. Director Kirsten Johnson, faced with her beloved father’s cognitive decline, conceived various outlandish scenarios in which her dad might die, and then filmed them.
“The premise of the movie is that we were going to kill my father over and over again with the help of stunt people until he really died for real. Why? Because we wanted to keep bringing him back to life,” Johnson tells Deadline. “I think we desperately needed to laugh because dementia will rip your heart out and you could just cry for decades if you didn’t find...
Of those three films, Dick Johnson Is Dead qualifies as the most unusual stylistically. Director Kirsten Johnson, faced with her beloved father’s cognitive decline, conceived various outlandish scenarios in which her dad might die, and then filmed them.
“The premise of the movie is that we were going to kill my father over and over again with the help of stunt people until he really died for real. Why? Because we wanted to keep bringing him back to life,” Johnson tells Deadline. “I think we desperately needed to laugh because dementia will rip your heart out and you could just cry for decades if you didn’t find...
- 3/9/2021
- by Matthew Carey
- Deadline Film + TV
“Crip Camp” has been named the best documentary of 2020 at the 36th annual IDA Documentary Awards, the International Documentary Association announced on Saturday at a virtual ceremony.
The film, about an upstate New York summer camp for disabled teens that helped launch the disability rights movement, also won the ABC News VideoSource Award for its use of archival footage and finished as runner-up to “My Octopus Teacher” for the Pare Lorentz Award.
“Crip Camp,” a Netflix film that premiered at last year’s Sundance Film Festival, won in a category whose other nominees were “Collective,” “Gunda,” “MLK/FBI,” “The Reason I Jump,” “Reunited,” “Softie,” “Time,” “The Truffle Hunters” and “Welcome to Chechnya.”
Garrett Bradley won the best director award for “Time” and also won the Emerging Documentary Filmmaker Award for that film.
In the television categories, awards went to “American Experience” for curated series, “Last Chance U” for episodic series and...
The film, about an upstate New York summer camp for disabled teens that helped launch the disability rights movement, also won the ABC News VideoSource Award for its use of archival footage and finished as runner-up to “My Octopus Teacher” for the Pare Lorentz Award.
“Crip Camp,” a Netflix film that premiered at last year’s Sundance Film Festival, won in a category whose other nominees were “Collective,” “Gunda,” “MLK/FBI,” “The Reason I Jump,” “Reunited,” “Softie,” “Time,” “The Truffle Hunters” and “Welcome to Chechnya.”
Garrett Bradley won the best director award for “Time” and also won the Emerging Documentary Filmmaker Award for that film.
In the television categories, awards went to “American Experience” for curated series, “Last Chance U” for episodic series and...
- 1/17/2021
- by Steve Pond
- The Wrap
The International Documentary Association has announced the winners of the 36th annual IDA Documentary Awards, with “Crip Camp” taking home the top prize.
The ceremony was hosted by actor Willie Garson, with musical entertainment from Ruby Ibarra, who performed the theme from “A Thousand Cuts.”
Directed by Nicole Newnham and Jim LeBrecht, “Crip Camp” received the best feature award as well as the ABC News VideoSource award. Garrett Bradley won best director for his film “Time,” while “John Was Trying to Contact Aliens” from Matthew Killip received the best short award. “Dick Johnson Is Dead” took home the awards for best writing and best editing.
Besides “Crip Camp,” the nominees for best feature included “Collective,” “Gunda,” “The Reason I Jump,” “Softie,” “The Truffle Hunters,” “MLK/FBI,” “Reunited,” “Time” and “Welcome to Chechnya.” Nominees for best director besides Bradley included Newnham and LeBrecht for “Crip Camp,” Jerry Rothwell for “The Reason I Jump,...
The ceremony was hosted by actor Willie Garson, with musical entertainment from Ruby Ibarra, who performed the theme from “A Thousand Cuts.”
Directed by Nicole Newnham and Jim LeBrecht, “Crip Camp” received the best feature award as well as the ABC News VideoSource award. Garrett Bradley won best director for his film “Time,” while “John Was Trying to Contact Aliens” from Matthew Killip received the best short award. “Dick Johnson Is Dead” took home the awards for best writing and best editing.
Besides “Crip Camp,” the nominees for best feature included “Collective,” “Gunda,” “The Reason I Jump,” “Softie,” “The Truffle Hunters,” “MLK/FBI,” “Reunited,” “Time” and “Welcome to Chechnya.” Nominees for best director besides Bradley included Newnham and LeBrecht for “Crip Camp,” Jerry Rothwell for “The Reason I Jump,...
- 1/17/2021
- by Ellise Shafer
- Variety Film + TV
Garrett Bradley named best director for Time.
Nicole Newnham and Jim LeBrecht’s Crip Camp was named best feature by the International Documentary Association (IDA) on Saturday (January 16).
Other notable winners at the virtual 36th Annual IDA Documentary Awards were Garrett Bradley for best director for Time, and two for Dick Johnson Is Dead for writing (Nels Bangerter and Kirsten Johnson) and editing (Nels Bangerter).
Matthew Killip’s John Was Trying To Contact Aliens received the award for best short.
Honourary Awards were presented prior to the ceremony. Firelight Media received the Pioneer Award for its support of Bipoc filmmakers,...
Nicole Newnham and Jim LeBrecht’s Crip Camp was named best feature by the International Documentary Association (IDA) on Saturday (January 16).
Other notable winners at the virtual 36th Annual IDA Documentary Awards were Garrett Bradley for best director for Time, and two for Dick Johnson Is Dead for writing (Nels Bangerter and Kirsten Johnson) and editing (Nels Bangerter).
Matthew Killip’s John Was Trying To Contact Aliens received the award for best short.
Honourary Awards were presented prior to the ceremony. Firelight Media received the Pioneer Award for its support of Bipoc filmmakers,...
- 1/16/2021
- by Jeremy Kay
- ScreenDaily
A man walks down the street, carrying a package, thinking to himself what a lovely day it is —” Thwack! An air conditioner, falling from an apartment window several stories above him, comes crashing down on his head. He didn’t see it coming; neither, for that matter, do you. The passerby lies there on the pavement, sprawled out among the debris. Then a crew of people, including a lady in a bright orange coat, come and help him up. Despite the pool of “blood” behind his head, he seems a-ok,...
