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By Sean Boelman For the fifteenth year, ShortsTV is releasing the Oscar-nominated short films in all three categories in theaters, allowing audiences across the country and world the unique experience of getting to see these short films in a setting unlike that in which they are usually shown. This also gives the filmmakers of these shorts the opportunity to see their work playing on the big screen, which is often a dream come true. This year’s batch of documentary shorts going for the title is much stronger than usual, each of the films feeling unique in their own way. Perhaps the most intriguing thing about this group of nominees, though, is the fact that they are much more uplifting than is typical for the category. More often than not, multiple tear-jerking (and sometimes even outright depressing) docs dominate the group, but this year, the nominees are much more pleasant as a whole. 5. In the Absence Every year, there is one documentary short that stands out as less deserving of the accolade than the rest, and this year, that is In the Absence. Although the story is certainly very strong and inspiring, the way in which the filmmakers go about approaching it is not particularly effective. Feeling more like an extended news story than a true documentary, this film is messily assembled from haphazardly-captured footage shot on the scene. This film undoubtedly has a ton of potential, but it doesn’t ever pan out into anything particularly compelling. 4. St. Louis Superman Telling the story of an extraordinary subject in such a short period of time, St. Louis Superman feels like it could and should have been expanded into a feature. There are so many sides to this story, but not all of them can be explored to their full depth with a minimal runtime like this. Ultimately, the charisma of the film’s subject makes it naturally entertaining, and the film does address some very timely themes, though this short easily could have been significantly better had it been even just ten or twenty minutes longer. 3. Learning to Skateboard in a Warzone (If You're a Girl) In any other year, Learning to Skateboard in a Warzone (If You’re a Girl) likely would’ve been the best in show, but that only goes to show how strong the crop is this year. Inspiring and well-shot, this film encourages viewers to find time for compassion, even in what seems to be the most difficult of situations. Although the film does lean a bit too heavily into its sentimentality at times (a few overused documentary tropes do make an appearance), it is consistently heartwarming and manages to hold the attention of the viewer for all of its forty-minute runtime. 2. Life Overtakes Me One of the more subtly resonant of the nominees this year, Life Overtakes Me balances its human-oriented story with its political message quite effectively. Out of all of the shorts, this is arguably the one that feels the most cohesive. The story doesn’t feel like it demands a feature-length narrative, but it commands the viewer’s interest for the entirety of the forty-minute runtime. If there is an issue with the film, it is that it doesn’t explore all of the subjects equally. Perhaps the film would have been better off focusing on one of these people’s stories. 1. Walk Run Cha-Cha With a seemingly small-scale but ultimately very important story, Walk Run Cha-Cha is a simple but truly effective documentary short. Functioning as both an inspiring story of two immigrants overcoming the obstacles they have faced and a statement as to how art unites all of us, the film is poetic and beautiful. Culminating in a final sequence that is immensely satisfying, Walk Run Cha-Cha is certainly one of the most moving nominees of this year’s batch. However, unlike many of the recent winners, this isn’t an absolute tear-jerker, so that may not be working in its favor. The 2020 Oscar Nominated Short Films are now playing in theaters.
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By Sean Boelman For the fifteenth year, ShortsTV is releasing the Oscar-nominated short films in all three categories in theaters, allowing audiences across the country and world the unique experience of getting to see these short films in a setting unlike that in which they are usually shown. This also gives the filmmakers of these shorts the opportunity to see their work playing on the big screen, which is often a dream come true. After a particularly weak batch last year, the Academy has redeemed themselves with a mostly strong group of nominees for the live action award. As always, the category has a focus on harder-hitting topics and themes, although none are as outright depressing as some of the ones that have won in the past. Still, viewers shouldn’t expect to watch the nominees feeling uplifted. 5. The Neighbors' Window The only English-language short nominated in this category and perhaps the most widely agreeable of the group, The Neighbors’ Window ultimately suffers from feeling too direct and to the point. The entirety of the film’s message is summed up a bit too nicely in a brief monologue at the end of the film, leaving the viewer feeling like the previous fifteen minutes were somewhat meaningless. There is some merit in this short, but because of this, it feels like the least substantial of any of the nominees. 