 Eiza González, Dianne Wiest, and Rosamund Pike in I Care A Lot (2020) “This is my job. This is what I do all day, every day. I care.”
In the film I Care A Lot, Marla Grayson (Rosamund Pike) knows how to manipulate everyone in her court. She swindles for a living, preying on the vulnerable for profit and power. On her meteoric rise to power as a legal guardian who drains the savings of elderly people, there is no line Marla won’t cross to make money. Capitalizing on her privilege and leaving her morals at the door, she cheats the legal system in a disturbing game she created within the rise of senior care homes. Writer-director J Blakeson’s twisted spiderweb of a story unfolds as a cheeky crime drama that sees how far characters will go to get what they want. Pike commands the screen with a firecracker performance that makes the film engaging to watch unfold. Marla is a complex anti-hero who does despicable things, is incredibly easy to root against at any given moment, and the filmmakers present her as she is. A character playing a character, to convince people she cares. A super-achieving woman who makes horrible choices and maintains investment, as countless male protagonists in films have done over the years. Discarded on the path of destruction Marla leaves behind are the people she traps under her guardianship. Grounded in the unfortunate reality that the elderly are systemically taken advantage of, this subject matter resonates in the film, despite getting lost sometimes in the mafia/crime boss structure. I Care A Lot is a fun bona fide ride that channels compromising ambition and anger at the world into brazen entertainment. To stay technically within the law, Marla convinces Judge Lomax (Isiah Whitlock Jr.) that her targeted victims are no longer able to care for themselves. She then shows up at their homes with a court order appointing her full conservatorship, and immediately escorts them to a care facility. When a vacancy pops up on her elderly ward, Marla and her partner Fran (Eiza González) seize a golden goose of an opportunity. Their new “cherry” to pick is Jennifer Peterson (Dianne Wiest), a wealthy retiree with early signs of memory loss and no heirs or family. But Jennifer is more than who she appears to be, and Marla meets a dangerous new player in her game. The characters in this film epitomize multiple themes, from dark ambition and moral compromise to conservatorship and the weaponized power of authority. Marla follows in the crooked footsteps of those with the most power, laughing off the notion that anyone who reached success did so without bending the rules. She scoffs at the idea that people have to lead with honesty and work hard for their money. In her eyes, she deserves success and believes there is no such thing as good people, which gives her even more fuel to leave damage in her wake. To the detriment of the film, so much is going on without a real clinch on it all. The screenplay goes off the rails at times, particularly with the mafia plot and drawn out introductions to characters of that world including a crooked lawyer (Chris Messina in great suits), some henchmen, and the boss himself Roman Lunyov (Peter Dinklage). Though while not nearly as resonating as the characters in Marla's personal orbit, there is a cleverness in matching Lunyov with Marla and seeing just how far she’s willing to go in the face of the Russian mob. So much of the relationship between these two characters speaks to what the filmmaker presents about Marla’s fearlessness, tenacity, and ambition. To quote Rosamund Pike, “Marla was everything [she’s] wanted to see in a woman on screen, someone allowed to be all the things that men have always been allowed to be — ruthless, ambitious, striving for what she wants shamelessly — unambiguously.” Pike’s wicked charisma and no-nonsense laser focus bring this character to life in an engaging way. The performances particularly by the women in this film play a massive part in maintaining the energy and intrigue. Another super-achieving character is Marla’s business partner and lover Fran, who operates behind the scenes and pulls a lot of the strings that make it possible for Marla’s scams to fall in place. González is a bona fide star; she is totally compelling to watch. She plays this character in a loving way that also gives insight into how Fran works and the self-awareness she has, sometimes seeing the red flags that Marla doesn’t. They’re interesting characters who can share their vulnerabilities with each other; González and Pike share great chemistry and no matter how despicable their actions, they maintain investment through the commitment of their portrayals. Everyone caught in Marla’s spiderweb has a story. I Care A Lot briefly portrays the disbelief and horror of being on the other side of her con. Resonating the most is Dianne Wiest, the divine secret ingredient of this film. Her presence is sorely missed in the second half, which fully