- 10/3/2020
- by David Fear
- Rollingstone.com
It’s one of the few life events that each and every one of us has in common, but death remains a taboo topic in Western culture. Clearly hoping to break that trend is acclaimed documentarian Kirsten Johnson (“Cameraperson”), whose Sundance award-winner “Dick Johnson Is Dead” tackles the subject with openness, understanding and no shortage of wit.
Dick Johnson is the director’s father; we meet him as an octogenarian psychiatrist in the process of retiring, leaving his longtime home in Seattle to move in with Kirsten in her one-bedroom New York apartment. Over the course of the film, we get to learn two very important things about Dick: one is that — like his wife and his own mother before him — he is beginning to deal with advancing dementia. The other is that he’s got a great sense of humor, and he’s game for his daughter’s ideas...
Dick Johnson is the director’s father; we meet him as an octogenarian psychiatrist in the process of retiring, leaving his longtime home in Seattle to move in with Kirsten in her one-bedroom New York apartment. Over the course of the film, we get to learn two very important things about Dick: one is that — like his wife and his own mother before him — he is beginning to deal with advancing dementia. The other is that he’s got a great sense of humor, and he’s game for his daughter’s ideas...
- 10/3/2020
- by Alonso Duralde
- The Wrap
For her feature-directing debut “Cameraperson” (2016), top non-fiction cinematographer Kirsten Johnson explored the moral dilemma of filming people under duress. The film was intuitive and nonlinear, as Johnson and editor Nels Bangerter searched for twisty ways to connect things. The movie landed on the Academy Awards shortlist, and for her next film Johnson decided to let her creative instincts fly.
“‘Cameraperson’ freed me and allowed me to see myself in ways I hadn’t seen myself,” she told filmmaker Mike Mills during an AFI Q&a. “When we did that, we broke things and broke where the edge was. You are seeing the people, not the screen, and understanding more. It offered more of who I was.”
For this one, she chose a subject she could not keep at arms’ length: her declining father. Four years later, “Dick Johnson is Dead” debuted at Sundance 2020 to more praise. The elder Johnson has dementia,...
“‘Cameraperson’ freed me and allowed me to see myself in ways I hadn’t seen myself,” she told filmmaker Mike Mills during an AFI Q&a. “When we did that, we broke things and broke where the edge was. You are seeing the people, not the screen, and understanding more. It offered more of who I was.”
For this one, she chose a subject she could not keep at arms’ length: her declining father. Four years later, “Dick Johnson is Dead” debuted at Sundance 2020 to more praise. The elder Johnson has dementia,...
- 10/2/2020
- by Anne Thompson
- Indiewire
For her feature-directing debut “Cameraperson” (2016), top non-fiction cinematographer Kirsten Johnson explored the moral dilemma of filming people under duress. The film was intuitive and nonlinear, as Johnson and editor Nels Bangerter searched for twisty ways to connect things. The movie landed on the Academy Awards shortlist, and for her next film Johnson decided to let her creative instincts fly.
“‘Cameraperson’ freed me and allowed me to see myself in ways I hadn’t seen myself,” she told filmmaker Mike Mills during an AFI Q&a. “When we did that, we broke things and broke where the edge was. You are seeing the people, not the screen, and understanding more. It offered more of who I was.”
For this one, she chose a subject she could not keep at arms’ length: her declining father. Four years later, “Dick Johnson is Dead” debuted at Sundance 2020 to more praise. The elder Johnson has dementia,...
“‘Cameraperson’ freed me and allowed me to see myself in ways I hadn’t seen myself,” she told filmmaker Mike Mills during an AFI Q&a. “When we did that, we broke things and broke where the edge was. You are seeing the people, not the screen, and understanding more. It offered more of who I was.”
For this one, she chose a subject she could not keep at arms’ length: her declining father. Four years later, “Dick Johnson is Dead” debuted at Sundance 2020 to more praise. The elder Johnson has dementia,...
- 10/2/2020
- by Anne Thompson
- Thompson on Hollywood
Kirsten Johnson on killing her own father over, and over again – in Netflix doc Dick Johnson is Dead
It’s unlikely you’ll have ever seen a film quite like Dick Johnson is Dead. The new documentary, which launches today on Netflix, is by Kirsten Johnson (Cameraperson) as she readies her father for the end of his life. That’s the simple way of putting it, anyway. To mark the film’s release we had the pleasure of speaking to Kirsten herself, via Zoom, to ask her about what is a remarkable feat of filmmaking.
She tells us how she went about “pitching” the movie, and whether she had any apprehensions putting something so personal out into the world. She speaks about dementia and the importance in finding the lighter moments amidst the dark times, and whether making this film changed her own relationship with the notion of death. We also ask about The Act of Killing, and whether that was an inspiration to her at all.
Watch...
She tells us how she went about “pitching” the movie, and whether she had any apprehensions putting something so personal out into the world. She speaks about dementia and the importance in finding the lighter moments amidst the dark times, and whether making this film changed her own relationship with the notion of death. We also ask about The Act of Killing, and whether that was an inspiration to her at all.
Watch...
- 10/2/2020
- by Stefan Pape
- HeyUGuys.co.uk
These days, when someone sets out to make a documentary, they typically have a pretty clear idea of what they’re expecting to find. Not Brett Story, who approaches “The Hottest August” like some kind of anthropologist from the future, interviewing New Yorkers of all ages and backgrounds, as if any one of them might hold the key to what happened to the planet. Does Story know something we don’t? Has global warming reached such a point that our survival hangs in the balance, where each and every person she encounters is potentially both the victim and the culprit in the great whodunit of our species’ extinction?
Most climate change documentaries approach the issue from a place of hysteria, overwhelming audiences with statistics and doom-and-gloom scenarios, whereas Story attempts to reframe the subject from a different perspective. Her idea — at once rigorously serious in intent and playfully open-minded in...
Most climate change documentaries approach the issue from a place of hysteria, overwhelming audiences with statistics and doom-and-gloom scenarios, whereas Story attempts to reframe the subject from a different perspective. Her idea — at once rigorously serious in intent and playfully open-minded in...
- 12/22/2019
- by Peter Debruge
- Variety Film + TV
As we close the decade, there is still one near-universal truth that connects those directors who defy the cineplex odds by making great cinema: Their visions are realized by some of the finest below-the-line talent the industry has ever seen. Even as the familiar infrastructure seems to be evaporating, the role that top craftspeople play has become that much more vital as the breadth and depth of their talent pool expands.