4. Brotherhood Arguably the most socially relevant nominee, but also the least satisfying short nominated, Brotherhood can’t be faulted for lack of ambition, though it feels like its premise would have been better-suited to a feature-length runtime. There is a lot happening in the narrative in this short, and while the themes the film addresses are certainly important and some of the commentary insightful, there simply isn’t enough time in the film for all of the threads to be developed. However, the film is absolutely gorgeous, particularly in terms of its cinematography, so despite its narrative shortcomings, it earns its spot on this list. 3. Nefta Football Club The only nominee out of the five films that isn’t emotionally draining, Nefta Football Club is a (relatively) feel-good comedy about the joys of childhood friendship. Although there is a bit of a bittersweet edge to the film — the sense of humor is extremely dark — it is a welcome relief when put against the stressful and/or depressing nature of the other four shorts. The chemistry between the two child actors is great, developing naturally over such a short period of time, and is likely the main reason why this short works so well. 2. A Sister Without a doubt the most intense nominee out of this year’s batch, A Sister takes advantage of its confined setting and minimal premise to deliver a lean and suspenseful thriller. Although there was a feature-length film (The Guilty) that did something similar, A Sister still feels fresh and necessary thanks to the timely themes it addresses and the exquisite craftsmanship with which it is told. Ultimately, this short feels a lot more low-key than some of the other contenders, and likely won’t get as much attention as a result, but it is probably the best-shot of the bunch. 1. Saria Admittedly a bit rough around the edges, Saria nonetheless proves itself to be the short most worthy of this award thanks to its timely themes and character-driven approach to its true story. In just over twenty minutes, the film is able to connect the audience to this group of girls to a point that the film becomes absolutely heartbreaking. Unfortunately, the film will likely be passed up in favor of one of the ones dealing with a more hot-topic issue, but this exploration of the failures of the orphanage system is undeniably riveting. The 2020 Oscar Nominated Short Films open in theaters on January 29.
By Sean Boelman For the fifteenth year, ShortsTV is releasing the Oscar-nominated short films in all three categories in theaters, allowing audiences across the country and world the unique experience of getting to see these short films in a setting unlike that in which they are usually shown. This also gives the filmmakers of these shorts the opportunity to see their work playing on the big screen, which is often a dream come true. This year’s batch of animated shorts nominated for the award is about as one would expect, as the Academy has become relatively predictable in the films they nominate in this category. As always, the category will likely be won by the contender from the mainstream studio, but some of the indie shorts are very wonderful as well. The animated shorts program shown in theaters also contains three other films that were not nominated for the award, but those are not ranked in this article. 5. Daughter As is always the case with this category, there is one film in the mix that is a depressing tear-jerker, and this year, that is Daughter. Although there is a lot of merit in this film, and it is understandable why it earned a nomination, it doesn’t quite seem to hit all of its intended beats. Yes, it does have some absolutely stunning sequences, but the visuals aren’t able to compensate for a narrative that feels overly safe. Unlike some of the other contenders nominated for this award, this film doesn’t earn the emotional reaction it elicits. 4. Sister Inarguably the most unusual contender on this list, the highly personal (and surprisingly political) short Sister packs quite a bit of material into its brief runtime but also packs quite the punch. Ultimately, the film’s third act twist feels a bit manipulative, but it does a good job of driving the film’s message home. Still, one can’t help but feel like there is more to be told from this story, and that an animated short like this may not have been the method to do so. Thankfully, there are more resources available on the issue, including a well-made documentary that was also released in 2019. 3. Kitbull Released by Disney/Pixar under their SparkShorts label, Kitbull likely would have been the favorite to win this award if only it had been released theatrically alongside one of their features. Alas, the Disney+ release for this cute, if somewhat insubstantial short will likely cement its position as one of the long shots, even despite the brand name. Certainly adorable, with admirable character design and a sweet story, Kitbull is an admirable film, but it arguably isn’t the best to have been released under the label. With the era of Pixar shorts accompanying their features in theaters coming to an end, so too it seems that the company’s usual reign in this category is over. 2. Hair Love From Sony Pictures Animation (the film received a theatrical release along with The Angry Birds Movie 2), Hair Love is the obvious favorite to win the title as this year’s best animated short film. With a touching story and some extremely creative animation, the talent in the visual storytelling that is present here is undeniably very impressive. Though the film’s narrative is a bit safe, it is packed with emotion, and it is unlikely to leave any viewer unmoved. Additionally, there is a ton of personality in the visual style, with some excellent character designs and some unique effects. This is the type of all-around well-made and crowd-pleasing short that usually triumphs in this category, so don’t expect the Academy to bring any surprises. 1. Memorable Although it is unlikely to receive the award (as mentioned before, the Academy tends to recognize the higher-profile contenders in this category), Memorable is arguably the most deserving nominee of the bunch. Featuring a beautiful story that deals with an absolutely heartbreaking topic, this film is heartbreaking in all the right ways. Furthermore, the film features a truly gorgeous and thoroughly creative visual style. The amount of detail present in this short is extremely impressive, from the texture of the characters to the design of the sets. In terms of both style and content, this is reminiscent of the recent animated masterpiece Anomalisa, and as such, it will have plenty of fans of its own. The 2020 Oscar Nominated Short Films open in theaters on January 29.