embraces the twisty crime thriller structure. In some ways Jennifer Peterson embodies the dream; as heard through Fran’s first impression of her, “[Jennifer is] rich, independent…that lady right there, she’s my hero.” Wiest’s gift of storytelling inhabits her character’s history that is seen and heard not through flashbacks, but on her face and in her voice, existing entirely in the moment. Albeit brief in screen time, her performance truly embodies peeling off the layer of a person and presenting a so-called “typical old lady” in a completely new light. She becomes the most unexpected and sadly the most underutilized character. There is a missed opportunity in not staying with her more; her first meeting with Marla and the sequence of being brought to the care facility are incredibly depressing to watch. She’s brilliant at the pathos and just as capable at channeling the lioness Marla speaks of. Their scenes together are among the best in the film. Wiest glides through with tricks up her sleeve and, in retrospect, feels like the secret key who ties the emotional experience together. Marla cares a lot about her success. This is what she does all day, every day. Who or what will she manipulate next in order to get what she wants? I Care A Lot introduces and signs off with the reminder of not only the lines Marla crosses to succeed, but also the people whose lives were affected by her decisions. J Blakeson’s twisted spiderweb of a story shows the absurdity of how far people such as Marla will go, and how frustratingly easy it is for her to build up the trust of those trying to do good in order to manipulate those who are vulnerable. While there are some missed opportunities to delve deeper into the subject matter that resonates the most, I Care A Lot is a wild rollercoaster with a fabulous cast led by the great Rosamund Pike and a divine secret ingredient at the core.
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 Katherine Waterston and Vanessa Kirby in The World to Come (2021) O sick and miserable heart be still. Katherine Waterston and Vanessa Kirby weather the storm in Mona Fastvold’s The World to Come, a nineteenth-century frontier romance of quiet passion and debilitating tragedy. So much of Fastvold’s strength as a storyteller exists in the way she establishes mood through imagery. A chilly opening scene on an isolated farm introduces Abigail (Waterston), who writes beautiful thoughts and narrates her inner turmoil while keeping up with all the responsibilities assumed of her. Having recently lost their daughter to diphtheria, Abigail and her husband Dyer (Casey Affleck, who frustratingly still gets employed) lead separate lives. While he works on their farm, she keeps the household together and finds no source of calm in imagining a better world to come. Her daughter was a light in her life; there is a visible warmness on screen when the mother-daughter memories are depicted. Abigail has become her grief, a portrait of loneliness that doesn’t see the light of day until the arrival of a new possibility…another way of life that enchants Abigail at first sight. Tallie (Kirby) and her farmer husband Finney (Christopher Abbott) move into a neighboring farm, opening Abigail’s mind to a place where she can imagine a better existence.
One afternoon, Tallie takes a hilly walk towards Abigail’s farm and makes a neighborly introduction. Meeting her makes Abigail’s day, and the rest is history. One visit turns into many, where the two simply talk and learn more intimate details about each other. Over the course of changing seasons, they discover how little time they wish to spend apart as their romance blossoms, but all is not well on the frontier. Co-written by Ron Hansen and Jim Shepard, based upon Shepard’s original story titled as the film is, the screenplay often moves in circles following the protagonists’ increasing despair as the men in their lives annoyingly get in the way. Seeing their wives out for hours at a time, not keeping up with household and marital responsibilities, Dyer and (to a more angering extent) Finney consider Abigail and Tallie’s relationship a threat. While admirably poetic and mostly well acted, The World to Come falls flat more often than not. With two intriguing characters at the center and a variety of arcs to explore within them, not to mention two supremely talented actresses playing the parts, it is disappointing that the screenplay focuses so intently on the woefulness surrounding them. An arc seen often in lesbian romance films, where the love story builds up to crumble in heartache, shifts focus away from fully exploring the intimacy between the protagonists. Short but quietly resonating moments, like Tallie bringing Abigail a birthday basket of sentimental gifts, are just that. A fleeting depiction of a meaningful relationship in favor of servicing a familiar arc. The story feels more complete showing the weight of their love in the final few scenes alone than during the entire course of the film. This is to no fault of the performances, but rather the narrative focus on the tragedy that their bond crumbles towards. Waterston and Kirby shine wonderfully together; Abigail’s inward tendencies and Tallie’s more quickened, spirited manner are an intriguing dynamic. Both of these characters are working through the emotional and physical challenges of loneliness, which are depressing to watch unfold amongst the intimate world they have cultivated for themselves. The film also touches on some resonating themes including the notion around ‘the best is yet to come.’ When the protagonists meet, it’s as if the world opens up again. Abigail’s yearning for a more interesting life than the one she leads, and her surprise at life being more ordinary than she imagined, gives a strong window into her character. It’s a treat to watch how Tallie recognizes this desire so lovingly, and encourages imagination. But these insights into the characters are few and far between, not enough to carry this film while a far less interesting (and far more tragic) narrative gets in the way. While the story leaves a lot to be desired, there are some strong elements to admire in addition to great central performances. In her second directorial feature to date, Mona Fastvold shows plenty of promise particularly through establishing the mood of a scene and expressing emotion through imagery. One of the most memorable moments in the film sees Abigail in an almost euphoric state, leaning back onto a table and relishing a moment she had shared with Tallie earlier. Unfortunately such resonating scenes exist in bits and pieces. Weathering the harsh winter, blossoming spring and summer are two protagonists whose relationship feels incredibly true, but exists in an incomplete story with a tiring arc. While The World to Come shines through strong central performances and stunning cinematography, the progression of Fastvold’s nineteenth-century love story falls flat with only glimmers of promise moving the film along.  Mercedes Hernández in Identifying Features (2020) At the core of Identifying Features, the haunting feature directorial debut by Fernanda Valadez, is a woman named Magdalena (Mercedes Hernández) who takes matters into her own hands after the disappearance of her son Jesús (Juan Jesús Varela). Amidst the horrifying realities of immigration, and the many families searching for loved ones who have disappeared crossing the Mexican border, the story centers on one woman’s experience of not accepting the word of authorities who presume her son is dead. Determined not to return home until she finds her son, Magdalena travels where the truth takes her. The film plays out as a slow-burning drama that unravels in hypnotic, quiet pursuit of telling a truthful story. By staying close to Magdalena while also exploring the interconnectedness of her experience, Identifying Features makes an emotionally stunning impact that builds to an utterly devastating conclusion.
Stunning cinematography by Claudia Becerril Bulos shines through each frame, starting with the illuminating opening scene. A brief moment of Magdalena watching from a distance, as her son and another boy Rigo set out for the US, establishes a sense of loneliness that continues to grow from this moment forward. In the blink of an eye, her son disappears from her life, and authorities presume the worst after his companion Rigo’s body is identified when the mothers of these two boys flip through photos. That families have to flip through distressing images of numerous people and discarded belongings in order to identify a loved one is one of the many painful realities brought to the forefront. What the film establishes so hauntingly is the troubling environment in which families are denied answers and pushed to accept that their loved ones are gone, despite not being able to identify their bodies. Co-written by Fernanda Valadez and Astrid Rondero, the story has an incredibly resonating character in Magdalena as well as in the supporting characters who influence her path towards closure. Another woman searching for her missing son Diego, who disappeared 4 years ago, believed everyone when they told her he was dead. In a moving scene where she and Magdalena meet by chance, she urges Magdalena not to make the same mistake, not to accept what the authorities say. As she moves forward with inner strength and determination, Magdalena sees first-hand a labyrinth of life threatening corruption, throwing roadblocks on her path. She meets various people along the way; such as the woman who secretly advises her through a bathroom stall to visit a migrant’s shelter. More notably, the film weaves in the experience of a young man named Miguel (David Illescas), who returns to Mexico from US deportation and is fortuitously traveling in Magdalena’s direction. The two of them meet by chance, at a point where the film delves into a terrifying final