The Los Angeles Film Critics Association voted Saturday on the best films and performances of 2021, with Ryusuke Hamaguchi’s Japanese Oscar entry Drive My Car taking Best Picture and Best Screenplay, and earning Hamaguchi Runner-Up in the race for Best Director.
The Power of the Dog‘s Jane Campion prevailed in the latter category, with Red Rocket‘s Simon Rex taking Best Actor and Parallel Mothers‘ Penélope Cruz claiming Best Actress. The award for Best Documentary went to Ahmir “Questlove” Thompson’s Summer of Soul, with the prize for Best Animation going to Jonas Poher Rasmussen’s animated Neon pic, Flee, and that for Best Film Not in the English Language going to Céline Sciamma’s Petite Maman.
The Los Angeles Film Critics Association is a group made up of L.A. area print and digital journalists, which today deliberated on winners and runners-up in a total of 14 categories. Last year,...
The Power of the Dog‘s Jane Campion prevailed in the latter category, with Red Rocket‘s Simon Rex taking Best Actor and Parallel Mothers‘ Penélope Cruz claiming Best Actress. The award for Best Documentary went to Ahmir “Questlove” Thompson’s Summer of Soul, with the prize for Best Animation going to Jonas Poher Rasmussen’s animated Neon pic, Flee, and that for Best Film Not in the English Language going to Céline Sciamma’s Petite Maman.
The Los Angeles Film Critics Association is a group made up of L.A. area print and digital journalists, which today deliberated on winners and runners-up in a total of 14 categories. Last year,...
- 12/19/2021
- by Dade Hayes
- Deadline Film + TV
The voting for the Los Angeles Film Critics Association’s (Lafca) best films and best performances of 2021 took place virtually on Saturday. The awards were announced via the group’s Twitter account. throughout the day. The top prizes went to Ryusuke Hamaguchi’s “Drive My Car” for Best Picture, plus Best Director, Best Actor Simon Rex (“Red Rocket”), and Best Actress Penelope Cruz (“Parallel Mothers”). See the full list below.
Other top winners of the awards included Jane Campion’s “The Power of the Dog,” which took runner-up in several categories, as well as the music documentary, “Summer of Soul.”
Last year’s top prize for Best Picture went to Steve McQueen’s omnibus film “Small Axe,” with eventual Best Picture Oscar winner “Nomadland” as the runner-up. Carey Mulligan won Best Actress for “Promising Young Woman,” Chadwick Boseman won Best Actor for “Ma Rainey’s Black Bottom,” Youh-jung Youn won Best Supporting Actress for “Minari,...
Other top winners of the awards included Jane Campion’s “The Power of the Dog,” which took runner-up in several categories, as well as the music documentary, “Summer of Soul.”
Last year’s top prize for Best Picture went to Steve McQueen’s omnibus film “Small Axe,” with eventual Best Picture Oscar winner “Nomadland” as the runner-up. Carey Mulligan won Best Actress for “Promising Young Woman,” Chadwick Boseman won Best Actor for “Ma Rainey’s Black Bottom,” Youh-jung Youn won Best Supporting Actress for “Minari,...
- 12/19/2021
- by Ryan Lattanzio and Kristen Lopez
- Indiewire
The Los Angeles Film Critics Association (Lafca) voted on the best achievements in film in 2021 on Saturday, announcing its award winners through its Twitter account.
The organization named Ryusuke Hamaguchi’s breakout drama “Drive My Car” as the best film of the year, with “The Power of the Dog” taking the runner-up slot. Lafca flipped the two in the category of best director, awarding “Power of the Dog” helmer Campion with Hamaguchi as the runner-up. With its best picture win, “Drive My Car” has become one of fourteen films to win the top prize from the Lafca and New York Film Critics Circle. Each of these films has gone on to become a best picture nominee.
Other big winners included Simon Rex in “Red Rocket” for best actor, Penélope Cruz in “Parallel Mothers” for best actress and Ariana DeBose in “West Side Story” for best supporting actress. Best supporting actor...