by Camden Ferrell  Before Sunrise was released in theaters 25 years ago, and since then, it has risen the ranks as one of the most poignant modern love stories. Richard Linklater has never strayed from exploring the human condition and what it means to connect with someone, and this film is a testament to his ability as a filmmaker. This is a movie that captures two people falling in love in an achingly beautiful way, and it has aged gracefully. The premise of this movie is incredibly simple. Two people, Jesse and Celine, meet on a train and engage in a nice discussion. As Jesse is about the leave the train, he asks Celine to leave and spend the day with him. Surely enough, they both leave the train and spend an unforgettable day together where they learn more about each other and themselves. It’s a story that is propelled by the interactions of its characters, and it doesn’t rely on any gimmicks or major plot devices to remain thoroughly charming and entertaining. The script is penned by Linklater and Kim Krizan with some uncredited help from both lead actors. This collaboration makes each character feel unique and properly developed in their mannerisms and actions. What’s so remarkable is how much of ourselves we see in these characters, and it makes their journey feel especially personal. The dialogue doesn’t force insight or humor, it lets all of its topics and discussion arise naturally in way that is evocative of real life. This film is led by Ethan Hawke and Julie Delpy who both deliver phenomenal performances. Their chemistry is palpable, and their relationship is one of the most beautiful things in film. Both actors give their characters life in a way that feels completely realistic and incredibly engaging. Their performances remind the audience what it’s like to fall in love for the first time, and it’s extremely powerful in that regard.  I see this movie as a fantasy grounded in reality. These two lovers allow themselves to escape their lives just for one day. It feels like a dream, but it’s rooted heavily in the real world. Even though they are discussing heavy moral and philosophical topics, it still maintains that atmosphere of infatuation and wonder that makes it so charming. It allows us to see the best in others and truly appreciate the time that we have. It’s effective in illustrating concepts of life, death and love, and it makes us think about all of our previous and current relationships. For the audience, it digs up memories and feelings that may have felt long gone, and it presents it in a way that feels comforting and empathetic.
It’s an undeniably sweet film that mercilessly tugs at your heartstrings. Whether you’re currently in love or going through a rough separation, this movie will find a way to speak to you in a unique way. It’s a nearly universal exploration of love and connection, and it creates a longing that we will all inevitably crave by the end of the movie. Its full of memorable and cute moments that really make the film special. The listening booth scene will never fail to bring me to such joyful tears, and there are many romantic and poetic moments like that scattered throughout. This is a film for all ages, persuasions, and tastes. It is still a timely story even though the times have changed drastically. The movie wrestles with complex human emotions and puts it into words better than anyone ever could have. Does it come off as sappy at times? Yes, but it’s the subtext that really give this film a deeper meaning. It’s not just about love. It’s about what we love, who we love, and why we love. Everyone wants to have this kind of emotional connection, and its an innate desire that continues to speak loudly to this day. After 25 years, Before Sunrise remains an essential piece of modern filmmaking. Its one of the most effective and memorable examinations of the human relationship, and it’s one that spawned two sequels which were equally brilliant. This remains one of the finest films in Linklater’s impressive filmography, and it’s one that is definitely worth revisiting over and over. By Sean Boelman It’s January, and in the film industry that means two things: film festivals and lackluster mainstream releases. In the snowy paradise that is Park City, Utah, the annual tradition of coming together to watch as many films as possible has begun. However, what is unique about Park City this time of year is that there are two film festivals taking place concurrently! The Sundance Film Festival features higher profile releases and the Slamdance Film Festival showcases some wonderful up-and-coming or underground talents. Although