chapter. Identifying Features strongly explores the interconnectedness of the characters and how they each cross paths (fortuitous or not) in Magdalena’s journey, which leaves behind a reverberating thought on how there are so many similar stories that go unnoticed. Much like the progression of this film, Mercedes Hernández gives a remarkable slow-burning performance that unravels with horror. This is a performance that absolutely commands the screen in a visceral way. Her character’s determination to travel farther away from home, experiencing increasingly dangerous scenarios, is so deeply felt throughout the film. As a contrast to the painful realities happening on screen, there is an ethereal quality to some moments, most memorably in the opening scene which appears to be dream-like. From the direction and writing to the ensemble of actors, it’s remarkable to watch this collaboration of talent. With an emotionally resonating performance and story at the core, Identifying Features is a powerful feature directorial debut that will hopefully lead to more projects with Fernanda Valadez behind the camera.  Olivia Cooke and Jack O'Connell in Little Fish (2021) Imagine waking up and not remembering the person you love. The thought of having to piece back together a meaningful relationship, and rebuild precious memories you once held so dear, is a process explored thoughtfully in Little Fish. The film, directed by Chad Hartigan and based on Aja Gabel’s short story of the same title, is a romance set in a society teetering on the brink of massive loss. While not specifically set in a post-COVID world, and in fact made prior to the pandemic, Little Fish echoes eerie similarities to a forever changed planet. The love story at its dreamy center unfolds in the midst of a mysterious virus outbreak, which causes its victims to lose their memories. Without warning or reasoning, the pandemic erases minds and there is no telling who will be affected (nor is there a cure). Some people will snap all at once. Some will slowly fade away. Little Fish tells this story through two main characters, Emma (Olivia Cooke) and Jude (Jack O’Connell), a newlywed couple holding onto each other for dear life as the pandemic blurs lines between truth and fiction. Little Fish is a poetic, grounded portrait of unforgettable love that resonates most through devastating depictions of memory loss.
Little Fish unfolds in a daze. The film plays out like multiple threads tied to one long memory. Non-linear storytelling introduces two people meeting for the first time, flows into a whirlwind snapshot of them falling in love, and traces back to the beginning of their relationship. Within the first few minutes of the film, it’s unclear what exactly is the past and present. “It was hard to believe that was only the beginning,” says Emma during the character’s opening narration. As an audience member, the feeling is shared. Little Fish works in mysterious ways. The director (Hartigan) and screenplay writer (Mattson Tomlin) create a dream-like atmosphere, which makes you question the film’s timeline and what the central focus of the story will become. Grounding the film with heartfelt commitment, a talented ensemble of actors indicate where you are in their characters’ journeys, and give clues for where the pandemic-set story is headed. One of the most terrifying aspects about Neuroinflammatory Affliction (NIA), the virus causing this pandemic, is its symptoms. At what point does common forgetfulness become a warning sign? Emma narrates stories she had heard…like the one about a woman found running alone at night, having forgotten to stop at the finish line of a race. Given the alarming rate at which the virus is spreading, there’s also the inevitable: witnessing situations firsthand, like Emma and Jude’s bus ride home, during which the driver suddenly stops and walks out into the street. Knowing that severe cases such as this can occur, Emma’s relationship to the forgetfulness she sees in others is understandably analytical. The immediate worry is: this is a warning sign. It could be the most seemingly innocent moments…like Emma at her vet job encountering a distracted delivery driver, Emma’s mum forgetting Jude’s name during a phone call, Jude turning up late to photograph a wedding. In any case, Emma’s guard is up. The more these symptoms appear (particularly as Jude’s forgetfulness worsens), the more eager Emma is to get ahead of the situation and the more inclined Jude feels to keep his memory loss a secret. Little Fish is framed in such a way that the pandemic is written more as a backdrop than a plot device pushing the story along. At the core of this film is an emotional love story between two people, dealing with the slow drip of memory loss and its ripple effect on their future as a couple. The film not only jumps through their past and present, but also a simulation of time…showing moments Emma and Jude recall based on how they remember, which