Official press release below. The 2021 Gotham Award nominations will be announced via live stream on Variety’s website tomorrow at 7am PT / 10am ET.
New York, NY – The Gotham Film & Media Institute announced today that Academy Award-winning filmmaker Jane Campion will receive a Director’s Tribute during the 2021 Gotham Awards Ceremony taking place live and in person on Monday, November 29, 2021 at Cipriani Wall Street in New York City.
Jeffrey Sharp, Executive Director of The Gotham Film & Media Institute, stated: “Jane Campion is a trailblazer, telling beautiful, bold stories with astounding emotional depth. With her remarkable return to feature films with The Power of the Dog, she further cements her stature as one the greatest directors working today. It’s such an honor to recognize this extraordinary filmmaker.”
Best known for her debut feature THE PIANO, Campion was the first female director to win the Palme D’Or and one of only seven women ever to be nominated for the Best Director Oscar. The film also received over 30 international awards along with 9 Academy Award nominations and 3 wins including for Best Screenplay. Most recently, Campion was awarded the Silver Lion for directing at the Venice International Film Festival for her film THE POWER OF THE DOG starring Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons, and Kodi-Smit McPhee. THE POWER OF THE DOG is a See-Saw Films, Bad Girl Creek and Max Films production in association with Brightstar, The New Zealand Film Commission, Cross City Films and BBC Film, produced by Jane Campion, Tanya Seghatchian, Emile Sherman, Iain Canning and Roger Frappier.
The western drama has received rave reviews and is scheduled to be released in a limited release on November 17, 2021, prior to streaming on Netflix on December 1, 2021.
Her other films include SWEETIE which premiered at Cannes; AN ANGEL AT MY TABLE which won 7 prizes at Venice Film Festival, including the Silver Lion; THE PORTRAIT OF A LADY which was nominated for 2 Academy Awards; HOLY SMOKE which was nominated for the Golden Lion and won the Elvira Notari Prize at Venice; IN THE CUT which premiered at Toronto; and BRIGHT STAR which was nominated for the Golden Palm in Cannes.
In television, Jane created, co-wrote, co-directed and executive produced the two season mini-series TOP OF THE LAKE. The series ultimately received 8 Emmy Award nominations including Outstanding Lead Actress for Elizabeth Moss, who also won a Golden Globe for her performance.
The Premier Sponsor of the 2021 Gotham Awards is The New York Times and the Platinum Sponsor is GreenSlate. The Official Auto Partner is Cadillac, the Official Water Partner is FIJI Water, the Official Airline Partner is JetBlue, and the Official Wine Partner is Robert Hall Winery.
It was previously announced that Kristen Stewart will receive the Performer Tribute, Eamonn Bowles the Industry Tribute, and the cast of The Harder They Fall the Ensemble Tribute.
As the first major awards ceremony of the fall season, the Gotham Awards provide critical early recognition and media attention to worthy independent films and series and their writers, directors, producers, and actors with twelve competitive awards categories. The awards are also unique for their ability to assist in catapulting award recipients prominently into national awards season attention. Nominations will be announced on Thursday, October 21, 2021, and the Gotham Awards Ceremony will take place on Monday, November 29, 2021 at Cipriani Wall Street in New York City.
About The Gotham Film & Media Institute
The Gotham celebrates and nurtures independent film and media creators, providing career-building resources, access to industry influencers, and pathways to wider recognition. The organization, under the leadership of Executive Director and award-winning producer Jeffrey Sharp, fosters a vibrant and sustainable independent storytelling community through its year-round programs, which include Gotham Week, Gotham Labs, Filmmaker Magazine, the Gotham Awards, Gotham EDU, Owning It, and Expanding Communities.
About The Gotham Awards
The Gotham Awards, one of the leading honors for independent film and television, provides early acknowledgement to groundbreaking independent films and television series. Selected by distinguished juries and presented in New York City, the home of independent film, the Gotham Awards are the first honors of the film awards season. This public showcase honors the filmmaking community, expands the audience for independent films, and supports the work that The Gotham Film & Media Institute does behind the scenes throughout the year to bring such films to fruition.
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Jane Campion also received the Lumière Prize last weekend in Lyon, France, from the hands of Julia Ducournau, the only two female Palme d’Or winners ever.
“The western drama has received rave reviews and is scheduled to be released in a limited release on November 17, 2021, prior to streaming on Netflix on December 1, 2021.”