disappointment media won’t have any staff writers on the ground this year, we are providing remote coverage to help guide you through some of the most interesting films coming out of both festivals. In this article, we highlight four films (two from each festival) that we have already gotten to see from this year’s lineups and explain why we think that you should give them a shot too! Ema (Sundance) Mariana DiGirolamo appears in Ema by Pablo Larraín, an official selection of the Spotlight program at the 2020 Sundance Film Festival. Courtesy of Sundance Institute. After making waves at its debut at the 2019 Venice Film Festival and subsequent showings at TIFF and the London Film Festival (among others), director Pablo Larraín’s (Jackie, Neruda) eighth feature Ema was selected to screen as a part of Sundance’s Spotlight program. Telling the story of a family in crisis after a tragedy forces them to make a controversial decision, Ema shows Larraín at his best, blending intricate character work with the hypnotic artistry of a dance film. Almost like the even more gut-wrenching and emotional cousin of Gaspar Noé’s Climax, Larraín’s film is a visual feast, but it also contains plenty of substance in the script. And to top it off, actors Gael García Bernal and Mariana Di Girolamo both give phenomenal performances. This is the film not to miss at this year’s festival. Jasper Mall (Slamdance) Although a film about a dying mall might not immediately strike one as essential viewing, the feature documentary by Bradford Thomason (in his directorial debut) and Brett Whitcomb is arguably one of the most successful fly-on-the-wall documentaries to come out in a very long time. Exploring the demise of a shopping center in small town Alabama as a representation of the greater issues faced in the modern American economy, the Slamdance Documentary Competition entry Jasper Mall is an admittedly simple film, but it is an effective one at that. With their minimalistic and character-driven approach, Thomason and Whitcomb take this story even further, crafting an eye-opening tale of the struggle of the middle class. Anyone who grew up going to the mall will leave this film heartbroken about the death of small business in America. Jumbo (Sundance) Having gotten a lot of attention upon its announcement in the lineup for Sundance’s World Cinema Dramatic Competition for its bizarre premise, Zoé Wittock’s film Jumbo is a brilliant, surreal, and unforgettable romantic fantasy. Telling the story of an amusement park worker who falls in love with a tilt-a-whirl ride, this is the type of weird vision that film festivals are meant to discover. While the premise may be off-putting to mainstream audiences, Wittock handles the absurd story in a way that feels both witty and heartfelt. Additionally, lead actress Noémie Merlant (of Portrait of a Lady on Fire fame) gives a wonderful performance and will likely be the main draw of the film. This film will satisfy any festival goer’s craving for weird and whimsy. Animation Outlaws (Slamdance) Featuring many high-profile interviewees, the Slamdance special screening Animation Outlaws is tailor-made for any fan of animation. Detailing the history of Spike & Mike’s Festival of Animation, a roadshow of animated shorts that originated before the internet made the medium more widely available, the film includes clips from many of the films that played in the showcase, along with interviews with some recognizable faces from the industry including Pete Docter (Inside Out), Nick Park (Wallace and Gromit), and Weird Al Yankovic. Also notable about the film is director Kat Aloshin’s unique style, using an animated background behind the talking head interviews and many animated sequences to bridge the gap. This is truly a crowd-pleasing treat. That is just a sampling of the many wonderful offerings held at the 2020 Sundance and Slamdance film festivals. If you are in Park City experiencing either festival, it is worth the time checking out the other one too, as each features plenty of unique films that you may not get to see anywhere else, or at least not in the same way.
The 2020 Slamdance Film Festival runs January 24-30 in Park City, UT. The 2020 Sundance Film Festival runs January 23 through February 2 in Park City, UT. By Sean Boelman  This January, Blue Underground is releasing a new limited edition 3-disc 4K restoration of Lucio Fulci’s classic Italian horror flick The House by the Cemetery. The film is one of the most well-known by Fulci, the Godfather of Gore, whose other work includes Zombi 2, an unofficial Italian sequel to George A. Romero’s Night of the Living Dead.