The organization named Ryusuke Hamaguchi’s breakout drama “Drive My Car” as the best film of the year, with “The Power of the Dog” taking the runner-up slot. Lafca flipped the two in the category of best director, awarding “Power of the Dog” helmer Campion with Hamaguchi as the runner-up. With its best picture win, “Drive My Car” has become one of fourteen films to win the top prize from the Lafca and New York Film Critics Circle. Each of these films has gone on to become a best picture nominee.
Other big winners included Simon Rex in “Red Rocket” for best actor, Penélope Cruz in “Parallel Mothers” for best actress and Ariana DeBose in “West Side Story” for best supporting actress. Best supporting actor...
- 12/18/2021
- by Ethan Shanfeld and J. Kim Murphy
- Variety Film + TV
Close-Up is a feature that spotlights films now playing on Mubi. Anders Edström and C.W. Winters's The Works and Days (of Tayoko Shiojiri in the Shiotani Basin) is exclusively showing on Mubi in the U.S. starting December 5, 2021 in the series Mubi Spotlight.“Thanks to Hesiod for providing the title, Works and Days, and to my sister Rosemary for pointing it out to me.” —Bernadette Mayer in her author’s note for Works & Days (2016) The Works and Days (of Tayoko Shiojiri in the Shiotani Basin) is an eight-hour film that takes us through five seasons of a farmer’s life in a Japanese village so small it doesn’t seem to have a proper name. Anders Edström and C.W. Winters’ second collaborative film is arranged in four parts with three intermissions. The first three sections are each prefaced with a Japanese death poem followed by ten minute intervals...
- 12/8/2021
- MUBI
Mubi is closing the year out on a high note with their December lineup, featuring some of 2021’s most acclaimed U.S. releases.
Highlights include Tsai Ming-liang’s Days (along with his previous feature Afternoon), Kiyoshi Kurosawa’s Wife of a Spy, Andreas Fontana’s Azor, Anders Edströ & C.W. Winter’s eight-hour epic The Works and Days (of Tayoko Shiojiri in the Shiotani Basin), Frank Beauvais’ Just Don’t Think I’ll Scream, and Michael M. Bilandic’s soon-to-premiere Project Space 13.
Also among the lineup is Arnaud Desplechin’s Esther Kahn, a quartet of Godard classics, Cristóbal León and Joaquín Cociña’s short The Bones, produced by Ari Aster, and much more.
Check out the lineup below and get 30 days free here.
December 1 | Pierrot le fou | Jean-Luc Godard | The Cinema of Marx and Coca-Cola: Jean-Luc Godard’s 1960s
December 2 | Le bel indifferent | Jacques Demy | Scenes from a Small Town:...
Highlights include Tsai Ming-liang’s Days (along with his previous feature Afternoon), Kiyoshi Kurosawa’s Wife of a Spy, Andreas Fontana’s Azor, Anders Edströ & C.W. Winter’s eight-hour epic The Works and Days (of Tayoko Shiojiri in the Shiotani Basin), Frank Beauvais’ Just Don’t Think I’ll Scream, and Michael M. Bilandic’s soon-to-premiere Project Space 13.
Also among the lineup is Arnaud Desplechin’s Esther Kahn, a quartet of Godard classics, Cristóbal León and Joaquín Cociña’s short The Bones, produced by Ari Aster, and much more.
Check out the lineup below and get 30 days free here.
December 1 | Pierrot le fou | Jean-Luc Godard | The Cinema of Marx and Coca-Cola: Jean-Luc Godard’s 1960s
December 2 | Le bel indifferent | Jacques Demy | Scenes from a Small Town:...
- 11/23/2021
- by Jordan Raup
- The Film Stage
“It’s sad to get old in any period.” Tayoko (Tayoko Shiojiri) has just watched Yasujirō Ozu’s Tokyo Story on television and it’s struck a nerve of melancholy. The Japanese master’s great films tend to do this to viewers, especially those who find themselves in the midst of painful transition. Her husband Junji (Kaoru Iwahana) has become increasingly ill over the last few months, and the slow passage of time has suddenly taken a different meaning for the woman who spends so many hours outside in the fields cultivating crops.
This observation about aging comes in one of many journal entries that comprise the spine of The Works and Days (of Tayoko Shiojiri in the Shiotani Basin), an experimental study in duration and devotion that intricately overlaps voiceover and ambient sound design to create a symphonic cinematic space in the quietest of locations. If the incessant trilling of insects,...
