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Network Distributing – The British Film Collection on DVD

Wednesday, February 10th, 2016

Network Distributing in the UK have launched an incredible new series of classic films on DVD.

Network Distributing Ltd. has just initiated an excellent series of restored British films, effectively reclaiming not only the canonical classics of British cinema, but also the films of such now forgotten but brilliant filmmakers as Brian Desmond Hurst, Basil Dearden, the lost films of the Ealing Studios, and so much more. As their website notes, “I never want to see anything conventional on this network. A single line of dialogue from Sidney Lumet’s 1976 movie Network provided both the name and the company philosophy for the Network brand.

Since 1997, Network has been anything but conventional. Experimental, passionate, diverse, challenging, ever-willing to champion the underdogs of film and television; titles unjustly neglected and gathering dust in the vaults of TV companies; visionary directors from the fringes of mainstream cinema and beyond. TV and film titles which might otherwise have been lost to posterity have been rescued, preserved and restored where possible.

A forgotten cache of Public Information Films – destined for destruction – was saved, digitized and turned into a hit video release. Castaways like Robinson Crusoe provided the launching pad for an ongoing series of archival releases which continues to this day.

With its encyclopedic knowledge of TV and film archives and library content, Network – in partnership with ITV, BBC, Rank, ITC, Thames, FremantleMedia, Studiocanal and many others – has brought back to the marketplace a wealth of material that would otherwise have been left unseen. Restoration work on iconic brands such as The PrisonerThe SweeneyRobin Of Sherwood and Ripping Yarns, has introduced these and other series to new audiences in a quality never previously seen, supplemented by a wealth of brand-new material.

The restoration program continued in 2014 with the first ever restoration of the iconic 70s crime series The Professionals as well as hundreds of titles from the Studiocanal library for which Network launched an imprint called simply The British Film in 2013.

Network’s theatrical releasing arm adds an eclectic range of world cinema, introducing UK audiences to the works of new directors such as Pablo Larraín (Tony Manero, Post Mortem and Oscar-nominated NO), Xavier Dolan and Cristián Jiménez. In 2012 Network commissioned Nitin Sawhney to compose a brand new score for Hitchcock’s 1927 silent film The Lodger which premiered at the Barbican to a sell-out audience and widespread acclaim.

Network continues to champion the ongoing documentary work of luminaries such as John Pilger, whose new film Utopia was released in 2013 and which also saw Network come on board as a major investor for the first time. 2014 saw further acquisitions, strengthening further its Latin American slate including Berlinale winner Gloria and Cannes awarded Heli.

Other special projects have included the soundtrack releases of some of the best-known ITC shows from the 60s, with limited edition vinyl releases planned for 2015. Network is a brand run by specialists with inside knowledge of the TV and film industries, and a passion for quality. Preserving the old whilst promoting the new, Network offers something for everyone: from world cinema students to those nostalgic for the TV memories of their childhood.

After more than fifteen years and 2000 releases on DVD, Blu-ray, VOD and in cinemas, there is still nothing conventional on this Network.” There are some real gems here – and some dross – but if you can’t see it, you won’t know which is which, and a review, no matter how well-informed or well-intentioned, can never substitute for a screening of the film itself.

Check out the nifty trailer for The British Film Collection by clicking here, or on the image above.

The SAG Awards – Notice A Difference?

Monday, February 1st, 2016

The Screen Actors Guild Awards stand in stark contrast to the 2016 Oscar Nominations.

As Pete Hammond wrote in Deadline, “there can be no question that diversity was the story of the night at the 22nd Annual SAG Awards, especially in terms of the television wins which were dominated by Idris Elba and a host of African American television stars.

Certainly in light of all the controversy surrounding Oscar’s second year in a row of an all-white acting lineup, the SAG results this year will draw headlines as a direct comparison to what we are going to be seeing on Oscar night, even though the comparison is somewhat unfair as nearly all of these diverse winners came from the far more inclusive television side of things, and many such as Uzo Aduba, her show Orange Is The New Black and Viola Davis repeated their same SAG victories from last year.

As Elba, who won Best Male Actor in a movie or mini for his series Luther, as well as Male Actor In a Supporting Role for the film Beasts Of No Nation, said when he came out later to present a clip from Beasts, ‘welcome to diverse TV.’ That was just about the only reference to the big story of recent days, one in which Elba was often mentioned as having been unfairly passed over for an Oscar nod for Beasts.”