The movie follows a family in a New England home as they are terrorized by a malevolent presence living in the basement remaining from the previous homeowner, a deranged doctor who conducted unimaginable experiments. Like many other imports from the era (the film was originally released in 1981), The House by the Cemetery is rather ridiculous, but herein lies a majority of the movie’s charm. Italian horror films don’t spend too much time on logic or plot, with an increased focus on atmosphere. Viewers who come into this movie expecting a tight, neatly-wrapped chiller aren’t the ones for whom this re-issue is intended. Rather, it is the genre fans who will love the film in all its messiness and absurdity that are most likely to find value out of this purchase. If Fulci’s movie does have one significant flaw, it is that it isn’t quite as fun as some of the genre’s most iconic films. Although there are plenty of memorable deaths, the movie ultimately peaks early, with the first killing arguably being the most gruesome and memorable. After getting off to a very strong start, the film does lose some of its steam, but it does regain some of it heading into the final act. As with any great movie like this, the main strengths of The House By the Cemetery are in its visuals. The practical effects and production design are both unreal, but that will certainly be expected by those who have already been initiated into the ways of the genre. As Fulci’s endearing nickname would suggest, some of the imagery in this is very gnarly, and admirably so. The new 4K restoration of the film does it quite a few favors. Restored from the original and uncut camera negative, this release of the movie is absolutely gorgeous to watch. The level of detail in the image really allows the colors in the film to pop, as is so important with this type of horror movie. Additionally, the ability to blast the wonderful score from a Blu-Ray disc is welcome. This release comes with plenty of bonus features, both new and archival. Some highlights from the bonus features include interviews with the stars and crew members (including new ones with the film’s co-writer and lead actress) and commentary from leading scholars in the horror community. Also included are a copy of the Original Motion Picture Soundtrack and a collectible booklet. A gorgeous restoration of an iconic slasher movie, this new release of The House by the Cemetery should make its way to the top of every horror fan’s wishlist. This film will almost certainly satisfy even the most gore-hungry viewer’s craving for carnage and mayhem. The new restoration of The House by the Cemetery arrives on Blu-Ray on January 21. By Sean Boelman  Credit: Mary Cybulski / Universal Pictures. On January 15, the SXSW Film Festival announced the first batch of films that will be screening as a part of the 27th edition of the festival, which happens March 13-22, 2020 in Austin, Texas. Although this is only a partial glimpse at what the festival programmers have in store, the many exciting titles that have already been announced prove that this will be a festival to remember.
Perhaps the most high-profile announcement of the day was the announcement that the newest film from writer-director Judd Apatow (Knocked Up), The King of Staten Island, will be the opening night film of the festival. Starring SNL player Pete Davidson (who also co-wrote the film), the comedy is about a burnout who lives with his mother in Staten Island. The film releases in theaters in June. Additional narrative films announced in the “Headliners” section include Bad Trip, the hidden camera comedy starring Eric André, Lil Rel Howery, and Tiffany Haddish, and The Lovebirds, a mystery-comedy directed by Michael Showalter (The Big Sick) and starring Issa Rae and Kumail Nanjiani. Two documentaries, Beastie Boys Story, directed by Spike Jonze, and LA Originals, an exploration of Chicano culture, were announced in the section. Other sections that were announced today include: the Narrative Feature Competition, showcasing ten diverse narrative features, the “Spotlight Features” section, featuring high-profile features including one directed by John Leguizamo and one written by Alan Moore, the “Documentary Spotlight” and Documentary Features Competition, the “Visions” section, emphasizing innovative and creative filmmakers, the “Global” section, and the “24 Beats Per Second” section, featuring films centered around music. Also announced today were the series that will be making their premieres in the “Episodic” section of the festival. Arguably the most anticipated of the episodic premieres is that of Snowpiercer, the long-awaited television adaptation of Bong Joon-ho’s film of the same name. More interesting premieres include Solar Opposites, a new series from Rick and Morty creators Justin Roiland and Mike McMahan, and Tales from the Loop, based on the art of Simon Stålenhag. The rest of the program, including the films screening in the Midnighters, Festival Favorites, and Episodic Pilot Competition, in addition to some other films not yet announced, will be revealed on February 5. With the amount of films, including "Headliners", that were revealed in the second announcement last year, that is sure to be an exciting prospect for film fans everywhere. The full announcement can be found here. The 2020 SXSW Film Festival runs March 13-22, 2020 in Austin, TX. By Sean Boelman  Now that 2019 has come to a close and most films have been released or screened (a few stragglers weren’t shown to regional critics until the beginning of January), it is time to look back and reflect on all of the cinematic offerings the last year of the decade had in store! In a year of many ups and downs, there are plenty of films audiences will remember: some for being the most out-of-touch films ever released and other for closing out series decades in the making. Yet there are also plenty of films that deserve to be remembered not for the impact their release had, but their quality and the impact they will have in the long run. Below are the ten best films to be released in 2019. 