IndieWire spent months speaking with directors, producers, costumers, designers, cinematographers, cutters, composers — craftspeople across all disciplines — seeking the behind-the-scenes collaborators behind some of your favorite films. And our questions went something like this:
Who are the filmmakers whose innovative use of craft is influencing how you make movies?
Who are the artisans at the cutting edge of using new technology to advance the art form?
Who are the pioneers opening doors and expanding our visual and aural palettes?
We...
IndieWire spent months speaking with directors, producers, costumers, designers, cinematographers, cutters, composers — craftspeople across all disciplines — seeking the behind-the-scenes collaborators behind some of your favorite films. And our questions went something like this:
Who are the filmmakers whose innovative use of craft is influencing how you make movies?
Who are the artisans at the cutting edge of using new technology to advance the art form?
Who are the pioneers opening doors and expanding our visual and aural palettes?
We...
- 12/3/2019
- by Chris O'Falt
- Indiewire
All too often a nonfiction film’s cinematic possibilities deflate in post-production, where the pressure, both internal and external, to make something formulaic becomes intense. The irony, of course, is that it is in the editing that an ambitious nonfiction film’s possibilities can be discovered, or even created. Here are two shining examples of editors steering remarkable films and filmmakers to find their full potential.
Nels Bangerter
Editing documentaries is a singular process quite distinct from its application in narrative features. Non-fiction storytelling often requires culling from hours of footage, weaving together material from disparate times and places, connecting one moment to another even if they were never planned out that way. Over the past decade, Nels Bangerter has emerged as an exemplar of that craft.
Bangerter’s credits extend far beyond the limited realm of talking heads: The 2012 Oscar-nominated short “Buzkashi Boys” assembles a coming-of-age story about two...
Nels Bangerter
Editing documentaries is a singular process quite distinct from its application in narrative features. Non-fiction storytelling often requires culling from hours of footage, weaving together material from disparate times and places, connecting one moment to another even if they were never planned out that way. Over the past decade, Nels Bangerter has emerged as an exemplar of that craft.
Bangerter’s credits extend far beyond the limited realm of talking heads: The 2012 Oscar-nominated short “Buzkashi Boys” assembles a coming-of-age story about two...
- 12/3/2019
- by Chris O'Falt and Eric Kohn
- Indiewire
Where better than New York City to make a structuralist film? Cities are iterative, their street grids diagrams of theme and variation, and New York most of all—with its streets and avenues named for numbers and letters and states and cities and presidents and Revolutionary War generals spanning an archipelago, intersecting at a million little data points at which to measure class, race, culture, history, architecture and infrastructure. And time, too—from this human density emerge daily and seasonal rituals, a set of biorhythms, reliable as the earth’s, against which to mark gradual shifts and momentary fashions. Summer is for lounging on fire escapes, always, and, today, for Mister Softee. Yesterday it was shaved ice. Tomorrow, who knows?
In The Hottest August, Brett Story, the cultural geographer who made The Prison in Twelve Landscapes, attempts something a little like Akerman’s News from Home, schlepping a camera across...
In The Hottest August, Brett Story, the cultural geographer who made The Prison in Twelve Landscapes, attempts something a little like Akerman’s News from Home, schlepping a camera across...
- 6/12/2019
- by The Film Stage
- The Film Stage
Eric Hynes serves as writer-in-residence.
Sundance Institute has selected five projects for this year’s Documentary Edit and Story Lab, which will take place at the Sundance Resort in Utah on July 6
The Lab helps director-editor teams develop their independent non-fiction projects, most of which are in the later stages of post-production.
The selected projects: are Giovanni Buccomino and James Scott’s After A Revolution (UK); James LeBrecht, Nicole Newnham, and Andy Gersh’s Crip Camp (USA); Elizabeth Stopford and Gary Forrester’s Forgiveness (UK); Brett Story and Nels Bangerter’s The Hottest August (USA); and Betzabe Garcia and Jose...
Sundance Institute has selected five projects for this year’s Documentary Edit and Story Lab, which will take place at the Sundance Resort in Utah on July 6
The Lab helps director-editor teams develop their independent non-fiction projects, most of which are in the later stages of post-production.
The selected projects: are Giovanni Buccomino and James Scott’s After A Revolution (UK); James LeBrecht, Nicole Newnham, and Andy Gersh’s Crip Camp (USA); Elizabeth Stopford and Gary Forrester’s Forgiveness (UK); Brett Story and Nels Bangerter’s The Hottest August (USA); and Betzabe Garcia and Jose...
- 7/5/2018
- by Jenn Sherman
- ScreenDaily
Exclusive: The Tribeca Film Institute and ESPN have awarded three grants in their annual Short Documentary Program.
This year’s recipients are Jessie Adler for The Boxers of Brule, Matt Kay for Little Miss Sumo and Taylor Hess and Erin Sanger for Mack Wrestles. All three of the 2018 grantees showcase athletes as fighters overcoming battles of various kinds both in and out of the ring.
Each filmmaking team chosen will receive a grant ranging from $15,000 to $20,000 to use towards the development, production, or post-production of their film, as well as receive year-round consultation and mentorship.
Academy Award-winning documentary filmmaker Roger Ross Williams, whose credits include Life, Animated and God Loves Uganda, will mentor Kay for Little Miss Sumo. Editor David Teague will mentor Adler for Boxers of Brule. Mack Wrestles’ mentor will be selected this summer.
“Opportunities for young filmmakers to receive this level of mentorship are rare,...
This year’s recipients are Jessie Adler for The Boxers of Brule, Matt Kay for Little Miss Sumo and Taylor Hess and Erin Sanger for Mack Wrestles. All three of the 2018 grantees showcase athletes as fighters overcoming battles of various kinds both in and out of the ring.
Each filmmaking team chosen will receive a grant ranging from $15,000 to $20,000 to use towards the development, production, or post-production of their film, as well as receive year-round consultation and mentorship.
Academy Award-winning documentary filmmaker Roger Ross Williams, whose credits include Life, Animated and God Loves Uganda, will mentor Kay for Little Miss Sumo. Editor David Teague will mentor Adler for Boxers of Brule. Mack Wrestles’ mentor will be selected this summer.