Added Scott Feinberg in Variety, “as if the Academy of Motion Picture Arts and Sciences needed some more salt thrown into the gaping wound it suffered upon the announcement of this year’s Oscar nominations, the 22nd annual Screen Actors Guild Awards produced the most diverse set of winners in the event’s history.

With Academy president Cheryl Boone Isaacs sitting in the audience, Idris Elba was awarded the best supporting actor prize for his performance in Beasts of No Nation — one that the Academy’s actors branch didn’t even nominate — and there were many other winners of color on the TV side, including Elba, again, for Luther; Uzo Aduba for Orange Is the New Black (which also won best comedy series); Queen Latifah for Bessie; and Viola Davis for How to Get Away With Murder. And in a nod toward gender diversity, Jeffrey Tambor won for his portrayal of a trans woman in Transparent.

It all was enough to make one wonder if the most effective way to reform the Academy might be to invite the thousands of guild members — including the 160,000 who belong to SAG-AFTRA, the largest union of actors in the world — to help pick the Oscar nominees, as they used to do decades ago.” It’s all very interesting, and heartening to see a much wider group of talented people honored here – and it puts the upcoming Academy Awards race in even better perspective. We’ll have to see what happens when that rolls around.

See the complete list of SAG winners by clicking here, or on the image above.

More Movies in 2016 To Be Shot On Film

Saturday, January 30th, 2016

More and more, filmmakers – both mainstream and indie – are returning to actual film for production.

As Ashley Lee wrote in The Hollywood Reporter on January 28, 2016 – just two days ago – “Star Wars: Episode IX will be shot on film, not digital, said [director] Colin Trevorrow . . . The director of the upcoming installment stated his case on Thursday during a Sundance Film Festival panel called ‘Power of Story: The Art of Film‘ alongside Christopher Nolan and Rachel Morrison, and moderated by Alex Ross Perry.

‘The only place where I tend to not be able to attach myself entirely to something shot digitally is when it’s a period film. There’s something in my brain that goes, “Well, they didn’t have video cameras then,” he said. “[Film] tends to remind us of our memories, of our childhoods, the way we used to see films.” Trevorrow — who shot Jurassic World on film because ‘this can’t look like two computers fighting, that’s what we kept repeating to ourselves’ — humorously noted that signing on to helm Star Wars: Episode IX ‘gets back to my issue of shooting digital for period films. I could never shoot Star Wars on anything but [film] because it’s a period film: It happened a long time ago!’ . . .

[Director Christopher] Nolan, a major advocate of the preservation of film, called to dissolve ‘this artificial industrial distinction that’s been made that shooting on video is of the future and practical and is the way forward; shooting on film is impractical and of the past. It’s simply not the case. … You just have to say they’re different.’ Trevorrow then stressed the importance of accessibility for young directors to film — ‘It gives you a respect for the shot and for the edit’ — and called on film schools to take responsibility to do so.

‘They’ve all dropped the ball on us,’ agreed Nolan. ‘They have to be shamed back into it. The idea that you charge what you charge in tuition, … A camera you could buy for half of a semester’s tuition. You’re not teaching that this is one of the choices, and you’re not teaching the discipline that the entire film industry is based on, because we still mix in reels, we still count in frames, even if we’re shooting digital. You have to understand how an Avid works. [But] to understand how all the latest technology applied to film works, you’re much better off as part of your education if you understand how film works, because that’s where it comes from. The film schools really need to gear up with that.’

Nolan recalled how he had to argue for the use of film since his Memento days, when he was told there would be no printing of dailies, until a line producer rearranged the numbers. He called studios’ application of consumer economics to large-scale productions ‘facile,’ ‘absurd’ and ‘completely untrue;’ though using a Super 8 camera is more expensive than doing so with a digital camera, film’s use in a theatrical release can be done in an economically efficient way” . . .

The Interstellar filmmaker also again applauded Quentin Tarantino’s ask to screen The Hateful Eight in 70mm, and defended him on its early tech glitches. ‘I spoke to a couple people at the screening who said, “Yeah, the DCP didn’t even look as good as the slightly wrong projection, the 70mm print beforehand.” . . . This is a filmmaker who has struggled very hard, worked very hard to really push something out there in the world to entertain people, to give them the best possible experience, and should be celebrated for that. But as soon as there’s some technical hitch, it’s as if it’s his fault, like he built the projector.’