Let be clear here…few things first, MOST of the film critics or ones that built a profile have latched themselves on to and taken near complete central control and command of the Academy Awards, the Guilds..where do they come from?
The answer is the fukin Gotham, Venice and Telluride..They do have a part to play in any democratic arts insitution especially HOWEVER the EXTENT OF THEIR INFLUENCE is what ought to DEEPLY concern EVERY EDUCATED INTELLIGENT (MOST OF YOU HERE MIND YOU) film goer…
Nobody NOBODY least all me expects perfect mix balance to get right but surely there come a time (it inevitable this MAY be the last oscar year in what been by FAR the MOST uninspired film choices for best picture best director win at the oscars in all of awards history compared to past eras i can recall)..not cos the films that win more often than not in last 12 years about elevate issues that deserve to take the spotlight SOMETIMES but cos the frequency and the amplified EXTENT to which these type of films are favoured…year in, year out..
look at the alignment between audience ratings (prior to the pandemic) and even prior to streaming services period of domination in the film market (give or take last 7 years) BUT nevertheless the fact that irrespective and prior to the evolution of the digital age for public concumption of cinema or rather, advanced stage THE FACT IRREFUTABLE THAT IN THE ALMOST FIRST HALF OF LAST 12- 14 YEARS OSCAR RATINGS WERE IN THE DECLINE INCLUDING THE MUCH OVERRATED NOTION A HOST WILL TRANSFORM COMPLETELY THE SUCCESSFUL RESTORATION OF THE BROAD BASED APPEAL OF OSCARS PLACE IN THE PUBLIC MIND- LIKE IT BLOODY WELL USED TO UP TILL NOT SURPRISINGLY POST RETURN OF THE KINGS OSCAR WIN…THEN WELL…EVIDENTLY THE DECLINE BEGAN…if audience ratings started a big decline AT THE TIME and NOT BEFORE the surge of online streaming market from bout 7 years ago then i concede..perhaps impact of ratings is adaptablility and competitiveness of streaming but NO JUST NO!
So! taking into account that as some have insisted oblivious the route and rot awards season set itself in…as it sped itself knowingly- which is th chilling thing to the very precipice before this awards season almost certain to go over a cliff IF THE TRADITIONAL BIG SCREEN MOVIE IS SACRIFIED FOR APPEASEMENT OF A MINORITY ONLINE!! STARTED BEFORE WELL BEFORE streaming services..why is that? THE AWARDS SEASON IN A WHOLE HAS MARGINALISED WHAT KNOWN AS THE SILENT MAJORITY..it not bout whether there a host or no..nor is it so much bout threat overblown by online streaming viewing of awards shows– and any way they have ways and methods to calculate these things reflective from update with ratings overall for things that are viewed online and out limited release in box office ey?
IT ABOUT THE OVERREPRESENTATION OF THESE FRINGE FILM FESTIVALS…GOTHAM, VENICE AND TELLURIDE ARE ENTITLED TO HAVE THEIR OWN VIEWS WHAT BEST BUT TO ALL BUT CONQUER, INFILTRATE THE CENTRAL POWERS THAT BE…HAS PROVEN TO BE AND LEAD TO THE ROUTE CAUSE OF THE DESTABILISING AND EROSION OF THE TRADITIONAL ESSENCE AND ABANDONMENT OF THE TRADITIONAL FILM VIEWING BASE.
THEY GONE ULTIMATELY FROM HAVING TOO LITTLE INFLUENCE TO TOO MUCH..and manner in which the media cycle covers awards those who follow it, and even (foolishly i add the gullibility and all too willing acceptance of role of online rollercoaster ‘tracking’ of all news of every angle and every fukin nook and cranny leading to awards season has become a double edged blade where the SHARPER END is by FAR the negative end.. THE MORE THE 24 HR MEDIA CYCLE EMPHASISES THE TYPE OF THINGS ACADEMY WRONGLY TOTALLY IGNORED BUT HAVE BLOWN TOTALLY UTTERLY OUT OF PROPORITION AS ACCURATE REPRESENTATION WHICH IT CLEARLY IS NOT OF CROSS SECTION OF FILM GOER THAT EXPECTS QUALITY SURE..BUT ALSO FILMS THAT HAVE FAR BROADER APPEAL THAN THE LARGELY- NOT ENTIRELY TRASH THAT SERVED UP MOST YEARS SINCE AFTER HURT LOCKERS WIN TO BE BLUNT ABOUT IT…
The systemic and admittedly accelerated collapse of of the traditional film base of awards season should have raised alarm bells when ratings drop reached dawn it final descent to the clif ledge..instead this descent into chaos- and it WILL IT ALWAYS DOES HISTORICALLY catch up with any cultural insitution ultimately..the minute you blindside majority following then well..to all players exception obviosuly of awards daily..you REAP WHAT YOU SOW..honestly? you might as well save the academy and the guilds money sa they inevitably lose more than they thought imaginable for goingdown this path..it amounts to an outrageous BETRAYAL of the traditional film base…
G-d i regretted about being right..and i am just one voice..i wanted like most you for awards season to thrive..not diminish..not be taken over from vested interests..but it clear these vested interests are the same people that born out of championing best films of Venice and Telluride far too many years than not…i wager that directlyu or indirectly it from this crowd as a case in point that Sasha has been condemned cut down as case study in assault from th e leftist madness tainting awards seaosn..the political correctness it the politically correct class in hollywood that has corrupted, compromised chewed out and spat out remnants of pride what litte left of awards season.