This observation about aging comes in one of many journal entries that comprise the spine of The Works and Days (of Tayoko Shiojiri in the Shiotani Basin), an experimental study in duration and devotion that intricately overlaps voiceover and ambient sound design to create a symphonic cinematic space in the quietest of locations. If the incessant trilling of insects,...
- 7/15/2021
- by Glenn Heath Jr.
- The Film Stage
After offering up our picks for the best films of the first half of the year, we enter the second half with a strong release slate. Arriving this July is a stellar set of documentaries, a few promising wide releases, new films from some of the century’s most prolific directors, and much more. Check out my picks below.
15. Eyimofe (This Is My Desire) (Arie and Chuko Esiri)
Before an eventual Criterion release, Janus Films will bow the debut feature by Nigerian-raised, New York-educated twins Arie and Chuko Esiri, which recently played at Berlinale, New Directors/New Films, and more. David Katz said in his review, “Fatih Akin’s The Edge of Heaven and Wong Kar Wai’s Chungking Express have been directly cited by the filmmakers as inspirations for Eyimofe, and I would also mention Amores Perros for its interleaving structure and top-to-bottom dissection of a megalopolis, teeming with...
15. Eyimofe (This Is My Desire) (Arie and Chuko Esiri)
Before an eventual Criterion release, Janus Films will bow the debut feature by Nigerian-raised, New York-educated twins Arie and Chuko Esiri, which recently played at Berlinale, New Directors/New Films, and more. David Katz said in his review, “Fatih Akin’s The Edge of Heaven and Wong Kar Wai’s Chungking Express have been directly cited by the filmmakers as inspirations for Eyimofe, and I would also mention Amores Perros for its interleaving structure and top-to-bottom dissection of a megalopolis, teeming with...
- 7/1/2021
- by Jordan Raup
- The Film Stage
Continuing their tradition (assuming La Flor and Dead Souls comprise a tradition) of epic-length arthouse fare, Grasshopper Film will release next month The Works and Days (of Tayoko Shiojiri in the Shiotani Basin), an eight-hour Japanese-Swedish feature from C.W. Winter and Anders Edström. By most accounts (including a top prize at last year’s Berlinale) the picture earns its 480 minutes, having pulled raves from Cinema Scope and Film Comment—the latter claiming it “speaks to the power, beauty, and necessity of the theatrical experience.”
That theatrical experience begins July 16 at Film at Lincoln Center as part of their NYFF58 Redux series, ahead of which comes a sparse, intriguing trailer of remarkable still photographs. Whatever that does (or doesn’t) convey about this eight-hour experience, consider us deeply in its thrall already.
Watch the preview and find two posters below:
The post U.S. Trailer for Acclaimed The Works and Days...
That theatrical experience begins July 16 at Film at Lincoln Center as part of their NYFF58 Redux series, ahead of which comes a sparse, intriguing trailer of remarkable still photographs. Whatever that does (or doesn’t) convey about this eight-hour experience, consider us deeply in its thrall already.
Watch the preview and find two posters below:
The post U.S. Trailer for Acclaimed The Works and Days...
- 6/28/2021
- by Leonard Pearce
- The Film Stage
The 15th Navarre International Documentary Film Festival drew to a close on Saturday with the triumph of the movie co-directed by Anders Edström and CW Winter. On Saturday, the winners of the 2021 Punto de Vista – Navarre International Documentary Film Festival were unveiled, after the gathering unspooled in Pamplona from 15-20 March. The festival’s Grand Prize for Best Film went to a co-production involving the USA, Sweden, Hong Kong, Japan and the UK, The Works and Days (of Tayoko Shiojiri in the Shiotani Basin), directed by CW Winter and Anders Edström. The jury – comprising Nicole Brenez, James Lattimer and Antoine Thirion – called it “a spectacular but at the same time unassuming film. Visiting means seeing, and seeing on a regular basis. At the core of this feature is a distraught woman who is visited by many memories. There is a house, visited by...