‘I had the same experience myself on one of the IMAX films I’ve made: there had been a press screening and the digital sound had gone out of sync with the picture. Then people asked me about it. I’m like, “I’m the director, I’m on the projectionist. These things happen,” he continued. There’s a culture around wanting to kill film where by any little hitch like that — which happens all the time in the digital world — is pointed to as some kind of proof of something.” But it’s not.

Click here, or on the image above, to see the entire panel discussion, uncut.

Nate Parker’s “Birth Of A Nation” (2016) Electrifies Sundance

Tuesday, January 26th, 2016

Here’s a film that’s a real passion project – and really long overdue.

As Dominic Patten reports from the Sundance Film Festival in Deadline, “‘without an honest confrontation, there is no healing.’ That’s from Birth Of A Nation director-producer-star Nate Parker [speaking on January 25th, 2015] onstage at the Sundance Film Festival. In what I have to say was one of the most emotional experiences I’ve had at a movie theater, Parker world premiered what he called his seven-year ‘passion project.’ His telling of the early 19th century slave revolt led by Nat Turner had audience members crying in their seats and jumping to their feet in a prolonged standing ovation at the film’s conclusion.

Potential buyers for the film streamed out of the lobby mere minutes after the cast had left the stage post – screening. Some worked multiple cell phones (with assistants standing nearby fielding calls of their own) in what appeared to be fevered discussions about the awards-bait film. Speaking to the packed Eccles Theater crowd with almost the entire cast beside him after the lights came up, Parker said, ‘I made this movie for one reason only, creating change agents,’ adding, ‘there are still a lot of injustices in our world.’

Sanitizing nothing, from the systematic and brutal torture inflicted by slave owners on the men and women they enslaved to the 48-hour bloody uprising led by Turner depicted in the movie, the film challenges our conceptions of that terrible time in American history and the lives it destroyed.

‘These people thought they were doing good when they were doing bad,’ said Parker of his effort to depict the entirety of the slavery ecosystem. ‘In 2016, that echoes,’ he added, to a roar of approval from the Park City crowd. While comparisons undoubtedly will be made to such films as Best Picture Oscar winner 12 Years A Slave, Parker’s movie has the added visceral impact of a movie like Schindler’s List, or a handful of other well-told films that depict genocide. So often, I wanted to look away at the carnage as the slave owners and their henchmen mutilated their slaves, but in fact I think that this film demands it be looked at with open and honest eyes. That is why the Sundance crowd reacted so strongly to the film Parker made.”

Making the film was an incredibly long struggle for director/star Parker, who vowed in 2013 that this project would be his next film no matter what – and then spent the next two years getting the funding for the film together. As Wikipedia notes, “The Birth of a Nation is written, produced, and directed by Nate Parker, who also stars as Nat Turner. Parker learned about Turner from an African-American studies course at the University of Oklahoma. He began writing the screenplay for a Nat Turner film in 2009 and had a fellowship at a lab under the Sundance Institute.

While he got writing feedback from filmmakers like James Mangold, he was told that a Nat Turner film could not be produced. The Hollywood Reporter said, ‘But what he heard instead were all the reasons a movie about Nat Turner wouldn’t work: Movies with black leads don’t play internationally; a period film with big fight scenes would be too expensive; it was too violent; it wouldn’t work without a big box-office star leading it; Turner was too controversial — after all, he was responsible for the deaths of dozens of well-off white landowners.’

After Parker finished his acting role in Beyond the Lights in late 2013, he told his agents he would not continue acting until he had played Nat Turner in a film. He invested $100,000 of his money to hire a production designer and to pay for location scouting in Savannah, Georgia.

He met with multiple financiers, and the first to invest in the film were retired basketball player Michael Finley (who invested in the film The Butler) and active basketball player Tony Parker. Nate Parker eventually brought together 11 groups of investors to finance 60 percent of the $10 million production budget, and producer Aaron L. Gilbert of Bron Studios joined to cover the remaining financing.”

As director/star Parker said of the film, ‘I kind of sold this project to investors and cast on legacy. I honestly think this is a film that could start a conversation that can promote healing and systemic change in our country. There’s so many things that are happening right now in 2015 — 100 years after the original Birth of a Nation [1915] film, here we are. I’d say that is what I hope sets my film apart, is that it’s relevant now — that people will talk about this film with the specific intention of change.’