may or may not be reality. The film is a fascinating depiction of love in that it questions whether this couple can weather losing the building blocks of their relationship, and what this means for their longevity when they attempt to rebuild from crumbling memories. An added fascination is the role photography plays in the story, particularly with Jude as photographer and Emma as subject. The emphasis on using photos as memories is a moving reminder of the power photography has to capture the feeling of a special moment. Olivia Cooke and Jack O’Connell work together like a dream. Cooke’s performance in particular is exemplary, and her chemistry with O’Connell gives ample weight to this love story as the driving force of the film. Most impressive about Cooke is her ability to detail a relationship in its genesis, honeymoon, and steady decline, while also grounding the director’s free flowing storytelling. What never becomes ambiguous is the love between these two characters, above all finding some footing amidst shared grief. The supporting characters, mainly the couple’s friends Ben (Raúl Castillo) and Samantha (Soko), show a frightening and distressing version of dealing with memory loss in a relationship. Castillo and Soko both give a resonating layer of perspective to the story. The setting to this story is eerie, not just on the level of living in a pandemic but also the parallel to Alzheimer’s and the devastation of fading away, whether suddenly or slowly. With so many lines blurred between reality and pretense, watching Little Fish unfold is like watching one train of thought. Sometimes the film relies a little too much on the lines being blurred; at a certain point, weaving through time frames loses its impact and emotional investment. But what echoes in its conclusion is the urge to hold onto memories near and dear. Little Fish is an intriguing love story about the building blocks that make a relationship, and how emotions between two people can linger even as memories fade.  The Screen Actors Guild (SAG) have announced their nominations honoring their best in film and television of 2020. Below are the full nominations. The 27th SAG Awards will air live on Sunday, April 4th at 9pm (ET) on TNT and TBS.
Film Best Female Actor in a Supporting Role Maria Bakalova, Borat Subsequent Moviefilm Glenn Close, Hillbilly Elegy Olivia Colman, The Father Youn Yuh-jung, Minari Helena Zengel, News of the World Best Male Actor in a Supporting Role Sacha Baron Cohen, The Trial of the Chicago 7 Chadwick Boseman, Da 5 Bloods Daniel Kaluuya, Judas and the Black Messiah Jared Leto, The Little Things Leslie Odom Jr., One Night in Miami Best Female Actor in a Leading Role Amy Adams, Hillbilly Elegy Viola Davis, Ma Rainey’s Black Bottom Vanessa Kirby, Pieces of a Woman Frances McDormand, Nomadland Carey Mulligan, Promising Young Woman Best Male Actor in a Leading Role Riz Ahmed, Sound of Metal Chadwick Boseman, Ma Rainey’s Black Bottom Anthony Hopkins, The Father Gary Oldman, Mank Steven Yeun, Minari Best Cast in a Motion Picture Da 5 Bloods Ma Rainey’s Black Bottom Minari One Night in Miami The Trial of the Chicago 7 TV Best Female Actor in a TV Movie or Limited Series Cate Blanchett, Mrs. America Michaela Coel, I May Destroy You Nicole Kidman, The Undoing Anya Taylor-Joy, The Queen’s Gambit Kerry Washington, Little Fires Everywhere Best Male Actor in a TV Movie or Limited Series Bill Camp, The Queen’s Gambit Daveed Diggs, Hamilton Hugh Grant, The Undoing Ethan Hawke, The Good Lord Bird Mark Ruffalo, I Know This Much Is True Best Female Actor in a Comedy Series Christina Applegate, Dead To Me Linda Cardellini, Dead To Me Kaley Cuoco, The Flight Attendant Annie Murphy, Schitt’s Creek Catherine O’Hara, Schitt’s Creek Best Male Actor in a Comedy Series Nicholas Hoult, The Great Dan Levy, Schitt’s Creek Eugene Levy, Schitt’s Creek Jason Sudeikis, Ted Lasso Ramy Youssef, Ramy Ensemble in a Comedy Series Dead To Me The Flight Attendant The Great Schitt’s Creek Ted Lasso Best Male Actor in a Drama Series Jason Bateman, Ozark Sterling K. Brown, This Is Us Josh O’Connor, The Crown Bob Odenkirk, Better Call Saul Regé-Jean Page, Bridgerton Best Female Actor in a Drama Series Gillian Anderson, The Crown Olivia Colman, The Crown Emma Corrin, The Crown Julia Garner, Ozark Laura Linney, Ozark Best Ensemble in a Drama Series Better Call Saul Bridgerton The Crown Lovecraft Country Ozark Stunt Ensembles Stunt Ensemble in a Motion Picture Da 5 Bloods Mulan News of the World The Trial of the Chicago 7 Wonder Woman 1984 Stunt Ensemble in a Comedy or Drama Series The Boys Cobra Kai Lovecraft Country The Mandalorian Westworld  The Hollywood Foreign Press Association (HFPA) have announced their nominees honoring what they consider the best in film and television of 2020. Below are the full nominations. The 78th Golden Globe Awards will air live on Sunday, February 28th at 5pm (PT) on NBC. Amy Poehler and Tina Fey will return as hosts.
