In Contention

Tag: Mugabe and the White African

  • 10 snubs that sting

    A scene from Inglourious BasterdsI’ve already highlighted my favorite aspects of this morning’s Oscar nominations. Still, before we move into Phase Two, I’d like to give one final respectful nod to the could-have-beens — the names that we sadly won’t be talking about anymore in the next five weeks of speculation.

    I listed my true favorites in my dream ballot over the last few days, though many of those were never in the realm of possibility. What follows are 10 contenders who were very much in the mix, and had every reason to be disappointed this morning.

    From my perspective, the race is poorer without the following:

    • Marvin Hamlisch (Best Original Score), “The Informant!”: As a previously honored veteran of the branch, I thought his foot was comfortably in the door. Was his playful score too tongue-in-cheek for the voters? I’d say the movie wasn’t well-liked enough, but these are the guys who nominated “The Village.” (Less surprising but still disappointing: the omission of “A Single Man” composer Abel Korzeniowski.)

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  • Things of beauty: Guy’s best of 2009

    Julianne Moore and Colin Firth in A Single ManThe year of the woman. The year of animation. The year of science-fiction. Depending on who you read (and believe), the final year of the decade has been an awful lot of things.

    If you’re with Kris, it’s also the best cinematic year of the last ten. If you’re with an awful lot of others, it’s quite the opposite. I’ll stop short of rewriting the first page of “A Tale of Two Cities,” but suffice to say it’s been different things to different people.

    What kind of year has it been for me? I think I’ll need another year to figure that out in detail. But as I compiled the list you’re about to read, I happily concluded that it’s been, at the very least, a good one: the 25 titles gathered here were jotted down with minimal brain-racking, with still more fighting from the sidelines.

    None of them are grudging inclusions, either: I sincerely liked most of these titles too much to allow room for popular or critical phenomena that are worthy of respect, but nonetheless didn’t connect with me personally. There was a sufficient range of quality work in 2009 (following a lean 2008) that any film lover could afford to construct his own playlist of future treasures without resorting to consensus.

    Before we begin, a note on the construction of the list. In addition to my Top 10, there are 15 honorable mentions here, five of them singled out for extra consideration. Some of you will quibble that I opt to include international or festival releases that have yet to surface in the U.S.

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  • Oh yeah, the IDA Awards…

    Anvil! The Story of AnvilWe neglected to mention the International Documentary Association Awards happened on Friday night, but happen they did.

    Often an independent-minded group of on the precursor circuit, the IDA underlined the point this year by crowning a prominently Oscar-snubbed title as the year’s best.

    The many fans of rock doc “Anvil! The Story of Anvil” will have been pleased to see it take Best Documentary Feature, beating Oscar contenders “Food, Inc.” and “Mugabe and the White African” in the process. That should be some consolation to the film, after failing to make the Academy’s documentary shortlist last month.

    “Anvil!” also nabbed an award for Best Music Documentary (trumping “Soundtrack for a Revolution,” another film that made the Academy’s cut).

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  • ‘Moon,’ Carey Mulligan, Tom Hardy take BIFA Awards

    Tom Hardy in BronsonThe British Independent Film Awards really spread the wealth this year, with only two films — “Moon” and “Fish Tank” — taking more than one award. In a slightly surprising result, Duncan Jones’s sci-fi debut claimed the night’s top prize, Best British Independent Film, as well as Best Debut Director honors.

    Meanwhile, “Fish Tank,” which entered the ceremony with the most nominations, took a well-deserved pair of awards: Best Director for Andrea Arnold (the first woman ever to receive the honor) and Most Promising Newcomer for 18 year-old sensation Katie Jarvis.

    Jarvis lost the Best Actress award, however, to Carey Mulligan for “An Education” — one of the night’s few winners likely to figure prominently in the awards race across the pond. (This in stark contrast to last year’s BIFA awards, which were all about “Slumdog Millionaire.”)

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  • Thoughts on the Oscar doc list

    Agnes Varda in The Beaches of AgnesPerhaps inevitably, the bulk of online chatter about the Best Documentary Feature shortlist unveiled yesterday focused less on the films that made it, and more on those that didn’t.

    It’s par for the course for the Academy’s documentary branch to ignore a major title or two, but even by their severe standards, the list of high-profile snubs was a long one: “Capitalism: A Love Story,” “Anvil! The Story of Anvil,” “Tyson,” “The September Issue,” “We Live in Public,” “It Might Get Loud,” “Rough Aunties” and so on.

    But for every blogger or commenter complaining about the dubiousness of the list, I can’t fight the urge to ask whether or not they’ve seen all 15 titles that have been included. In these cases, it’s always easier to say what should have got in than what should have been left out.

