U.S. DRAMATIC COMPETITION
U.S. Dramatic Grand Jury Prize Award: Clemency, directed by Chinonye Chukwo
U.S. Dramatic Audience Award: Brittany Runs a Marathon, directed by Paul Downs Colaizzo
U.S. Dramatic Directing Award: The Last Black Man in San Francisco, directed by Joe Talbot
U.S. Dramatic Waldo Salt Screenwriting Award: Share, screenplay by Pippa Bianco
U.S. Dramatic Special Jury Award for Vision and Craft: Honeyboy, directed by Alma Har’el
U.S. Dramatic Special Jury Award for Creative Collaboration: The Last Black Man in San Francisco,directed by Joe Talbot
U.S. Dramatic Special Jury Award for Breakthrough Performance: Rhianne Barreto, Share
U.S. DOCUMENTARY COMPETITION
U.S. Documentary Grand Jury Prize Award: One Child Nation, directed by Nanfu Wang and Jialing Zhang
U.S. Documentary Audience Award: Knock Down the House, directed by Rachel Lears
U.S. Documentary Directing Award: American Factory, directed by Steven Bognar and Julia Reichert
U.S. Documentary Special Jury Award for Moral Urgency: Always in Season, directed by Jacqueline Olive
U.S. Documentary Special Jury Award for an Emerging Filmmaker: Jawline, directed by Liza Mandelup
U.S. Documentary Special Jury Award for Editing, Apollo 11, edited by Todd Douglas Miller
U.S. Documentary Special Jury Award for Cinematography: Midnight Family, cinematographer Luke Lorentzen
WORLD CINEMA DRAMATIC COMPETITION
World Cinema Dramatic Grand Jury Prize: The Souvenir, directed by Joanna Hogg
World Cinema Dramatic Audience Award: Queen of Hearts, directed by May El-Toukhy
World Cinema Dramatic Directing Award: The Sharks, directed by Lucia Gaibaldi
World Cinema Dramatic Special Jury Award: Monos, directed by Alejandro Landes
World Cinema Dramatic Special Jury Award for Originality: We Are Little Zombies, directed by Makoto Nagahisa
World Cinema Dramatic Special Jury Award for Acting: Krystyna Janda, Dolce Fine Giornata
WORLD CINEMA DOCUMENTARY COMPETITION
World Cinema Documentary Grand Jury Prize: Honeyland, directed by Tamara Kotevska and Ljubomir Stefanov
World Cinema Documentary Audience Award: Sea of Shadows, directed by Richard Ladkani
World Cinema Documentary Directing Award: Cold Case Hammarskjold, directed by Mads Brugger
World Cinema Documentary Special Jury Award: Midnight Traveler, directed by Hassan Fazili
World Cinema Documentary Special Jury Award: Honeyland, directed by Tamara Kotevska and Ljubomir Stefanov
World Cinema Documentary Special Jury Award for Cinematography: Honeyland, cinematographers Fejmi Daut and Samir Ljuma
NEXT
Audience Award: The Infiltrators, directed by Alex Rivera and Christina Ibarra
Innovator Award: The Infiltrators, directed by Alex Rivera and Christina Ibarra
SHORT FILM JURY AWARDS
Grand Jury Prize: Aziza, directed by Soudade Kaadan
U.S. Fiction: Green, directed by Suzanne Andrews Correa
International Fiction: Dunya’s Day, directed by Raed Alsemari
Non-fiction: Ghosts of Sugar Land, directed by Bassam Tariq
Animation: Reneepoptosis: directed by Renee Zhan
Special Jury Award: Honeyland, directed by Tamara Kotevska and Ljubomir Stefanov
Special Jury Prize for Directing: Fast Horse, directed by Alexandra Lazarowich
Special Jury Prize for Directing: The Minors, directed by Robert Machoian
Special Jury Award for Cinematography: Honeyland, cinematographers Fejmi Daut and Samir Ljuma
Special Jury Award for Originality: We Are Little Zombies, directed by Makoto Nagahisa
Is “Last Black Man in San Francisco” this year’s “Sorry to bother you”?
Wow, The Souvenir looks very promising! I love Tilda Swinton, and the early reviews are fantastic. Does anyone know what the story is about?
Agreed that it sounds really good. I’m hoping to actually see the film in about two weeks so I can report back here about the plot after that if you want
Yes please – I´m always intrested to hear your take on a film!
Besides, finally saw “The Favourite” yesterday, appreciated it, but also thought it´s kinda “Lanthimos light”. Some people said it´s quirky but I definitely want it more quirky, to be true. The last shot however with the cross-fade of the two faces and the rabbits was pure Lanthimos!