“Opportunities for young filmmakers to receive this level of mentorship are rare,...
- 6/7/2018
- by Dade Hayes
- Deadline Film + TV
The original title for “Exit Music,” changed at the eleventh hour ahead of its world premiere in Hot Docs, was “How Do You Feel About Dying,” and you can see why the switch was made: “Dying” is not, as a rule, a word that packs ’em into the aisles. Yet that initial question, which can be banal or bluntly confrontational depending on the tone in which it is asked, encapsulates the blend of frankness and delicacy that distinguishes Cameron Mullenneaux’s wrenching documentary study of a young cystic fibrosis patient’s final months.
28-year-old Ethan Rice drily answers it himself in the film’s opening minutes: “I feel sad,” he says with ironic languor, poking fun at the one-dimensional solemnity with which stories like his are usually told. The sadness goes without saying, but he feels much else besides: anger, exhaustion and impatience, with bursts of amusement and creative inspiration in between.
28-year-old Ethan Rice drily answers it himself in the film’s opening minutes: “I feel sad,” he says with ironic languor, poking fun at the one-dimensional solemnity with which stories like his are usually told. The sadness goes without saying, but he feels much else besides: anger, exhaustion and impatience, with bursts of amusement and creative inspiration in between.
- 5/6/2018
- by Guy Lodge
- Variety Film + TV
Awards season keeps ticking right along, but tonight’s Cinema Eye Honors promised at least a tiny respite from narrative-based filmmaking, as the New York City-set ceremony is all about honoring the best in the year’s documentary filmmaking.
Big winners included Kirsten Johnson’s “Cameraperson,” which picked up Outstanding Achievement in Nonfiction Feature Filmmaking, along with editing and cinematography wins. Right behind it was Ezra Edelman’s “O.J.: Made in America,” which earned Edelman a directing win, along with a production win for Edelman and Caroline Waterlow. Best TV offering went to “Making a Murderer.”
Nominations were lead by Raoul Peck’s “I Am Not Your Negro” and “O.J.: Made in America,” which each pulled in five nominations apiece, though Johnson’s “Cameraperson” and Gianfranco Rosi’s “Fire at Sea” aren’t far behind, with four nominations each. Both Peck and Rosi’s features ultimately walked away without an award.
Big winners included Kirsten Johnson’s “Cameraperson,” which picked up Outstanding Achievement in Nonfiction Feature Filmmaking, along with editing and cinematography wins. Right behind it was Ezra Edelman’s “O.J.: Made in America,” which earned Edelman a directing win, along with a production win for Edelman and Caroline Waterlow. Best TV offering went to “Making a Murderer.”
Nominations were lead by Raoul Peck’s “I Am Not Your Negro” and “O.J.: Made in America,” which each pulled in five nominations apiece, though Johnson’s “Cameraperson” and Gianfranco Rosi’s “Fire at Sea” aren’t far behind, with four nominations each. Both Peck and Rosi’s features ultimately walked away without an award.
- 1/12/2017
- by Kate Erbland
- Indiewire
And the winners are…
Best Picture: Moonlight
Best Animated Feature: Kubo and the Two Strings
Best Director: Barry Jenkins – Moonlight
Best Actor: Casey Affleck – Manchester by the Sea
Best Actress: Natalie Portman – Jackie
Best Supporting Actor: Mahershala Ali – Moonlight
Best Supporting Actress: Naomie Harris – Moonlight
Best Original Screenplay: Hell or High Water – Taylor Sheridan
Best Adapted Screenplay: Arrival – Eric Heisserer, Ted Chiang
Best Editing: La La Land – Tom Cross
Best Cinematography: La La Land – Linus Sandgren
Best Film Not in the English Language: The Handmaiden – South Korea
Best Documentary: O.J.: Made in America
Previous: 12.28.16:
The Online Film Critics Society — of which I am a member — has announced the nominees for its 2016 awards. Links here go to my reviews, with reviews to come for most if not all those I haven’t yet reviewed. Winners will be announced Tuesday, January 3rd.
And the nominees are:
Best Picture
Arrival
The Handmaiden...
Best Picture: Moonlight
Best Animated Feature: Kubo and the Two Strings
Best Director: Barry Jenkins – Moonlight
Best Actor: Casey Affleck – Manchester by the Sea
Best Actress: Natalie Portman – Jackie
Best Supporting Actor: Mahershala Ali – Moonlight
Best Supporting Actress: Naomie Harris – Moonlight
Best Original Screenplay: Hell or High Water – Taylor Sheridan
Best Adapted Screenplay: Arrival – Eric Heisserer, Ted Chiang
Best Editing: La La Land – Tom Cross
Best Cinematography: La La Land – Linus Sandgren
Best Film Not in the English Language: The Handmaiden – South Korea
Best Documentary: O.J.: Made in America
Previous: 12.28.16:
The Online Film Critics Society — of which I am a member — has announced the nominees for its 2016 awards. Links here go to my reviews, with reviews to come for most if not all those I haven’t yet reviewed. Winners will be announced Tuesday, January 3rd.
And the nominees are:
Best Picture
Arrival
The Handmaiden...
- 1/3/2017
- by MaryAnn Johanson
- www.flickfilosopher.com
Here's the complete list of winners (highlighted) and nominees of the Chicago Film Critics Association Awards:
Best Picture
The Handmaiden
Jackie
La La Land
Manchester by the Sea
Moonlight -- winner
Best Director
Damien Chazelle (-) La La Land
Barry Jenkins (-) Moonlight -- winner
Pablo Larraín (-) Jackie
Kenneth Lonergan (-) Manchester by the Sea
Chan-wook Park (-) The Handmaiden
Best Actor
Casey Affleck (-) Manchester by the Sea -- winner
Adam Driver (-) Paterson
Joel Edgerton (-) Loving
Colin Farrell (-) The Lobster
Denzel Washington (-) Fences
Best Actress
Amy Adams (-) Arrival
Rebecca Hall (-) Christine
Isabelle Huppert (-) Elle
Natalie Portman (-) Jackie -- winner
Emma Stone (-) La La Land
Best Supporting Actor
Mahershala Ali (-) Moonlight -- winner
Alden Ehrenreich (-) Hail, Caesar!