And here’s more good news, from Mike Fleming Jr. of Deadline: “In a record-breaking deal for the Sundance Film Festival, Fox Searchlight is wrapping up a deal to pay around $17.5 million to acquire world rights for The Birth Of A Nation. The deal’s still being finalized, but this brings to a close one of the most freewheeling all-night bidding battles ever seen here in Park City.

It also births a major new filmmaking voice in Nate Parker, who directed and stars in a film he scripted and produced. The deal, which calls for a widescreen commitment in awards season, far surpasses precedent-setting Sundance acquisitions like the $10.5 million deal for Little Miss Sunshine in 2006, and the $10 million deal for Hamlet 2 in 2008. So it looks like this film might actually receive the widespread theatrical release it so clearly deserves.

Sony, Universal, TWC, Netflix, Warner Bros, Paramount, Lionsgate and Fox Searchlight were all in the mix early Monday evening, chasing a world rights deal with bids that started around $12 million. At a time when focus has been on a lack of diversity in Oscar nominees for a second straight year, The Birth Of A Nation was viewed by potential buyers as having true awards potential [. . .]

The film marks the feature directorial debut of Parker, an actor who has directed several short films and been part of the ensemble casts of films including The Great Debaters, The Secret Life Of Bees, Red Tails and Ain’t Them Bodies Saints. He will leave the mountain as a major filmmaker to watch [emphasis added]“

The response to D.W. Griffith’s appalling Birth of A Nation we’ve been waiting for - kudos to Nate Parker!

Deniz Gamze Ergüven’s Compelling New Film “Mustang” (2015)

Sunday, January 24th, 2016

Deniz Gamze Ergüven’s (center above, with her cast) debut film Mustang is a remarkable piece of work.

As Carolina A. Miranda wrote in The Los Angeles Times - easily the best mainstream paper covering film in the United States – “It starts off as an innocent game: Five exuberant young girls, playing with boys on a beach, piling on top of one another’s shoulders to wrestle. Gossipy villagers construe the play as something sexual — and word gets back to the girls’ family. Suddenly, these spirited young women find themselves punished, trapped by their family and the strict gender mores of their remote Turkish village — a condition they do their best to escape in increasingly elaborate ways.

Mustang, the debut feature film from French-Turkish director Deniz Gamze Ergüven, has captivated audiences around the world with its dreamy style, its charismatic cast and its thorny subject matter, the latter of which gets at an ongoing social divide in Turkey, in which rests the issue of the place of women. The film has also catapulted its 37-year-old director into the international limelight. Mustang was part of the Official Selection at Cannes, where it won the Europa Cinemas prize, it made the shortlist for the Academy Award for foreign film, and it nabbed a Golden Globes nomination in the same category.

The story, interestingly, is all based on an incident that Ergüven experienced as a girl in Turkey. (The director was born in Turkey but has lived in France for most of her life — traveling between the two countries regularly.) She and family members played a game riding on boys’ shoulders, an action that was similarly misconstrued by local villagers. ’The discussion was less violent than in the movie, but the point was the same,’ she says. ‘You’re called to strict rules very brutally’ . . .

In this lightly edited conversation, she discusses the hybrid cultural place her film occupies, the ways in which it secretly pays tribute to a popular Hollywood escape film and the Los Angeles-related project she may be working on next.

Your film — a Turkish-language film set in Turkey — is the official French selection for the Academy Awards. At a time in France in which right-wing politicians have made statements against immigrants, has it led to any blowback for you? How has the film community treated the selection?

It’s the second time I’m running for France with a Turkish-speaking movie, since I also ran at Cannes. The film is considered French. As soon as we came out of postproduction we were embraced by Unifrance [which promotes French films abroad] and the Ministry of Culture. There was no distinction between “Mustang” and any other movie. I’m French [but Turkish]. Most of the team was French.

It was a very modern choice and a very radical choice. There is a lot of right-wing ideas in Europe these days. But what I love the most about France is that there is curiosity of looking at the world through film. French producers are very invested in different directors from the four corners of the world. And in Paris you have an audience that watches film in its original language. What’s happening in Europe, it’s more like a muscular reaction.

But the highest ideals of France and its respect for culture is in making a choice like this and saying, ‘No. We are curious we are open. We are diverse rich and complex and this is what 2015 looks like.’