Film Best Director, Motion Picture Emerald Fennell, Promising Young Woman David Fincher, Mank Regina King, One Night in Miami Aaron Sorkin, The Trial of the Chicago 7 Chloé Zhao, Nomadland Best Actress in a Motion Picture, Musical or Comedy Maria Bakalova, Borat Subsequent Moviefilm Kate Hudson, Music Michelle Pfeiffer, French Exit Rosamund Pike, I Care A Lot Anya Taylor-Joy, Emma. Best Actor in a Motion Picture, Drama Riz Ahmed, Sound of Metal Chadwick Boseman, Ma Rainey’s Black Bottom Anthony Hopkins, The Father Gary Oldman, Mank Tahar Rahim, The Mauritanian Best Actor in a Motion Picture, Musical or Comedy Sacha Baron Cohen, Borat Subsequent Moviefilm James Corden, The Prom Lin-Manuel Miranda, Hamilton Dev Patel, The Personal History of David Copperfield Andy Samberg, Palm Springs Best Actress in a Motion Picture, Drama Viola Davis, Ma Rainey’s Black Bottom Andra Day, The United States vs. Billie Holiday Vanessa Kirby, Pieces of a Woman Frances McDormand, Nomadland Carey Mulligan, Promising Young Woman Best Motion Picture, Drama The Father Mank Nomadland Promising Young Woman The Trial of the Chicago 7 Best Actor in a Supporting Role, Motion Picture Leslie Odom Jr., One Night in Miami Bill Murray, On the Rocks Daniel Kaluuya, Judas and the Black Messiah Sacha Baron Cohen, The Trial of the Chicago 7 Jared Leto, The Little Things Best Motion Picture, Musical or Comedy Borat Subsequent Moviefilm Hamilton Music Palm Springs The Prom Best Original Score, Motion Picture Alexandre Desplat, The Midnight Sky Ludwig Göransson, Tenet James Newton Howard, News of the World Trent Reznor and Atticus Ross, Mank Trent Reznor, Atticus Ross and Jon Batiste, Soul Best Screenplay, Motion Picture Florian Zeller and Christopher Hampton, The Father Jack Fincher, Mank Chloé Zhao, Nomadland Emerald Fennell, Promising Young Woman Aaron Sorkin, The Trial of the Chicago 7 Best Actress in a Supporting Role, Motion Picture Glenn Close, Hillbilly Elegy Olivia Colman, The Father Jodie Foster, The Mauritanian Amanda Seyfried, Mank Helena Zengel, News of the World Best Motion Picture, Foreign Language Another Round La Llorona The Life Ahead Minari Two of Us Best Original Song, Motion Picture “Fight for You” from Judas and the Black Messiah – H.E.R., Dernst Emile II, Tiara Thomas “Hear My Voice” from The Trial of the Chicago 7 – Daniel Pemberton, Celeste “Io Si (Seen)” from The Life Ahead – Diane Warren, Laura Pausini, Niccolò Agliardi “Speak Now” from One Night in Miami – Leslie Odom Jr, Sam Ashworth “Tigress & Tweed” from The United States vs. Billie Holliday – Andra Day, Raphael Saadiq Best Motion Picture, Animated The Croods: A New Age Onward Over the Moon Soul Wolfwalkers TV Best TV Series, Musical or Comedy Emily in Paris The Flight Attendant The Great Schitt’s Creek Ted Lesso Best Performance by an Actor in a TV Series, Drama Jason Bateman, Ozark Josh O’Connor, The Crown Bob Odenkirk, Better Call Saul Al Pacino, Hunters Matthew Rhys, Perry Mason Best Performance by an Actress in a Limited Series or Motion Picture Made for TV Cate Blanchett, Mrs. America Daisy Edgar-Jones, Normal People Shira Haas, Unorthodox Nicole Kidman, The Undoing Anya Taylor-Joy, The Queen’s Gambit Best TV Series, Drama The Crown Lovecraft Country The Mandalorian Ozark Ratched Best Performance by an Actress in a TV Series, Drama Olivia Colman, The Crown Jodie Comer, Killing Eve Emma Corrin, The Crown Laura Linney, Ozark Sarah Pauslon, Ratched Best Performance by an Actor in a Limited Series or Motion Picture Made for TV Bryan Cranston, Your Honor Jeff Daniels, The Comey Rule Hugh Grant, The Undoing Ethan Hawke, The Good Lord Bird Mark Ruffalo, I Know This Much Is True Best Performance by an Actress in a TV Series, Musical or Comedy Lily Collins, Emily in Paris Kaley Cuoco, The Flight Attendant Elle Fanning, The Great Jane Levy, Zoey’s Extraordinary