Ben Foster (-) Hell or High Water
Lucas Hedges (-) Manchester by the Sea
Trevante Rhodes (-) Moonlight
Michael Shannon (-...
Best Picture
The Handmaiden
Jackie
La La Land
Manchester by the Sea
Moonlight -- winner
Best Director
Damien Chazelle (-) La La Land
Barry Jenkins (-) Moonlight -- winner
Pablo Larraín (-) Jackie
Kenneth Lonergan (-) Manchester by the Sea
Chan-wook Park (-) The Handmaiden
Best Actor
Casey Affleck (-) Manchester by the Sea -- winner
Adam Driver (-) Paterson
Joel Edgerton (-) Loving
Colin Farrell (-) The Lobster
Denzel Washington (-) Fences
Best Actress
Amy Adams (-) Arrival
Rebecca Hall (-) Christine
Isabelle Huppert (-) Elle
Natalie Portman (-) Jackie -- winner
Emma Stone (-) La La Land
Best Supporting Actor
Mahershala Ali (-) Moonlight -- winner
Alden Ehrenreich (-) Hail, Caesar!
Ben Foster (-) Hell or High Water
Lucas Hedges (-) Manchester by the Sea
Trevante Rhodes (-) Moonlight
Michael Shannon (-...
- 12/21/2016
- by Manny
- Manny the Movie Guy
Here's the complete list of nominees, winners will be announced on Dec. 15:
Best Picture
The Handmaiden
Jackie
La La Land
Manchester by the Sea
Moonlight
Best Director
Damien Chazelle (-) La La Land
Barry Jenkins (-) Moonlight
Pablo Larraín (-) Jackie
Kenneth Lonergan (-) Manchester by the Sea
Chan-wook Park (-) The Handmaiden
Best Actor
Casey Affleck (-) Manchester by the Sea
Adam Driver (-) Paterson
Joel Edgerton (-) Loving
Colin Farrell (-) The Lobster
Denzel Washington (-) Fences
Best Actress
Amy Adams (-) Arrival
Rebecca Hall (-) Christine
Isabelle Huppert (-) Elle
Natalie Portman (-) Jackie
Emma Stone (-) La La Land
Best Supporting Actor
Mahershala Ali (-) Moonlight
Alden Ehrenreich (-) Hail, Caesar!
Ben Foster (-) Hell or High Water
Lucas Hedges (-) Manchester by the Sea
Trevante Rhodes (-) Moonlight
Michael Shannon (-) Nocturnal Animals
Best Supporting Actress
Viola Davis (-) Fences
Lily Gladstone (-) Certain Women...
Best Picture
The Handmaiden
Jackie
La La Land
Manchester by the Sea
Moonlight
Best Director
Damien Chazelle (-) La La Land
Barry Jenkins (-) Moonlight
Pablo Larraín (-) Jackie
Kenneth Lonergan (-) Manchester by the Sea
Chan-wook Park (-) The Handmaiden
Best Actor
Casey Affleck (-) Manchester by the Sea
Adam Driver (-) Paterson
Joel Edgerton (-) Loving
Colin Farrell (-) The Lobster
Denzel Washington (-) Fences
Best Actress
Amy Adams (-) Arrival
Rebecca Hall (-) Christine
Isabelle Huppert (-) Elle
Natalie Portman (-) Jackie
Emma Stone (-) La La Land
Best Supporting Actor
Mahershala Ali (-) Moonlight
Alden Ehrenreich (-) Hail, Caesar!
Ben Foster (-) Hell or High Water
Lucas Hedges (-) Manchester by the Sea
Trevante Rhodes (-) Moonlight
Michael Shannon (-) Nocturnal Animals
Best Supporting Actress
Viola Davis (-) Fences
Lily Gladstone (-) Certain Women...
- 12/13/2016
- by Manny
- Manny the Movie Guy
Chicago – The poignant journey of “Moonlight” topped the 2016 Chicago Film Critics Association nominations list with 11, as announced on Monday, December 12th. Other notable multi-category nominees included the biopic “Jackie,” the drama “Manchester by the Sea” and the musical “La La Land.” Janelle Monae (“Hidden Figures”), Lily Gladstone (“Certain Women”) and Lucas Hedges (“Manchester by the Sea”) scored double nominations in the Best Supporting Actress and Actor categories, as well as Most Promising Performer.
Scene from ‘Moonlight,’ Honored with 11 Nominations for 2016 from the Chicago Film Critics Association
Photo credit: A24
The Chicago Film Critics Association is an organization that oversees many events in the Chicagoland area, including the Chicago Film Critics Awards, the Chicago Critics Film Festival and various film discussions and events around the city and surrounding suburbs. The nominees for the Cfca best of 2016 films are…
Best Picture
The Handmaiden
Jackie
La La Land
Manchester by the Sea
Moonlight...
Scene from ‘Moonlight,’ Honored with 11 Nominations for 2016 from the Chicago Film Critics Association
Photo credit: A24
The Chicago Film Critics Association is an organization that oversees many events in the Chicagoland area, including the Chicago Film Critics Awards, the Chicago Critics Film Festival and various film discussions and events around the city and surrounding suburbs. The nominees for the Cfca best of 2016 films are…
Best Picture
The Handmaiden
Jackie
La La Land
Manchester by the Sea
Moonlight...
- 12/12/2016
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Friday night’s 32nd annual International Documentary Association Awards at the Paramount Theater in Hollywood became another step in certifying a new American classic in Espn Films’ epic “O.J.: Made in America.”
Ezra Edelman’s nearly eight-hour documentary was named as the Ida’s 2016 Best Feature Award. It’s the latest in a series of accolades for the landmark saga of the life and trial of O.J. Simpson.
On the Best Short side, the top prize went to Netflix’s Syrian first-responders profile “The White Helmets,” from “Virunga” director/producer team Orlando von Einsiedel and Joanna Natasegara.
Ida members voted on these two categories from a list of six nominees each.
In addition to “The White Helmets,” Netflix programming comprised a significant portion of the evening’s winners. “Making a Murderer,” the true-crime investigation of the decade-spanning conviction and imprisonment of Steven Avery, was named Best Limited Series. The Best...
Ezra Edelman’s nearly eight-hour documentary was named as the Ida’s 2016 Best Feature Award. It’s the latest in a series of accolades for the landmark saga of the life and trial of O.J. Simpson.