What about in Turkey? I understand that you have received criticism that the film is not Turkish enough.

The thing is that Turkey right now is extremely polarized — and I take positions very openly, which most people in Turkey don’t do anymore. So, already, 50% of people will be antagonized by what I’m saying. There are a lot of people who really love the film. There are people who really bash it and they say, ‘She’s not one us.’ I find that disturbing.

There are comments which I feel are intellectually dishonest. If you have a troll saying anything negative about the film, when you look at their profile, the first thing you generally see is that they’re from AKP [a socially conservative political party]. They’re not saying, ‘I disagree with you and the film’ or ’I think it’s boring.’ They’re not talking about it in terms of cinema. But, for me, in cinema, there are no frontiers.

You gave your film a very Western name — a distinctly American name in fact. Why?

I wanted one word which would encapsulate the spirit of the girls — which was untameable, wild, free. There is a strength, there is the visual rhyme of their hair, when they’re running around the village, they’re like little wild horses. I looked for different names of wild horses around the world, and this one generated the most in terms of imagery. Then we made the word ours. Now when I see a little girl running freely, I think ‘mustang.’”

Read the entire interview here – my thanks to Gwendolyn Audrey Foster for this recommendation.

Idris Elba’s Keynote Speech to Parliament on Diversity in the Media

Friday, January 22nd, 2016

Here’s Idris Elba’s powerful speech to Parliament on the need for diversity in the media.

As he says in the speech, “I’m here to talk about diversity. Diversity in the modern world is more than just skin color – it’s gender, age, disability, sexual orientation, social background, and – most important of all, as far as I’m concerned – diversity of thought. Because if you have genuine diversity of thought among people making TV & film, then you won’t accidentally shut out any of the groups I just mentioned . . .

Ask women, they’ll say the same thing. Or disabled people. Or gay people. Or any number of under-represented groups. So today I’m asking the TV & film industry to think outside the box, and to GET outside the box. This isn’t a speech about race, this is a speech about imagination. Diversity of thought.” Certainly, that’s not too much to ask in the 21st century!

His talk is illuminating and inspiring – read the full text by clicking here.

Underwhelmed by Oscar Nods?

Thursday, January 14th, 2016

Leslie Reed of UNL News & Information interviewed me on the upcoming Oscars.

As she writes, “University of Nebraska-Lincoln film studies professor Wheeler Winston Dixon wants you to understand one key thing about the Oscar nominations unveiled Jan. 14: They don’t tell you much about movies today. Dixon, known internationally as an expert on modern film as well as its history, was among scholars and critics invited to submit a list of 2015’s ten best films to the web journal Senses of Cinema, which some maintain is the most influential web journal on film in existence. See Dixon’s choices here and the entire list of all critics’ picks here.

None of those picks were included in the list of Oscar nominees. ‘For me, this year the Oscars are increasingly irrelevant, as they are for many of my colleagues,’ he said. ‘These are a small set of films, picked by industry people to showcase the Hollywood film industry, and they really don’t give an accurate picture of what’s going on in the world of film, even nationally anymore.’

The Oscar nominees for best picture are The Big Short, Bridge of Spies, Brooklyn, Mad Max: Fury Road, The Martian, The Revenant, Room and Spotlight.

Meanwhile, Dixon’s top 10 for Senses of Cinema were Clouds of Sils Maria, Uncle John, Apollo 18, Queen of Earth, Chi-Raq, 99 Homes, Being Elizabeth Bishop, Infinitely Polar BearThe Gift and Pasolini. (Caveat: Dixon now says he’d boot Apollo 18 from his list and add No Home Movie, Maps to the Stars and The Lesson.)

He’s not surprised if you have heard of few, if any, of those films. ‘Only the big blockbusters get ad dollars behind them, and thus national theater screens, while the smaller more adventurous films simply don’t get the exposure they once did,’ he said. ‘Where once everything had to open in a theater to make its cost back, now smaller-scale films can easily be shunted to DVD, VOD, or digital HD downloads with little risk of losing ad dollars.’

Studios want to put the most ad dollars behind the films that cost the most and have the most to lose, he said, while leaving the rest to find whatever audience they can. Even marginally risky films like Carol, Trumbo and Spotlight got only a token release.