I agree. I’d say it’s better than half of Lanthimos’ other films that I’ve seen (although they’re all great) but that is purely because of the techincal prowess, which is at a completely new level for him, and because he succeeds brilliantly in making his idiosyncrasies shine through while handling all of the more traditional elements of the story masterfully as well. But I kind of missed the way he usually writes his characters to feel like puppets on strings or confused animals, pretending that there is any elegance or choice in their actions. The elements are here as well but they can be found on a narrative level rather than on a level of expression and that kind of changes the tone of the entire film to something more traditional. And then there is the dialogue: I felt that Emma Stone randomly blubrs out a few lines in a Lanthimos tone in the beginning but the way he and Filippou write dialogue is so wonderful that it feels like a bit of a disappointment that he’s not using that tone with the film
I had no issues about the characters despite that the structure of the story as a whole wasn´t too original and the way the story developed seemed pretty predictable from the beginning. It took me some time to get into the story, because I was irritated by the permanent use of the wide-angle shot – anything but an elegant way to shoot a scene, if you ask me. Although I see that these shots are meant to portray a decadent lifestyle that has already went off the rails.
However, after a while the film catched me because the actresses were really excellent and I found the characterization more and more profound.
But, as I said, it all should heve been more quirky and frivolous á la Dangerous Liasons meets Dogtooth.. 🙂
So, The Souvenir: I personally find the Visconti comparison to be a little excessive and focused on a certain element of the film that I didn’t find to be that important. Instead I’d kind of describe it as a kind of incredibly dark sequel to Whit Stillman’s Metropolitan, another film about young people searching themselves while coming from a background of excess. The incredible power of the film comes from it speaking with absolute candor about its main character, floating around her life and inside her mind with seemingly no aim. But it always manages to create a specific and completely fascinating portrait of a mindset, an age, a sensation of loss at your definition of who you are and what you want from life and the fear and terrible choices you make because of that but also the growth and beauty you will find through these experiences. This is one of those films that can feel slight at first but it’s so incredible in its understanding and portrayal of this character that it’s really moving and powerful. I can’t wait for the sequel.
Also, Honor Swinton Byrne is a major talent, her performance is one of the finest I’ve seen in a few years. She needs to carry this film and she does just that, improving every scene through her intense portrayal and creating a tone that is actually very different from her mother’s but pretty much equally intense.
Family drama set in the ’80s. I skipped past plot points because I’d rather not know. But it seems loosely laced around the relationship between an uppercrust mom and a daughter who’s a film student.
Tilda is of course the mom and her real-life daughter is the onscreen daughter.
“…a film about the upper classes, but not in the Downton Abbey style: it is about the upper classes as they actually are, in the dull day-to-day, a social realist movie about posh people. It’s as if Hogg has found a contemporary English response to the rhetoric of Antonioni or Visconti.”
— says the Guardian, tantalizing the living hell out of us.
Oh, and there’s a sequel already planned which will shoot this summer.
A24 bought the rights to Souvenir 1 last month and the bought the rights to Souvenir 2 last week.
“English response to the rhetoric of Antonioni or Visconti” – damn!
Also good to hear it´s not Downton Abbey style… 😉
Academy, give Amy Adams her Oscar this year so you can award legend Alfre Woodward next year. Please!
The legend’s last name is spelled “Woodard” — for when we get around to chiseling it at the bottom of awards statuettes, which I’d love to see happen again (she’s won some in the past). She’s a fine actress of enduring talent.
She is an actress that says a lot even when there is no dialogue. Just with her look. Unfortunately she never fit the hot babe or comedian of easy jokes that are the kind of roles Hollywood has basically restricted African American actors since always. This thankfully is beginning to change. Slowly but it is.
I’ll repost this here:
A lot of Sundance films now have reviews on Metacritic …
The Souvenir – 95
The Farewell – 88
Light From Light – 87
The Report – 81
The Death of Dick Long – 79
Luce – 79
The Last Black Man in San Francisco – 76
Clemency – 75
Hala – 75
Brittany Runs a Marathon – 74
Blinded by the Light – 71
Give Me Liberty – 71
Late Night – 71
The Lodge – 70
The Boy Who Harnessed the Wind – 69
Fighting With My Family – 68
Big Time Adolescence – 66
Animals – 65
Official Secrets – 65
Adam – 64
Honey Boy – 63
After the Wedding – 60
Extremely Wicked – 60
Them That Follow – 59
Wounds – 50
The Sunlit Night – 41
Troop Zero – TBA
The Wolf Hour – TBA
Thanks, Rodrigo. This is priceless. Featured.