I look back and make a BIG ADMISSION this era has PUT THINGS INTO P[ERSPECTIVE FOR ME.. i was up in arms when ‘A Beautiful Mind’ year after ; Gladiator’ one.. however…that film stands as one of oh too few ti this day that balanced traditional big screen biopic drama with elevated element of mental health and unique gifts that come with having Savant abilityies..in other words it BALANCED societal psychological issues rarely visited but never lost site first and foremost it was a movie..i got swept up in the smear campaign..but ..compared to mulch that awards season goes for..i can forgive the academy for that one..and i may consider after all getting it on blu ray..
it film that rare example of balance.
THE ACADEMY DESPERATELY NEED A YEAR OF CALLIBRE OF FILMS OF 2 YEARS AGO but even then MORE tradiytional big screen movies …less of socialist..leftisty advocacy bullying that tainted hollywood
Don’t get me wrong… Stewart, Campion… we see this every year… “casually” there are tributes to some of the most buzzed contenders, exactly during the Awards race…
… so I came to the point of understanding, these “tributes” are actually paid by the marketing campaigns and these awards/homages/tributes are mostly technically worthless.
That’s not a criticism on Campion’s or Stewart’s career… but this is every single year..
I think it’s fair to treat any non-voted “award” as a publicity thing first and foremost, regardless whether they are “paid off” or not.
it’s not the same a non-paid award like tributes at Festivals like San Sebastian – I think this year was Johnny Depp – than some “honor” that your marketing team has paid for you to keep your name in the race.
But aren’t those also just personal publicity stuff and often also in relation to a movie playing at the festival and thus an “honor” trying to keep that person and that movie in the conversation at the festival?
the Donostia Award is given not-related to any Awards campaigning or celebrity stunt…
recent winners – so you have an idea…
2021: Johnny Depp, Marion Cotillard
2020: Viggo Mortensen
2019: Penélope Cruz, Donald Sutherland, Costa-Gavras.
2018: Hirokazu Koreeda, Danny DeVito, Judi Dench.
2017: Ricardo Darín, Monica Bellucci, Agnès Varda.
2016: Sigourney Weaver, Ethan Hawke.
2015: Emily Watson.
I can at the very least very quickly point to Kore-eda’s award probably being related to Shoplifters which is that same year. Same perhaps this year with Cotillard and Annette. But even if it’s not, these are not specifically integral awards, they’re just the festival inviting people to give speeches for publicity purposes, both for the person and the festival.
I am always puzzled by Donostia Award. I personally think it should be for careers lasting more than 4 decades or artists that already crossed the 65 years old line… So basically I don’t get some of those winners (Depp, well, he is around the 40 years career) and specially I don’t get the Hollywood-centric picks that they generally do, unless – obviously – they are trying to climb the attention from the other side of the Atlantic to the Festival itself, which is huge, but not quite as huge as the big 3 (Berlin, Venice and Cannes). By the way, I am hoping to get my February holidays on the dates of the Berlinale (it would be the 3rd time!) and this time I am considering actually attending the screenings (if possible, at least some of them… but given how late I will be able to confirm my holidays, probably tickets may be already run out)
The Berlinale is a lovely festival experience and is in my opinion as an experience a lot more accessible for experimentation than Cannes, although getting tickets for especially the big movies can be quite difficult. If you want some tips about attending, I remember Zhuo-Ning Su gave me some great ones here when I attended and I can look for that message if you’re interested
of course I am interested… I won a trip to Maspalomas that was destined to be in the 2nd week of november, and due to my work’s difficulties with Covid, I could only confirm my holidays for that week, too late… so the budget of the prize was way under the prices available right now, so the trip will have to be next year… and I am focusing on having the trip in February or maybe later, as in February, Berlin (and Leipzig, where I also have good friends I miss) is my preferred choice. I’ve been considering moving to Berlin, Munich or Amsterdam, if I lose my job, I like it better than here. Munich would be maybe my preferred choice, but it is so expensive.