Dixon is also among film critics who predict that the Motion Picture Academy will get blowback for its all-white slate in the acting categories. Straight Outta Compton, directed by F. Gary Gray, was nominated for its screenplay, but Spike Lee’s Chi-Raq was nowhere to be seen.

‘There are many, many excellent films out there, and performances, that deserve attention, not least of which is Samuel L. Jackson for either Chi-Raq or The Hateful Eight,’ Dixon said. “And why didn’t Spike Lee’s film get a nomination? Sad.’ Dixon discusses who he thinks will win the 2016 Oscars in his Frame by Frame blog.”

Thanks, Leslie – now we’ll have to see how this plays out.

Nominees for 88th Academy Awards Announced

Thursday, January 14th, 2016

And the nominees are . . .

Best Picture

The Big Short, Brad Pitt, Dede Gardner and Jeremy Kleiner

Bridge of Spies, Steven Spielberg, Marc Platt and Kristie Macosko Krieger

Brooklyn, Finola Dwyer and Amanda Posey

Mad Max: Fury Road, Doug Mitchell and George Miller

The Martian, Simon Kinberg, Ridley Scott, Michael Schaefer and Mark Huffam

The Revenant, Arnon Milchan, Steve Golin, Alejandro G. Iñárritu, Mary Parent and Keith Redmon

Room, Ed Guiney

Spotlight, Michael Sugar, Steve Golin, Nicole Rocklin and Blye Pagon Faust

Best Actor

Bryan Cranston, Trumbo

Matt Damon, The Martian

Leonardo DiCaprio, The Revneant

Michael Fassbender, Steve Jobs

Eddie Redmayne, The Danish Girl

Best Actress

Cate Blanchett, Carol

Brie Larson, Room

Jennifer Lawrence, Joy

Charlotte Rampling, 45 Years

Saoirse Ronan, Brooklyn

Best Supporting Actor

Christian Bale, The Big Short

Tom Hardy, The Revenant

Mark Ruffalo, Spotlight

Mark Rylance, Bridge of Spies

Sylvester Stallone, Creed

Best Supporting Actress

Jennifer Jason Leigh, The Hateful Eight

Rooney Mara, Carol

Rachel McAdams, Spotlight

Alicia Vikander, The Danish Girl

Kate Winslet, Steve Jobs

Best Directing

Adam McKay, The Big Short

George Miller, Mad Max: Fury Road

Alejandro González Iñárritu, The Revenant

Lenny Abrhamson, Room

Tom McCarthy, Spotlight

Best Film Editing

The Big Short, Hank Corwin

Mad Max: Fury Road, Margaret Sixel

The Revenant, Stephen Mirrione

Spotlight, Tom McArdle

Star Wars: The Force Awakens, Maryann Brandon and Mary Jo Markey

Best Foreign Language Film

Colombia, Embrace of the Serpent

France, Mustang

Hungary, Son of Saul

Jordan, Theeb

Denmark, A War

Best Original Score

Thomas Newman, Bridge of Spies

Carter Burwell, Carol

Ennio Morricone, The Hateful Eight

Jóhann Jóhannsson, Sicario

John Williams, Star Wars: The Force Awakens

Best Production Design

Bridge of Spies, Production Design: Adam Stockhausen; Set Decoration: Rena DeAngelo and Bernhard Henrich

The Danish Girl, Production Design: Eve Stewart; Set Decoration: Michael Standish

Mad Max: Fury Road, Production Design: Colin Gibson; Set Decoration: Lisa Thompson

The Martian, Production Design: Arthur Max; Set Decoration: Celia Bobak

The Revenant, Production Design: Jack Fisk; Set Decoration: Hamish Purdy

Best Visual Effects

Ex Machina, Andrew Whitehurst, Paul Norris, Mark Ardington and Sara Bennett

Mad Max: Fury Road, Andrew Jackson, Tom Wood, Dan Oliver and Andy Williams

The Martian, Richard Stammers, Anders Langlands, Chris Lawrence and Steven Warner

The Revenant, Rich McBride, Matthew Shumway, Jason Smith and Cameron Waldbauer

Star Wars: The Force Awakens, Roger Guyett, Patrick Tubach, Neal Scanlan and Chris Corbould