Whether a viewer in 1896 or 2020, cinema has always been a dynamic and variable experience. Cinema as an event—as a manifestation of a meeting point between the art of moving images and an audience, big or small—has never fit any one definition, and this last year, so severely disrupted by a global pandemic, has deeply underscored the versatility and resilience of our great love.Our viewing this year, like that of so many, has been strange: compromised, confrontational, escapist, euphoric, painful, revelatory—encompassing all of the reactions one can have to film. How we encountered our favorite movies and most meaningful cinematic experiences of the year was hardly new: A by-now-normal mix of festivals, theatres, various subscription and transactional streaming services, as well as private screener links and gems buried on over-stuffed hard drives. But for most of the year, the communal experience shrunk to living rooms and glowing screens.
- 12/23/2020
- MUBI
As the New York Film Festival concludes its first fully socially distanced iteration, for which selected screenings at drive-ins in Queens, Brooklyn, and the Bronx were supplemented by a nearly complete streaming slate, we’re left to wonder what comes next. I suspect few will disagree that having access to the festival online has been a positive, democratizing experience. At the same time, I don’t think anyone is particularly interested in a future without live, in-person film festivals. There is an existential joy that comes from gathering together, from being together. And when it is safe to do so, I think that rekindling those basic collective experiences will be a large part of reestablishing our sense of what being human means. And once they resume, film festivals will probably look a bit different. One of the intriguing things about this year’s NYFF is that, for most of its “attendees,...
- 10/7/2020
- MUBI
Leading documentary festival Idfa has added 47 films to its program, which run as part of its Masters, Paradocs and Best of Fests sections.
In the Masters section, Idfa has selected 18 titles from today’s auteurs of documentary cinema. In “Irradiated,” winner of the Berlinale Documentary Award, Rithy Panh “contemplates the image of human suffering throughout history in a revolutionary film that approaches cinematic installation,” according to a statement from the festival.
In “Gunda,” Victor Kossakovsky “intimately examines our relationship with animals as he invites audiences to fall in love with the titular character, a wonderful mother pig.” “Paris Caligrammes” sees Ulrike Ottinger “curate a rich archival history of 1960s Paris,” in which the director features alongside the great artists, thinkers and revolutionaries of the day.
Dieudo Hamadi’s “Downstream to Kinshasa” pays tribute to the survivors of the Six-Day War in Hamadi’s native Congo, “finding poetry in stories of human resilience.
In the Masters section, Idfa has selected 18 titles from today’s auteurs of documentary cinema. In “Irradiated,” winner of the Berlinale Documentary Award, Rithy Panh “contemplates the image of human suffering throughout history in a revolutionary film that approaches cinematic installation,” according to a statement from the festival.
In “Gunda,” Victor Kossakovsky “intimately examines our relationship with animals as he invites audiences to fall in love with the titular character, a wonderful mother pig.” “Paris Caligrammes” sees Ulrike Ottinger “curate a rich archival history of 1960s Paris,” in which the director features alongside the great artists, thinkers and revolutionaries of the day.
Dieudo Hamadi’s “Downstream to Kinshasa” pays tribute to the survivors of the Six-Day War in Hamadi’s native Congo, “finding poetry in stories of human resilience.
- 10/6/2020
- by Leo Barraclough
- Variety Film + TV
Never Rarely Sometimes AlwaysCOMPETITIONGolden BearThere is No Evil (Mohammad Rasoulof)Silver Bear — Grand Jury PrizeNever Rarely Sometimes Always (Eliza Hittman) (Read our review.)Silver Bear — 70th BerlinaleDelete History (Benoît Delépine and Gustave Kervern) Silver Bear for Best DirectorHong Sang-soo (The Woman Who Ran) (Read our review.)Silver Bear for Best ActorElio Germano (Hidden Away)Silver Bear for Best ActressPaula Beer (Undine) (Read our review.)Silver Bear for Best ScreenplayFabio and Damiano D'Innocenzo (Bad Tales)Silver Bear for Outstanding Artistic ContributionJürgen Jürges (Dau. Natasha)ENCOUNTERSAward for Best FilmThe Works and Days (of Tayoko Shiojiri in the Shiotani Basin) (C.W. Winter, Anders Edström)Special Jury AwardThe Trouble With Being Born (Sandra Wollner)Award for Best DirectorCristi Puiu (Malmkrog) (Read our review.)Special MentionIsabella (Matias Piñeiro)...