The message:
“Hi Ferdinand, you’re absolutely correct in calling the experience of buying Berlinale tickets traumatic. Before I managed to get accredited, I had to put myself through hell for many years. So here’s is what I’ve learned the hard way:
The good news: it’s a very fair system. The bad news: it’s a very fair system.
Unlike Cannes, where hierarchy is a natural way of life, or Venice, where one ticket to a competition premiere could set you back 50 Euros, Berlin is all about the complete democratization of festival going. You put in the sacrifice, you get rewarded with tickets.
So forget about doing it online. Unless it’s an extraordinarily unpopular movie that screens early morning on a week day or you have military-level data speed, the chance of booking Berlinale tickets online from a very limited contingent is minimal. And the worst part is, when you realize the online contingent is sold out and head to the ticket counter, the line there is usually so huge there’s no guarantee you can get one there either.
So. The ONLY reliable way of securing tickets is to get up EARLY and queue. Obviously it’s freezing cold this time of year and it literally feels like you’re tearing your soul from your body just trying to wake up and leave the house, but what we wouldn’t do for movies, right?
I remember getting to Potsdamer Platz at 4am to buy the premiere ticket to Stephen Frear’s CHERI in 2009. A six-hour wait. And how can I forget that one time where I camped out for Linklater’s BEFORE MIDNIGHT. Like literally spent the night on the floor of a shopping mall in front of the ticket counter.
These sound like horror stories but they are battle stories too and you actually make friends through these crazy experiences. Also, the sense of pure joy when you finally hold those tickets in your hand? Indescribable.
Of course I didn’t spend countless hours of my life standing in line without learning a trick or two. First of all, it’s relatively easy to buy tickets to screenings at Friedrichstadtpalast. It’s the biggest Berlinale venue and they only rarely TRULY sell out. It’s also probably the only venue where I would encourage you to try and ask for reduced last-minute tickets. My second tip is book tickets for the last day of the festival. For reasons I never understood, it’s much rarer for screenings on the last day (always a Sunday where they even offer cheaper ticket price) to sell out.
Remember too that the general three-day-in-advance rule doesn’t apply in either of these two cases, meaning you can buy tickets to all screenings at the Friedrichstadtpalast and on the last day right now. Back then my record was seeing six films on the last day, from 9am all the way to midnight. A dream.
What else can I tell you…oh a rule of thumb: if you’re trying to buy tickets to screenings at any other venue, not on the last day, competition or any buzzed titles from other sections, you’re usually only safe when your spot in the line is still on that little red carpet they roll out in front of the ticket counter at the Potsdamer Platz Arkaden. The further away from that stretch of red carpet, the riskier it gets.
If it’s any consolation, you should know that even the press have to fight (= queue for hours) for Berlinale tickets to non-press screenings. How I got to see CALL ME BY YOUR NAME at the unforgettable Zoo Palast premiere with Guadagnino and the entire cast? You could probably imagine.”
Also, at least when I attended two years ago, unlike a lot of festivals the tickets came to sale on a day-by-day basis three days before each screening
I was SO tempted to try to get one ticket for Isle of Dogs, last time I was in Berlin… but I thought that it would be completely sold out. I have two of my best friends in Berlin, and I am hosted by them everytime I go, and they are the focus of my trip, to spend time with them… so the Berlinale is secondary… it just happens that my best time to pick up my holidays from my work – aviation – is in low season, thus February and November (yes, next month I am travelling to Germany and the Netherlands, can’t wait!).
Also, if everything goes OK, next week, I’ll be having a coffee with my third Oscarwatcher from the good old times… I already met Fool of a Took in Eindhoven back in 2003, Ryan Candee in 2006 and now it will be… Mrs Malevolent, coming to my area next week… maybe will upload a picture of us together!
Those were the days…
Fantastic news. Onwards to Oscar glory.
I assume the film itself is ineligible for Gothams due the American rule.
It may sit outside the budget rule too.