Playlist Catherine O’Hara, Schitt’s Creek Best TV Limited Series or Motion Picture Made for TV Normal People The Queen’s Gambit Small Axe The Undoing Unorthodox Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for TV John Boyega, Small Axe Brendan Gleeson, The Comey Rule Dan Levy, Schitt’s Creek Jim Parsons, Hollywood Donald Sutherland, The Undoing Best Performance by an Actor in a TV Series – Musical or Comedy Don Cheadle, Black Monday Nicholas Hoult, The Great Eugene Levy, Schitt’s Creek Jason Sudeikis, Ted Lasso Ramy Youssef, Ramy Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for TV Gillian Anderson, The Crown Helena Bonham Carter, The Crown Julia Garner, Ozark Annie Murphy, Schitt’s Creek Cynthia Nixon, Ratched Looking to catch up with the world of documentaries? Here are some of the most powerful and inspiring stories to keep your eyes on in this retrospective of the past year.
On the Record (dir. Amy Ziering and Kirby Dick) The devastating story of music executive Drew Dixon is the subject of On the Record, a gripping documentary directed by Amy Ziering and Kirby Dick. In the wake of the Me Too movement founded by Tarana Burke, often missing from all discourse were (and are) Black women’s experiences which are necessary to be heard. This documentary follows Drew in the moments leading up to her decision to come forward and accuse Russell Simmons of sexual misconduct. With focus on Drew and her story, we see the emotional toll on her as well as what was lost over the course of several years. Where to watch: Crave CA Time (dir. Garrett Bradley) Garrett Bradley’s incredible documentary, Time, is a moving portrait of love that spans over two decades. The story follows Fox Rich: an entrepreneur, abolitionist, and mom to 6 boys, trying to keep her family together while fighting for the release of her incarcerated husband. The documentary is told primarily through resonating home video diaries recorded by Fox over the years. Bradley weaves the footage together in a truly unforgettable way that shows Fox’s resilience within the ripple effects of America’s flawed prison system. This is one of the most intimate and emotional documentaries in years. Where to watch: Prime Video CA The Donut King (dir. Alice Gu) Alice Gu’s fascinating documentary The Donut King incorporates one intriguing perspective after another in its blend of historical and economic threads. The documentary follows how Ted Ngoy built a multi-million dollar donut empire. Ngoy, a refugee who escaped Cambodia in 1975, sponsored hundreds of refugees coming to America and gave them opportunities by teaching them how to run a donut business. By the late 70s, Cambodian-owned small donut shops cornered the pastry market in Southern California. This is a heartfelt story about survival, success, and the rise and fall of a mogul. Where to watch: Eventive CA Dick Johnson Is Dead (dir. Kirsten Johnson) Told in one of the most creative ways imaginable, director Kirsten Johnson tries to get ahead of her 86-year-old father’s inevitable death in the documentary Dick Johnson Is Dead. Operating from the fear of losing a loved one, she prepares for the worst by confronting mortality and staging different ways he could die. This documentary is a fascinating, funny, and moving exploration of an incredible father-daughter relationship that has seen a rollercoaster of emotions. Dick Johnson Is Dead tells a heartfelt story of how powerful memories are, and how devastating it is to lose them. Where to watch: Netflix CA The Bee Gees: How Can You Mend A Broken Heart (dir. Frank Marshall) Frank Marshall’s musical documentary soars through the triumphs and losses of brothers Barry, Robin, and Maurice Gibb, known as the Bee Gees. The trio had a unique quality that set their voices apart from the rest: brotherhood. The Bee Gees: How Can You Mend