- 3/1/2020
- MUBI
Update, writethru: The 70th Berlin Film Festival, and the first under new leadership team Mariette Rissenbeek and Carlo Chatrian, drew to a close this evening with the Golden Bear awarded to Mohammad Rasoulof’s There Is No Evil. Rasoulof is currently banned from leaving Iran for participation in social and political activity. This is the second time in five years that Berlin’s top prize has gone to an Iranian filmmaker unable to travel outside their home country — the last time was in 2015 when Jafar Panahi scooped the honor for Taxi.
Along with Panahi and Asghar Farhadi, Rasoulof, whose credits also include Manuscripts Don’t Burn, is among the best-known Iranian filmmakers on the international stage. His last picture, A Man Of Integrity, won Cannes’ Un Certain Regard prize in 2017, but his passport was confiscated that same year. Yesterday, the director issued a statement of regret over his inability to...
Along with Panahi and Asghar Farhadi, Rasoulof, whose credits also include Manuscripts Don’t Burn, is among the best-known Iranian filmmakers on the international stage. His last picture, A Man Of Integrity, won Cannes’ Un Certain Regard prize in 2017, but his passport was confiscated that same year. Yesterday, the director issued a statement of regret over his inability to...
- 2/29/2020
- by Nancy Tartaglione
- Deadline Film + TV
“Sheytan vojud nadarad” (“There Is No Evil”) has won the Golden Bear Award at the 2020 Berlin International Film Festival, the Berlin jury announced at a ceremony on Saturday.
The film by director Mohammad Rasoulof consists of four different stories about military men in Iran who are asked to perform executions. It won in a competition lineup that consisted of 18 movies and also included Kelly Reichardt’s “First Cow,” Sally Potter’s “‘The Roads Not Taken,” Philippe Garrel’s “The Salt of Tears,” Abel Ferrara’s “Siberia” and Christian Petzold’s “Undine.”
Eliza Hittman’s “Never Rarely Sometimes Always,” the story of two teenage girls traveling from Pennsylvania to New York City for an abortion, won the Grand Jury Prize, the festival’s second-place award.
Also Read: 'Never Rarely Sometimes Always' Director Explains Why Her Stars Auditioned in a Bathroom (Video)
Acting awards went to Elio Germano for “Volevo nascondermi” (“Hidden Away...
The film by director Mohammad Rasoulof consists of four different stories about military men in Iran who are asked to perform executions. It won in a competition lineup that consisted of 18 movies and also included Kelly Reichardt’s “First Cow,” Sally Potter’s “‘The Roads Not Taken,” Philippe Garrel’s “The Salt of Tears,” Abel Ferrara’s “Siberia” and Christian Petzold’s “Undine.”
Eliza Hittman’s “Never Rarely Sometimes Always,” the story of two teenage girls traveling from Pennsylvania to New York City for an abortion, won the Grand Jury Prize, the festival’s second-place award.
Also Read: 'Never Rarely Sometimes Always' Director Explains Why Her Stars Auditioned in a Bathroom (Video)
Acting awards went to Elio Germano for “Volevo nascondermi” (“Hidden Away...
- 2/29/2020
- by Steve Pond
- The Wrap
The 2020 Berlin Film Festival, which kicked off on February 20, handed out its top prizes today as the fest comes to a close in Germany. The night’s top winner, Iranian filmmaker Mohammad Rasoulof for “There Is No Evil,” could not attend the ceremony due to an Iran-sanctioned travel ban and possible prison sentence for his politically charged film (read IndieWire’s review here). See all this year’s winners below.
As is befitting for a festival season marked by tension, activists were gathered outside the festivities in front of the Berlinale Palast, where the honors took place, demonstrating for climate change. The 70th edition of the Berlinale weathered its share of controversies this year, too, from jury president Jeremy Irons digging up past controversial remarks to the revelation that late festival chief Alfred Bauer had ties to the Nazi party. The first edition assembled by artistic director Carlo Chatrian and...
As is befitting for a festival season marked by tension, activists were gathered outside the festivities in front of the Berlinale Palast, where the honors took place, demonstrating for climate change. The 70th edition of the Berlinale weathered its share of controversies this year, too, from jury president Jeremy Irons digging up past controversial remarks to the revelation that late festival chief Alfred Bauer had ties to the Nazi party. The first edition assembled by artistic director Carlo Chatrian and...