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  • AMPAS announces doc feature short list, ‘Anvil,’ ‘Capitalism’ snubbed

    The CoveYou can check out the full press release here.  The list of 15 competing titles as follows:

    • “The Beaches of Agnes,” Agnès Varda, director (Cine-Tamaris)
    • “Burma VJ,” Anders Østergaard, director (Magic Hour Films)
    • “The Cove,” Louie Psihoyos, director (Oceanic Preservation Society)
    • “Every Little Step,” James D. Stern and Adam Del Deo, directors (Endgame Entertainment)
    • “Facing Ali,” Pete McCormack, director (Network Films Inc.)
    • “Food, Inc.,” Robert Kenner, director (Robert Kenner Films)
    • “Garbage Dreams,” Mai Iskander, director (Iskander Films, Inc.)
    • “Living in Emergency: Stories of Doctors Without Borders,” Mark N. Hopkins, director (Red Floor Pictures LLC)
    • “The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers,” Judith Ehrlich and Rick Goldsmith, directors (Kovno Communications)
    • “Mugabe and the White African,” Andrew Thompson and Lucy Bailey, directors (Arturi Films Limited)
    • “Sergio,” Greg Barker, director (Passion Pictures and Silverbridge Productions)
    • “Soundtrack for a Revolution,” Bill Guttentag and Dan Sturman, directors (Freedom Song Productions)
    • “Under Our Skin,” Andy Abrahams Wilson, director (Open Eye Pictures)
    • “Valentino The Last Emperor,” Matt Tyrnauer, director (Acolyte Films)
    • “Which Way Home,” Rebecca Cammisa, director (Mr. Mudd)

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  • ‘Cove’ misses out on IDA Awards nod

    Afghan StarA couple of things struck me as noteworthy on the list of nominees revealed yesterday by the International Documentary Association, which Kris mentioned briefly in this morning’s round-up.

    The five films nominated by the IDA for Best Documentary Feature include “Afghan Star,” “Anvil! The Story of Anvil,” “Diary of a Times Square Thief,” “Food, Inc.” and “Mugabe and the White African.”

    Having admittedly only seen three of the five, I’d call that a pretty respectable list. Still, notably absent from the list is the film that many see as the prohibitive favorite for the Oscar: Louie Psihoyos’s environmental doc “The Cove.” (Certainly, when offering your own predictions earlier this week, only four of you bet on anything else.)

    In a year that has lacked a crossover documentary phenomenon on the scale of last year’s “Man on Wire,” it’s been widely presumed that “The Cove”‘s vastly sympathetic cause and high-profile champions would be enough to seal the deal, particularly when Michael Moore’s “Capitalism: A Love Story” failed to catch on.

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  • Hollywood, Johannesburg

    Sharlto Copley in District 9In January 2005, exactly one week after I left my birth town of Johannesburg to study film in the brighter lights of London, Darrell James Roodt’s earnest AIDS drama “Yesterday” became South Africa’s first Oscar nominee in the Best Foreign Language Film category.

    Only a month later, the rather better “uCarmen eKhayelitsha” took the Golden Bear at the Berlin fest; again, the country’s first production to take top honors at one of the major festivals. And only a year later, Gavid Hood’s “Tsotsi” went one better than “Yesterday” by taking the Oscar.

    By this time, I was beginning to wonder if the movie gods were sending me a sign that I’d picked the wrong country: South Africa’s film industry seemed poised for a crossover explosion. That didn’t quite happen. Hampered by the usual financial constraints of a third-world industry, the country went back to its steady output of provincial lowbrow comedies and not-quite-there dramas, few of them seen beyond its own borders.

    Almost five years later, however, something interesting is starting to bubble there again — but this time, it’s not South Africa’s own industry making waves as much as an international cinematic preoccupation with the country and its stories.

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  • 28 docs boost their Oscar profile at DocuWeeks

    Racing DreamsFor documentaries, qualifying for Oscar consideration can be a rough ride. Academy rules stipulate that a film must at least enjoy a week-long theatrical run, in both New York and Los Angeles, to be eligible — which can be a tall order for tiny movies on tricky subjects.

    So — acting as a kind of fairy godmother to independent documentary makers struggling for exposure — we have DocuWeeks, a three-week-long showcase sponsored by the International Documentary Association, in which a selection of features and shorts screen on both coasts. In doing so, they both qualify for the Academy awards and raise their profile to potential voters.

    It’s a nifty tradition that has already seen 16 films go on to make the Oscar ballot, including 2007’s winning feature  “Taxi to the Dark Side” and last year’s champ in the short race, “Smile Pinki.”

    This year sees a total of 28 films — 18 features and 10 shorts — in the DocuWeeks lineup, so it seems safe to wager that we’ll be hearing more about at least some of them as the awards season progresses. I admit I don’t keep up the documentary side of things as much as I should, so I know next to nothing about most of the inclusions in the globally diverse group.

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