On the Best Short side, the top prize went to Netflix’s Syrian first-responders profile “The White Helmets,” from “Virunga” director/producer team Orlando von Einsiedel and Joanna Natasegara.
Ida members voted on these two categories from a list of six nominees each.
In addition to “The White Helmets,” Netflix programming comprised a significant portion of the evening’s winners. “Making a Murderer,” the true-crime investigation of the decade-spanning conviction and imprisonment of Steven Avery, was named Best Limited Series. The Best...
- 12/10/2016
- by Steve Greene
- Indiewire
The International Documentary Association (Ida) hailed its own at Friday’s 32nd Annual Ida Documentary Awards and launched a $5m journalism project.
Espn’s episodic O.J.: Made In America won the best feature award in further recognition of Ezra Edelman’s work after wins at the National Board of Review and New York Film Critics Circle.
The best Short Award went to Netflix’s The White Helmets directed by Orlando von Einsiedel. Best Cinematography was presented to Gianfranco Rosi for his Fire At Sea, distributed in the Us by Kino Lorber, while Netflix’s Making a Murderer earned best limited series award.
The John D. and Catherine T. MacArthur Foundation has gifted the Ida the four-year, $5m grant to establish the Ida Documentary/Journalism Project to improve and combine work from both fields in a manner that promotes the safety of it practitioners.
This year the Ida honored five filmmakers and documentary luminaries. Lyn and [link...
Espn’s episodic O.J.: Made In America won the best feature award in further recognition of Ezra Edelman’s work after wins at the National Board of Review and New York Film Critics Circle.
The best Short Award went to Netflix’s The White Helmets directed by Orlando von Einsiedel. Best Cinematography was presented to Gianfranco Rosi for his Fire At Sea, distributed in the Us by Kino Lorber, while Netflix’s Making a Murderer earned best limited series award.
The John D. and Catherine T. MacArthur Foundation has gifted the Ida the four-year, $5m grant to establish the Ida Documentary/Journalism Project to improve and combine work from both fields in a manner that promotes the safety of it practitioners.
This year the Ida honored five filmmakers and documentary luminaries. Lyn and [link...
- 12/9/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Many are called, few are chosen: The number of high-quality, awards-worthy documentaries seems to grow every year, but there’s still only 15 slots on the Oscar documentary shortlist. That will be announced December 5; the final five will be revealed on nominations morning, January 24. This year, 145 features were submitted.
This is the white-knuckle portion of the final campaign stretch, as documentary filmmakers and distributors hope their movies make it onto documentary branch voters’ viewing piles before they file their final grades. Those with the advantage are high-profile established hits and festival award-winners with the right combination of engaging accessibility, artful filmmaking, and gravitas.
So what’s looking like a strong bet? It’s a diverse list in more ways than one. Here are my picks for the Top 15, which are not listed in order of likelihood.
See more ‘Amanda Knox’: Why It Took Five Years to Unravel the Story of...
This is the white-knuckle portion of the final campaign stretch, as documentary filmmakers and distributors hope their movies make it onto documentary branch voters’ viewing piles before they file their final grades. Those with the advantage are high-profile established hits and festival award-winners with the right combination of engaging accessibility, artful filmmaking, and gravitas.
So what’s looking like a strong bet? It’s a diverse list in more ways than one. Here are my picks for the Top 15, which are not listed in order of likelihood.
See more ‘Amanda Knox’: Why It Took Five Years to Unravel the Story of...
- 11/21/2016
- by Anne Thompson
- Thompson on Hollywood
Many are called, few are chosen: The number of high-quality, awards-worthy documentaries seems to grow every year, but there’s still only 15 slots on the Oscar documentary shortlist. That will be announced December 5; the final five will be revealed on nominations morning, January 24. This year, 145 features were submitted.
This is the white-knuckle portion of the final campaign stretch, as documentary filmmakers and distributors hope their movies make it onto documentary branch voters’ viewing piles before they file their final grades. Those with the advantage are high-profile established hits and festival award-winners with the right combination of engaging accessibility, artful filmmaking, and gravitas.
So what’s looking like a strong bet? It’s a diverse list in more ways than one. Here are my picks for the Top 15, which are not listed in order of likelihood.
See more ‘Amanda Knox’: Why It Took Five Years to Unravel the Story of...
This is the white-knuckle portion of the final campaign stretch, as documentary filmmakers and distributors hope their movies make it onto documentary branch voters’ viewing piles before they file their final grades. Those with the advantage are high-profile established hits and festival award-winners with the right combination of engaging accessibility, artful filmmaking, and gravitas.
So what’s looking like a strong bet? It’s a diverse list in more ways than one. Here are my picks for the Top 15, which are not listed in order of likelihood.
See more ‘Amanda Knox’: Why It Took Five Years to Unravel the Story of...
- 11/21/2016
- by Anne Thompson
- Indiewire
Update: The Before Trilogy on Criterion is currently $39.95. Pre-order while you can.
After The Criterion Collection hinted at it and some of the own crew confirmed it, it’s now been officially revealed that one of their most-requested releases will be arriving next year. Richard Linklater‘s Before trilogy will be joining the colelction just a few weeks after Valentine’s Day, on February 28th, featuring new 2K restorations of Before Sunrise and Before Sunset as well as Before Midnight.
Special features include a new discussion with Linklater, Julie Delpy, and Ethan Hawke, moderated by Kent Jones, and Athina Rachel Tsangari’s documentary on the making of the most recent feature. There’s also the full feature-length documentary Richard Linklater: Dream Is Destiny, and more. While we’re still waiting on cover art for the Linklater set, check out the full details on February’s line-up below, also including one...
After The Criterion Collection hinted at it and some of the own crew confirmed it, it’s now been officially revealed that one of their most-requested releases will be arriving next year. Richard Linklater‘s Before trilogy will be joining the colelction just a few weeks after Valentine’s Day, on February 28th, featuring new 2K restorations of Before Sunrise and Before Sunset as well as Before Midnight.
Special features include a new discussion with Linklater, Julie Delpy, and Ethan Hawke, moderated by Kent Jones, and Athina Rachel Tsangari’s documentary on the making of the most recent feature. There’s also the full feature-length documentary Richard Linklater: Dream Is Destiny, and more. While we’re still waiting on cover art for the Linklater set, check out the full details on February’s line-up below, also including one...