10. The Souvenir Joanna Hogg’s semi-autobiographical film The Souvenir is by no means meant for mainstream audiences. In fact, the film’s deliberately slow pacing has proven to be quite challenging for most viewers. However, the gorgeous visual style which Hogg brings to the film and the riveting second half make this a film that will easily stick in the minds of viewers who are not put off by the seeming lack of excitement early on. 9. Jojo Rabbit The highly-anticipated new film from cult favorite director Taika Waititi, Jojo Rabbit promised to be an “anti-hate satire” if that wasn’t clear from Waititi’s over-the-top lampoon of Adolf Hitler. Yet beyond the dark humor (which is often quite funny), the film is also an emotional story about a young boy trying to stand up for what he believes in a world that is trying to teach him the opposite. Although it isn’t quite as original as Waititi seems to hope it is, it is still a crowd-pleasing treat. 8. The Last Black Man in San Francisco After receiving raves at Sundance, Joe Talbot’s The Last Black Man in San Francisco received a quiet summer release. Although the scale of the film is very small and personal, the film (inspired by the experiences of star Jimmie Fails) is both a love letter to the eponymous city and a beautiful tale of the meaning of home. Anyone who has ever felt out of place in their life will immediately connect with the film and its unique style. 7. Babylon Babylon is certainly the most unorthodox pick on this list, and that is because some would debate whether or not it was a 2019 film at all. A snapshot of British reggae culture in the late 20th century, the film was first shown in 1980 but went unreleased in the United States until early 2019 for fear that it would incite racial violence. At the very least, it’s an important piece of history, but it is also a phenomenal character study. 6. The Report What makes Scott Z. Burns’s exploration of one of the most embarrassing cover-ups in American history so effective is that Burns figures out exactly how to crawl under the viewer’s skin. It is unlikely that any viewer will finish The Report feeling any less than infuriated by what they see happening on screen. Adam Driver and Annette Bening are both great, bringing an absolutely chilling delivery to Burns’s wonderful dialogue. 5. Clemency The single most heartbreaking film on this list, Clemency takes a searing look at the death penalty and the impact it has on not only the inmate, but also the executioner. Although this film may not get the attention it deserves because of a higher-profile similarly-themed film (Just Mercy) is hitting theaters around the same time, but the performances by Alfre Woodard and Aldis Hodge and the script by Chinonye Chukwu are among the year’s best. 4. Waves The pick on this list that has likely been the most divisive among audiences, Waves is a wonderful coming-of-age story told with impeccable craft from writer-director Trey Edward Shults. Although the criticisms that some viewers have had of the film are valid, Shults’s heart is very much in the right place, and this ends up being a story about love that crosses the boundaries of age, race, and location. 3. Blinded by the Light On the surface, Blinded by the Light is a conventional coming-of-age tale, but below that, it’s an exploration of the artistic process and how an artist is inspired. Fans of Bruce Springsteen have probably already seen this film, with a soundtrack comprised of some of the greatest hits by The Boss, but even those uninitiated to the music that inspired the autobiographical film and its writer Sarfraz Manzoor will find themselves touched by the inspiring story. 2. 1917 Although it may not have the most substantial script of the year, 1917 is inarguably the most ambitious cinematic exercise to grace multiplexes, firmly earning it a spot on the higher end of this list. The cinematography by Roger Deakins is absolutely breathtaking, the editing seamless, and the direction from Sam Mendes impeccable, all coming together to make the film look as if it was shot in one continuous take. As a popcorn flick, it is extremely entertaining, but it’s also an emotionally resonant character-driven war film. 1. Synonyms Undeniably the most underseen film of 2019, Synonyms, the semi-autobiographical dramedy from Israeli filmmaker Nadav Lapid, is also one of the most resonate films of the decade. Likely to stick with viewers long after the credits roll, Lapid’s film offers one of the most effective explorations of identity to grace the screen in quite a long time. Although the unconventional narrative structure and ambitious form employed by Lapid are likely to alienate general audiences, the story is extremely hard-hitting and holds the same emotional impact across repeat viewings. It’s understandable why this film hasn’t yet caught the public’s eye, but at the same time, it absolutely deserves more attention. What were some of your favorites of 2019? One can only hope that 2020 offers just as many great films!