Best Adapted Screenplay

The Big Short, Charles Randolph and Adam McKay

Brooklyn, Nick Hornby

Carol, Phyllis Nagy

The Martian, Drew Goddard

Room, Emma Donoghue

Best Original Screenplay

Bridge of Spies, Matt Charman and Ethan Coen & Joel Coen

Ex Machina, Alex Garland

Inside Out, Pete Docter, Meg LeFauve, Josh Cooley; Original story by Pete Docter, Ronnie del Carmen

Spotlight, Josh Singer and Tom McCarthy

Straight Outta Compton, Screenplay by Jonathan Herman and Andrea Berloff; Story by S. Leigh Savidge, Alan Wenkus and Andrea Berloff

Best Animated Feature Film

Anomalisa, Charlie Kaufman, Duke Johnson and Rosa Tran

Boy and the World, Alê Abreu

Inside Out, Pete Docter and Jonas Rivera

Shaun the Sheep Movie, Mark Burton and Richard Starzak

When Marnie Was There, Hiromasa Yonebayashi and Yoshiaki Nishimura

Best Cinematography

Carol, Ed Lachman

The Hateful Eight, Robert Richardson

Mad Max: Fury Road, John Seale

The Revenant, Emmanuel Lubezki

Sicario, Roger Deakins

Best Costume Design

Carol, Sandy Powell

Cinderella, Sandy Powell

The Danish Girl, Paco Delgado

Mad Max: Fury Road, Jenny Beavan

The Revenant, Jacqueline West

Best Documentary – Feature

Amy, Asif Kapadia and James Gay-Rees

Cartel Land, Matthew Heineman and Tom Yellin

The Look of Silence, Joshua Oppenheimer and Signe Byrge Sørensen

What Happened, Miss Simone?, Liz Garbus, Amy Hobby and Justin Wilkes

Winter on Fire: Ukraine’s Fight for Freedom, Evgeny Afineevsky and Den Tolmor

Best Documentary – Short Subject

Body Team 12, David Darg and Bryn Mooser

Chau, Beyond the Lines, Courtney Marsh and Jerry Franck

Claude Lanzmann: Spectres of the Shoah, Adam Benzine

A Girl in the River: The Price of Forgiveness, Sharmeen Obaid-Chinoy

Last Day of Freedom, Dee Hibbert-Jones and Nomi Talisman

Best Makeup and Hairstyling

Mad Max: Fury Road, Lesley Vanderwalt, Elka Wardega and Damian Martin

The 100-Year-Old Man Who Climbed Out the Window and Disappeared, Love Larson and Eva von Bahr

The Revenant, Siân Grigg, Duncan Jarman and Robert Pandini

Best Original Song

“Earned It,” Fifty Shades of Grey, Abel Tesfaye, Ahmad Balshe, Jason Daheala Quenneville and Stephan Moccio

“Manta Ray,” Racing Extinction, J. Ralph and Antony Hegarty

“Simple Song #3,” Youth, David Lang

“‘Til It Happens to You,” The Haunting Ground, Diane Warren and Lady Gaga

“Writings on the Wall,” Spectre, Jimmy Napes and Sam Smith

Best Animated Short Film

Bear Story, Gabriel Osorio and Pato Escala

Prologue, Richard Williams and Imogen Sutton

Sanjay’s Super Team, Sanjay Patel and Nicole Grindle

We Can’t Live Without Cosmos, Konstantin Bronzit

World of Tomorrow, Don Hertzfeldt

Best Live Action Short Film

Ave Maria, Basil Khalil and Eric Dupont

Day One, Henry Hughes

Everything Will Be Okay (Alles Wird Gut), Patrick Vollrath

Shok, Jamie Donoughue

Stutterer, Benjamin Cleary and Serena Armitage

Best Sound Editing

Mad Max: Fury Road, Mark Mangini and David White

The Martian, Oliver Tarney

The Revenant, Martin Hernandez and Lon Bender

Sicario, Alan Robert Murray

Star Wars: The Force Awakens, Matthew Wood and David Acord

Best Sound Mixing

Bridge of Spies, Andy Nelson, Gary Rydstrom and Drew Kunin

Mad Max: Fury Road, Chris Jenkins, Gregg Rudloff and Ben Osmo

The Martian, Paul Massey, Mark Taylor and Mac Ruth

The Revenant, Jon Taylor, Frank A. Montaño, Randy Thom and Chris Duesterdiek

Star Wars: The Force Awakens, Andy Nelson, Christopher Scarabosio and Stuart Wilson