- 11/15/2016
- by Leonard Pearce
- The Film Stage
The nominees for the 10th annual Cinema Eye Honors have been announced, with “I Am Not Your Negro” and “Oj: Made in America” both receiving five each. They’re followed in short order by “Cameraperson” and “Fire at Sea,” which along with “Weiner” are all in contention for the top prize. A total of 37 features and five shorts will be in contention at the upcoming ceremony, which “Hoop Dreams” director Steve James will host from the Museum of the Moving Image on January 11. Here’s the full list of nominees:
Outstanding Achievement in Nonfiction Feature Filmmaking
“Cameraperson” (Kirsten Johnson)
“Fire at Sea” (Gianfranco Rosi)
“I Am Not Your Negro” (Raoul Peck)
“Oj: Made in America” (Ezra Edelman)
“Weiner” (Josh Kriegman and Elyse Steinberg)
Outstanding Achievement in Direction
Kirsten Johnson, “Cameraperson”
Gianfranco Rosi, “Fire at Sea”
Raoul Peck, “I Am Not Your Negro”
Robert Greene, “Kate Plays Christine”
Ezra Edelman, “Oj:...
Outstanding Achievement in Nonfiction Feature Filmmaking
“Cameraperson” (Kirsten Johnson)
“Fire at Sea” (Gianfranco Rosi)
“I Am Not Your Negro” (Raoul Peck)
“Oj: Made in America” (Ezra Edelman)
“Weiner” (Josh Kriegman and Elyse Steinberg)
Outstanding Achievement in Direction
Kirsten Johnson, “Cameraperson”
Gianfranco Rosi, “Fire at Sea”
Raoul Peck, “I Am Not Your Negro”
Robert Greene, “Kate Plays Christine”
Ezra Edelman, “Oj:...
- 11/2/2016
- by Michael Nordine
- Indiewire
With awards season gearing up, the nominees and honorees for the 2016 Ida Documentary Awards have been revealed by the International Documentary Association (Ida). The annual ceremony honors both individuals and organizations for outstanding achievements in documentary filmmaking and contributions to the field, as well as recognizes the best documentary films and nonfiction series of the year.
Among the Best Feature nominees are Ava DuVernay’s “13th,” Raoul Peck’s “I Am Not Your Negro” and “O.J.: Made in America” directed by Ezra Edelman. This year the Ida will also honor five outstanding filmmakers and documentary luminaries including Lyn and Norman Lear, Stanley Nelson, Ally Derks and director Nanfu Wang.
Read More: Oscars Documentary Race Heats up With 145 Features in Contention
Winners in the Best Feature and Best Short categories are voted on by Ida’s international membership. Outside screening committees of industry professionals around the world determine the winners in the other award categories.
Among the Best Feature nominees are Ava DuVernay’s “13th,” Raoul Peck’s “I Am Not Your Negro” and “O.J.: Made in America” directed by Ezra Edelman. This year the Ida will also honor five outstanding filmmakers and documentary luminaries including Lyn and Norman Lear, Stanley Nelson, Ally Derks and director Nanfu Wang.
Read More: Oscars Documentary Race Heats up With 145 Features in Contention
Winners in the Best Feature and Best Short categories are voted on by Ida’s international membership. Outside screening committees of industry professionals around the world determine the winners in the other award categories.
- 11/1/2016
- by Liz Calvario
- Indiewire
Read More: 5 Questions for Jennie Livingston, Director of "Paris Is Burning" and "Who's The Top?" On Saturday, April 18, the Sundance Institute Documentary Film Program and the Karen Schmeer Film Editing Fellowship hosted a half-day of panel discussions with a gathering of documentary film editors, directors and producers to discuss the art of editing. The goal of the day and future events is to shine a light on the role of the editor in the filmmaking process, build community and celebrate an under-explored and often misunderstood collaboration between director and editor. Panelists included editors Toby Shimin ("How to Dance in Ohio"), Nels Bangerter ("Let the Fire Burn"), Mona Davis ("Running from Crazy"), Colin Nusbaum ("Tough Love"), and Mary Manhardt ("American Promise") and moderators Tom Roston ("Doc Soup") and Doug Block ("112 Weddings"). The day began with a Keynote from...
- 4/30/2015
- by Jonathan Oppenheim
- Indiewire
Top brass at the Independent Filmmaker Project (Ifp) have announced (12) 10 ten documentaries selected for the 2014 Independent Filmmaker Labs for first-time feature directors.
The creative teams of the selected films, chosen from a national pool of more than 200 submissions, are currently attending the first week’s sessions – The Time Warner Foundation Completion Labs – that run from May 12-16 in New York.
The Narrative Lab selections will be announced in June.
“With the ability to support filmmakers and their projects over the long-term, the Labs remain one of Ifp’s most rewarding and successful programmes,” said Ifp executive director Joana Vicente.
“With 80% of previous Lab projects debuted in festivals and released worldwide, the impact of the programme continues to be significant.”
The 2014 labs mark the 10th anniversary edition of the mentorship programme conceived by producer and Filmmaker Magazine editor Scott Macaulay.
The Labs were launched in 2005 as a three-day initiative for eight narrative projects and have evolved into a...
The creative teams of the selected films, chosen from a national pool of more than 200 submissions, are currently attending the first week’s sessions – The Time Warner Foundation Completion Labs – that run from May 12-16 in New York.
The Narrative Lab selections will be announced in June.
“With the ability to support filmmakers and their projects over the long-term, the Labs remain one of Ifp’s most rewarding and successful programmes,” said Ifp executive director Joana Vicente.
“With 80% of previous Lab projects debuted in festivals and released worldwide, the impact of the programme continues to be significant.”
The 2014 labs mark the 10th anniversary edition of the mentorship programme conceived by producer and Filmmaker Magazine editor Scott Macaulay.
The Labs were launched in 2005 as a three-day initiative for eight narrative projects and have evolved into a...
- 5/12/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Documentaries sometimes get a bad rap from cinephiles, and it’s not hard to see why. Everyone remembers the dreadfully dull docs they were forced to sit through in high school, and many of the titles out there today aren’t much better. An unfortunate amount are one-sided, deceitful, manipulative and just plain bad. Besides, no one really wants to go out to a theater and get lectured about this or that for an hour and a half. That’s not fun, and very few people do it intentionally. However, documentaries aren’t all bad. In fact, documentaries done right can be better than your average action thriller. I’d even take the stand that a movie capable of both educating and entertaining its audience is one of the best (and hardest to master) forms of cinema.