by Camden Ferrell  Best Motion Picture -- Musical or Comedy
Once Upon a Time in Hollywood This category was a particularly strong one this year, but it was always clear that this was an award that Quentin Tarantino’s Once Upon a Time in Hollywood had secured. This film about an actor, his stunt man, and life in Hollywood is a joyful experience that definitely deserved the award. It beat out the hilarious murder mystery Knives Out, the playful anti-hate satire Jojo Rabbit, the dazzling Elton John biopic Rocketman, and the Eddie Murphy led Dolemite is my Name. Best Motion Picture -- Drama 1917 In one of the bigger surprises of the night, Sam Mendes’s World War I film 1917 won the award for best drama. This was an unpredictable category that featured some strong competitors. Both The Irishman and Joker were wildly popular films that fared a strong chance at the prize. In addition to those, Marriage Story and The Two Popes were other critical gems that were competing. Even though I have yet to see 1917, I believe that this is a choice that was ultimately refreshing and unexpected. Best Director -- Motion Picture Sam Mendes -- 1917 Another unpredictable category, Sam Mendes took home the award for 1917. His competition was extremely tough this year. He beat out Bong Joon-Ho, Martin Scorsese, Todd Phillips, and Quentin Tarantino for the award. All of these men garnered a lot of critical buzz, but it was surprising to see Mendes win. Even though I wasn’t a huge fan, I believed the award would have certainly gone to Scorsese due to the amount of buzz he was getting for The Irishman, but I can’t wait to see how Sam Mendes did when 1917 has its wide release this week. Best Screenplay -- Motion Picture Quentin Tarantino -- Once Upon a Time in Hollywood While Tarantino’s script for Once Upon a Time in Hollywood was solid and brought a lot of life to the heart of the film, its win is a bittersweet one. Noah Baumbach (Marriage Story) and Bong Joon-Ho (Parasite) wrote some of the most brilliant screenplays of the year but unfortunately lost to Tarantino. The film also beat out The Two Popes and The Irishman. Best Actor in a Motion Picture -- Musical or Comedy Taron Egerton -- Rocketman Taron Egerton’s role as Elton John in Rocketman was one of the best performances this year, and it deserved this award. Both Leonardo DiCaprio and 12-year-old Roman Griffin Davis both did stellar jobs as well this year, but not as well as Egerton. He also beat out Eddie Murphy and Daniel Craig who also delivered some really great performances this year as well. Best Actor in a Motion Picture -- Drama Joaquin Phoenix -- Joker It was inevitable, and nobody was surprised that Joaquin Phoenix took home the prize for Joker. It’s easily one of the most criminally over-hyped films in recent memory, and it didn’t deserve too much recognition. Although Phoenix wasn’t bad as an actor in the film, both Adam Driver (Marriage Story) and Antonio Banderas (Pain and Glory) were far more deserving of the award. It’s a disappointment, but not a surprising one. Best Actress in a Motion Picture -- Musical or Comedy Awkwafina -- The Farewell In another no-brainer choice, Awkwafina took home the award for her performance in The Farewell. She gave a subtle and deeply resonant performance that definitely deserved this award. Emma Thompson (Late Night) and Beanie Feldstein (Booksmart) both gave phenomenal performances, but this award was always going to be Awkwafina’s. She also beat out Ana de Armas (Knives Out) and Cate Blanchett (Where’d You Go, Bernadette?). Best Actress in a Motion Picture -- Drama Renée Zellweger -- Judy It appears the critical buzz around Renée Zellwegger for Judy didn’t subside as much as we thought. While she was fantastic in that movie, it seemed almost certain that the award would go to either Scarlett Johansson for Marriage Story or even Saoirse Ronan for Little Women. Cynthia Erivo (Harriet) and Charlize Theron (Bombshell) were both also up for the award. Best Actor in a Supporting Role in Any Motion Picture Brad Pitt -- Once Upon a Time in Hollywood While not a complete surprise, Brad Pitt’s win was a well-deserved one. His role as Cliff Booth in Once Upon a Time in Hollywood was one of the most enjoyable performances of the year and deserved this award. He faced some strong competition from Joe Pesci and Al Pacino (who most likely split their votes) as well as Tom Hanks for his empathetic portrayal of Mister Rogers. Anthony Hopkins (The Two Popes) also competed for the award. Best Actress in a Supporting Role in Any Motion Picture Laura Dern -- Marriage Story Laura Dern’s performance in Marriage Story was very well-done, but it didn’t deserve the award in this category. Jennifer Lopez’s performance in Hustlers was truly amazing, and it’s one of the best performances by an actress this year that deserved the award, and while Kathy Bates and Annette Bening gave some strong performances this year, they were probably less deserving than both Dern and Lopez. Dern also beat Margot Robbie who was nominated for Bombshell. Best Motion Picture -- Foreign Language Parasite Arguably the least surprising win was Parasite winning best foreign language film. This film has been riding an immense wave of critical and commercial acclaim since its premiere at Cannes. This darkly funny satire about class was a shoo-in for the award. Other competitors like Portrait of a Lady on Fire, The Farewell and Pain and Glory were phenomenal films that had the misfortune of competing against a movie as huge as Parasite. Best Motion Picture -- Animated Missing Link Easily the biggest surprise of the night, Missing Link beat out some strong competition. Laika has historically been overshadowed by Disney and their films. It seemed very plausible that Toy Story 4 would take the prize or even Dreamworks’s How to Train Your Dragon sequel. However, it’s a highly pleasant surprise for this delightful stop-motion animated film to win the award. Best Original Score -- Motion Picture Hildur Guðnadóttir -- Joker Admittedly, one of the few virtuous aspects of Joker is its very competent score. However, Randy Newman’s score for Marriage Story was heartachingly beautiful from start to finish and definitely deserved the award. Alexandre Desplat also delivered a sweet and poignant score for Greta Gerwig’s Little Women. Hildur Guðnadóttir’s score also beat out the scores for 1917 and Motherless Brooklyn. Best Original Song -- Motion Picture (I'm Gonna) Love Me Again -- Rocketman Elton John’s song (I’m Gonna) Love Me Again definitely deserved this award, but it had some competition. Into the Unknown from Frozen II was my prediction due to how popular the film is and the previous success of its writers. The song from Rocketman also beat out some fairly strong songs from Cats, The Lion King, and Harriet. By Sean Boelman  In recent years, the race for Best International Film has gotten increased publicity, with last year’s Roma and this year’s Parasite being critical and audience favorites entering the greater Best Picture conversation. However, despite the benefits of heightened attention for the contenders, a majority of the buzz seems to be going to the one frontrunner. The purpose of this article is to help make people more aware of the other great nominees.