My choices, not to say that these entries will win, just a personal opinion – and remembering that there were many worthy films not nominated – Best Picture: Spotlight; Best Actor: Bryan Cranston; Best Actress, Charlotte Rampling; Best Supporting Actor: Mark Ruffalo; Best Supporting Actress, Rachel McAdams; Best Directing: Tom McCarthy; Best Film Editing: Tom McArdle; Best Foreign Film: Son of Saul (which will win); Best Original Score: Ennio Morricone (for a lifetime of work); Best Production Design: Mad Max: Fury Road; Best Visual Effects, Star Wars: The Force Awakens; Best Adapted Screenplay: none of the nominees; Best Original Screenplay: Spotlight; Best Animated Feature Film: Inside Out (which will win); Best Cinematography: Robert Richardson, for bringing 70mm film back to life; Best Costume Design: none of the nominees; Best Documentary Feature: What Happened, Miss Simone?; and the rest I’ll leave for the moment.

However, I predict that The Revenant will pretty much sweep the major awards, at least at this stage of the game.

All of this subject to change without notice; it’s the annual Oscar race again!

Twenty British Films – A Guided Tour by Brian McFarlane

Tuesday, January 12th, 2016

British film specialist Brian McFarlane has an excellent new book on British cinema, old and new.

Here’s a remarkable new book from the seemingly indefatigable Brian McFarlane, Honorary Associate Professor, School of English, Communication and Performance Studies, Monash University, Melbourne, and Visiting Professor, Film Studies, University of Hull.

In choosing twenty films, many of them classics of their kind – think of Brief Encounter, The Third Man, Genevieve – as well as some less well-known titles, Brian McFarlane communicates his enthusiasm for the sheer range of British cinema as well as a keenly critical interest in what has made these films stay in the mind often after many decades and many viewings.

The book ends in the present day with titles such as Last Orders and In the Loop and it is intended to provoke discussion as much as recollection. Though it is rigorous in conducting its “guided tour” of these films, it does so in ways that make it accessible to anyone with a passion for cinema.

“Brian McFarlane is one of the best friends British cinema has ever had. An Autobiography of British Cinema, an assembly of his enthusiastic interviews with British filmmakers, is valuable, informative and enjoyable. An Encylopedia of British Film is indispensible and without equal.

Now, in Twenty British Films: A Guided Tour, a highly personal but carefully argued choice of ‘twenty films to cherish,’ McFarlane takes us into the heart of a lifelong obsession that became an academic pursuit without losing any of its passion.” — Philip French

You don’t have to be a specialist to enjoy this tour.

Calum Marsh: Ten Movies Not To Miss in 2016

Tuesday, January 12th, 2016

Village Voice critic Calum Marsh picks ten must-see movies in 2016.

The Village Voice, once an indispensable source for film reviews in the 1950s through the late 1990s, fell on hard times when critics Andrew Sarris and Jonas Mekas retired, followed by the departure of Jim Hoberman, and then the Voice itself went from being a paid newspaper to a freebie distributed throughout Manhattan in giveaway boxes. But now it seems to have found itself again in the 21st century with a new group of sharp, perceptive critics, one of whom is Calum Marsh.

In this brief article, Marsh picks out ten films to look forward to in 2016 which are outside the normal fare one might find at the local multiplex, such as Karyn Kusama’s The Invitation, Athina Rachel Tsangari’s Chevalier, Jodie Foster’s Money Monster, Ana Lily Amirpour’s The Bad Batch – which Amirpour, the director of the highly acclaimed vampire thriller A Girl Walks Home Along at Night describes as “‘Road Warrior meets Pretty in Pink” – Kelly Reichardt’s Certain Women, Lorene Scafaria’s The Meddler (shown above) and several other interesting films.

These are all films that absolutely deserve your attention in the New Year, and this brief, informal overview is a great way to think about what you’re going to spend your time watching in 2016. Look beyond the local first-run theaters. Look for more interesting stuff, and you’ll find it. And while you’re exploring this article, click on some of the other links to see The Village Voice’s increasingly interesting film coverage, as we move towards the second decade of the new century.

There’s great filmmaking going on out there – you just have to find it.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

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National media outlets featured and cited Wheeler Winston Dixon on a number of film, media and other topics in the past month - http://newsroom.unl.edu/inthenews/

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