All of this brings me to Let the Fire Burn, one of the...
All of this brings me to Let the Fire Burn, one of the...
- 2/18/2014
- by Isaac Feldberg
- We Got This Covered
Winners of the 7th Annual Cinema Eye Honors, recognizing the best documentaries of the year, were revealed and Joshua Oppenheimer's "The Act of Killing" (one of my faves of 2013) won the Outstanding Achievement in Nonfiction Feature Filmmaking while Sarah Polley took home the Outstanding Achievement in Direction for "Stories We Tell."
Another big winner was Zachary Heinzerling's "Cutie and the Boxer" which won Outstanding Debut for Heinzerling, Outstanding Graphics and Animation for production company Art Jail and Outstanding Original Score for Yasuaki Shimizu.
Incidentally, all three movies are part of the Oscar shortlist for Best Documentary, so we'll see if they all make the cut when the Academy Award nominations are revealed on January 16.
Here are the complete winners of the 7th Annual Cinema Eye Honors:
Outstanding Achievement in Nonfiction Feature Filmmaking
The Act of Killing
Directed by Joshua Oppenheimer
Produced by Signe Byrge Sørensen
Presented by...
Another big winner was Zachary Heinzerling's "Cutie and the Boxer" which won Outstanding Debut for Heinzerling, Outstanding Graphics and Animation for production company Art Jail and Outstanding Original Score for Yasuaki Shimizu.
Incidentally, all three movies are part of the Oscar shortlist for Best Documentary, so we'll see if they all make the cut when the Academy Award nominations are revealed on January 16.
Here are the complete winners of the 7th Annual Cinema Eye Honors:
Outstanding Achievement in Nonfiction Feature Filmmaking
The Act of Killing
Directed by Joshua Oppenheimer
Produced by Signe Byrge Sørensen
Presented by...
- 1/10/2014
- by Manny
- Manny the Movie Guy
The Act of Killing, Stories We Tell and Cutie and the Boxer among winners at seventh annual documentary awards.
Cinema Eye has announced the winners of its seventh annual awards for nonfiction film-making.
Joshua Oppenheimer’s The Act of Killing was named Outstanding Feature, while Sarah Polley took home Outstanding Director for Stories We Tell.
Zachary Heinzerling’s Cutie and the Boxer led the field with three awards for Outstanding Debut, Outstanding Graphics and Animation for Art Jail and Outstanding Original Score for Yasuaki Shimizu.
Nels Bangerter was presented with the Outstanding Editing award for Let the Fire Burn by Thelma Schoomaker, who commented that she could not have cut the improvisations for The Wolf of Wall Street without her earlier work in documentary film.
The inaugural Cinema Eye Television Award, recognising collaborations between film-makers and broadcasters, went to HBO Documentary Films’ The Crash Reel by Lucy Walker, while Dave Grohl’s Sound City won the Audience...
Cinema Eye has announced the winners of its seventh annual awards for nonfiction film-making.
Joshua Oppenheimer’s The Act of Killing was named Outstanding Feature, while Sarah Polley took home Outstanding Director for Stories We Tell.
Zachary Heinzerling’s Cutie and the Boxer led the field with three awards for Outstanding Debut, Outstanding Graphics and Animation for Art Jail and Outstanding Original Score for Yasuaki Shimizu.
Nels Bangerter was presented with the Outstanding Editing award for Let the Fire Burn by Thelma Schoomaker, who commented that she could not have cut the improvisations for The Wolf of Wall Street without her earlier work in documentary film.
The inaugural Cinema Eye Television Award, recognising collaborations between film-makers and broadcasters, went to HBO Documentary Films’ The Crash Reel by Lucy Walker, while Dave Grohl’s Sound City won the Audience...
- 1/9/2014
- by ian.sandwell@screendaily.com (Ian Sandwell)
- ScreenDaily
Jehane Noujaim's "The Square" edged out Joshua Oppenheimer's "The Act of Killing" to emerge as the big winner of the 2013 Ida Documentary Awards! The documentary about the 2011 Egyptian Revolution also beat Jason Osder's "Let the Fire Burn," Gabriela Cowperthwaite's "Blackfish," and Sarah Polley's Stories We Tell" for the prize.
Here's a full list of winners of the 2013 Ida Documentary Awards:
Best Feature Award
The Square
Director: Jehane Noujaim
Producer: Karim Amer; Executive Producers: Geralyn Dreyfous, Mike Lerner, Sarah Johnson, Jodie Evans, Lekha Singh, Gavin Dougan, Dan Catullo III, Lisa Nishimura, Adam Del Deo, Khalil Noujaim, Alexandra Johnes, Jeff Skol; Noujaim Films, Netflix Originals
Best Short Award
Slomo
Director: Josh Izenberg; Producer: Amanda Micheli; Executive Producer: Neil Izenberg; Big Young Films, Runaway Films
Best Limited Series Award
Inside Man
Producers: Kristen Vaurio, Lisa Kalikow, Shannon Gibson, Suzanne Hillinger, Lara Benario; Writers: Jeremy Chilnick, Morgan Spurlock; Executive Producers: Jeremy Chilnick,...
Here's a full list of winners of the 2013 Ida Documentary Awards:
Best Feature Award
The Square
Director: Jehane Noujaim
Producer: Karim Amer; Executive Producers: Geralyn Dreyfous, Mike Lerner, Sarah Johnson, Jodie Evans, Lekha Singh, Gavin Dougan, Dan Catullo III, Lisa Nishimura, Adam Del Deo, Khalil Noujaim, Alexandra Johnes, Jeff Skol; Noujaim Films, Netflix Originals
Best Short Award
Slomo
Director: Josh Izenberg; Producer: Amanda Micheli; Executive Producer: Neil Izenberg; Big Young Films, Runaway Films
Best Limited Series Award
Inside Man
Producers: Kristen Vaurio, Lisa Kalikow, Shannon Gibson, Suzanne Hillinger, Lara Benario; Writers: Jeremy Chilnick, Morgan Spurlock; Executive Producers: Jeremy Chilnick,...
- 12/8/2013
- by Manny
- Manny the Movie Guy
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.