The clear favorite to win the award (both the Golden Globe and the Oscar) is the South Korean film Parasite. A wickedly funny dark satire, Bong Joon-ho’s film follows a lower-class family as they slowly infiltrate the lives of their wealthy employers. Bong has quite a bit on his mind with this film, and he tells it in a way that is consistently entertaining and surprisingly accessible to general audiences. Additionally, the film is absolutely gorgeous, the cinematography and production design being among the best of the year. Still, even though it is excellent, it still feels like the least deserving of the contenders in a completely stacked category. Another film likely to translate its Golden Globe recognition into an Oscar nomination is Ladj Ly’s French thriller Les Misérables. Not to be confused with the musical inspired by Victor Hugo’s 1862 classic novel, Ly’s film is an exploration of police brutality within the modern French police system. This is likely the most thought-provoking and challenging film of the bunch, and while not all of its ambitious swings hit, this is certainly a very timely and important film. Though it lacks the polish of Parasite, Ly’s gritty style fits the film perfectly. The final Golden Globe nominee that is likely to also show up in the Oscars race is Pain & Glory, a semi-autobiographical drama from Spanish director Pedro Almodóvar. Antonio Banderas is considered a favorite for his wonderful performance as a film director who is reflecting on the mistakes he has made over his lifetime. Quiet and contemplative, the film is one of the more low-key nominees, but Almodóvar still brings a distinguished and intriguing visual style to his story. What truly makes this film stand out, though, is its undeniably personal nature. What is surprising about this year’s Best International Film race is that the two best films vying for the Golden Globe have no chance of being nominated for the Oscar. Portrait of a Lady on Fire, Céline Sciamma’s elegant French lesbian romance, was passed over by the French selection committee in favor of Les Misérables. Although both films theoretically deserve a nomination, Portrait of a Lady on Fire is the clearly superior film with its nuanced but deliberate story and breathtaking cinematography. The final (and arguably best) nominee for the Golden Globe for Best Foreign Language Film is the one that shouldn’t be there. Since the Golden Globes still have it as a “foreign language” category, Lulu Wang’s autobiographical dramedy The Farewell was relegated to this competition instead of the main categories in which it rightfully belongs. The film’s premise, hiding a family member’s terminal condition from them, is rooted in a cultural practice unknown to most viewers, and that is what makes the film so intriguing. Also of note are Wang’s hilarious script and great performances from Awkwafina and Zhao Shuzhen (the former of whom was nominated as well). This batch of nominees is indicative of some of the greater issues with the awards system. For the Golden Globes, films that are nominated in the Best Foreign Language Film category are not eligible to be nominated in the two main competitions, resulting in two films that arguably deserve a nomination in these more prestigious categories being relegated to a lesser laurel. The issue in the Oscars race for Best International Film is even more frustrating, though. With the current nominations process, each country only gets to submit a single film as their representative in the awards. In a year such as this, in which there are two worthy contenders from a single country (Les Misérables and Portrait of a Lady on Fire from France; Synonyms and Incitement from Israel), some films that deserve (and arguably even need) this added attention won’t get it. Even though the idea of an award honoring the best in international cinema is welcome and necessary, there is a better way to go about it. |