- 2/29/2020
- by Ryan Lattanzio
- Indiewire
Iranian filmmaker Mohammad Rasoulof’s “There Is No Evil,” a drama about the impact of capital punishment on society and the human condition, won the Golden Bear at this year’s Berlin Film Festival on Saturday.
The seven-person festival jury, headed by Jeremy Irons, spread the prizes far and wide, with no single filmmaker dominating the awards.
American writer-director Eliza Hittman won the Silver Bear Grand Jury Prize for “Never Rarely Sometimes Always,” a drama about teen pregnancy, while the Silver Bear for best director went to South Korea’s Hong Sang Soo for his Seoul-set drama “The Woman Who Ran.”
Rasoulof, who is unable to leave Iran due to a travel ban, faces a one-year prison sentence for “spreading propaganda.” The filmmaker released a statement on Friday expressing his sorrow at missing the premiere of “There Is No Evil”: “I am sorry that I will not be able...
The seven-person festival jury, headed by Jeremy Irons, spread the prizes far and wide, with no single filmmaker dominating the awards.
American writer-director Eliza Hittman won the Silver Bear Grand Jury Prize for “Never Rarely Sometimes Always,” a drama about teen pregnancy, while the Silver Bear for best director went to South Korea’s Hong Sang Soo for his Seoul-set drama “The Woman Who Ran.”
Rasoulof, who is unable to leave Iran due to a travel ban, faces a one-year prison sentence for “spreading propaganda.” The filmmaker released a statement on Friday expressing his sorrow at missing the premiere of “There Is No Evil”: “I am sorry that I will not be able...
- 2/29/2020
- by Ed Meza
- Variety Film + TV
Above: Swimming Out Till the Sea Turns BlueThis year is the 70th anniversary of the Berlin International Film Festival, and it celebrates with a change of guard: Out goes festival director Dieter Kosslick and in comes Executive Director Mariette Rissenbeek, presumably managing the business side of the massive event, and Artistic Director Carlo Chatrian, who most recently held the same title at the Locarno Film Festival, leading the curation. This hand-over of responsibility is not unique to Berlin; last year, Locarno’s programming team was new; this year sees new heads of Sundance, Sheffield, and New York film festivals; and next year Rotterdam is under new leadership. As film culture is shifting under the just cultural pressure of inclusion and diversity, major festivals around the world are in the process of shifting gears.What does that mean for the Berlinale? In these early days—and in the first year with...
- 2/22/2020
- MUBI
The 70th Berlin International Film Festival (Feb 20 – March 1) unveiled its Encounters program today, featuring the premieres of new works by Tim Sutton and Romanian director Cristi Puiu.
Also screening is Josephine Decker’s Shirley with Elisabeth Moss and Michael Stuhlbarg, marking the film’s international premiere after its upcoming Sundance bow, and Gunda by Victor Kossakovsky, whose last pic was the 2018 Venice doc Aquarela.
Encounters is a newly-created competitive section at the Berlin festival that looks to highlight “new voices in cinema and to give more room to diverse narrative and documentary forms.” A three-member jury will choose the winners for Best Film, Best Director and a Special Jury Award.
“As a result of passionate research, the 15 titles chosen for Encounters present the vitality of cinema in all of its forms. Each film presents a different way of interpreting the cinematic story: autobiographical, intimate, political,...
Also screening is Josephine Decker’s Shirley with Elisabeth Moss and Michael Stuhlbarg, marking the film’s international premiere after its upcoming Sundance bow, and Gunda by Victor Kossakovsky, whose last pic was the 2018 Venice doc Aquarela.
Encounters is a newly-created competitive section at the Berlin festival that looks to highlight “new voices in cinema and to give more room to diverse narrative and documentary forms.” A three-member jury will choose the winners for Best Film, Best Director and a Special Jury Award.
“As a result of passionate research, the 15 titles chosen for Encounters present the vitality of cinema in all of its forms. Each film presents a different way of interpreting the cinematic story: autobiographical, intimate, political,...
- 1/17/2020
- by Tom Grater
- Deadline Film + TV
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