A Broken Heart tells a resonating tale of the trio’s tight knit childhood, meteoric rise to fame, and rollercoaster to fortune. Having gone into this documentary not knowing much about their history, it was a treat to discover just how many ballads they wrote, and to see how the band adapted to different genres of music during their later years. This documentary will make your heart sing. Where to watch: Crave CA Disclosure (dir. Sam Feder) Disclosure is an absolute must-see. This documentary by Sam Feder unravels Hollywood stories that have influenced and harmed the transgender community. For decades, representation on screen has affected how transgender people are seen by themselves and by others. Through exploring the history of trans images in film and television, the importance of truthful narratives shine. It is crucial to note that while representation is improving, there is still a long way to go, and the work continues beyond the educational points brought up in this eye-opening documentary. Where to watch: Netflix CA Mucho Mucho Amor (dir. Kareem Tabsch and Cristina Costantini) Walter Mercado - the iconic, gender non-conforming astrologer - mesmerized 120 million Latino viewers with his extravagance and positivity for decades until he mysteriously disappeared. Directed by Kareem Tabsch and Cristina Costantini, this beautiful documentary explores the events leading up to Walter’s disappearance from television, as well as the inspirational legacy he leaves behind. Archival footage, insightful interviews, and one-on-one moments with Walter paint a loving portrait of a legendary person who embodied joy. Mucho Mucho Amor is made with a lot of admiration and celebration of Walter’s life and the journey that brought him back into the limelight. Where to watch: Netflix CA The Mole Agent (dir. Maite Alberdi) Director Maite Alberdi brings an intriguing spy drama perspective to The Mole Agent, a charming documentary about loneliness and togetherness. Told mostly from inside a nursing home, private detective Romulo hires an 83-year old man named Sergio to pose as a resident and look for signs of abuse towards a client’s mother. This observational documentary tells a moving and endearing story about Sergio’s increasing personal ties as he befriends the other residents. The closer he feels to them, the more distracted he is to find evidence and report back to Romulo. The Mole Agent makes compelling observations about the power of friendship, and the emotions residents go through while living in isolation from the outside world. Where to watch: YouTube CA Collective (dir. Alexander Nanau) After a tragic fire in a Romanian club, several victims transported to hospitals began dying with non-life threatening injuries. Collective is a startling example of investigative journalism that uncovers the corruption of the Romanian healthcare system and governmental negligence. That a lot of the whistleblowing emerged from a sports journalist watching the story unfold from the sidelines is indicative of a flawed, horrifying system. Collective immerses itself into the world of journalists and survivors in a fight for truth, justice, and transparency. Where to watch: iTunes CA Crip Camp: A Disability Revolution (dir. Nicole Newnham and James LeBrecht) Crip Camp tells an inspirational story of revolution, resilience, and togetherness. Down the road from Woodstock in the early 1970s, history was in the making. Camp Jened, a summer camp located in the Catskills, created a safe space for a diverse community of disabled teenagers to be themselves. Jened was a summertime oasis where people with disabilities were accepted. Directed by Nicole Newnham and former camper James LeBrecht, this resonating documentary explores the heartwarming power of community and the spark that led to the Americans with Disabilities Act. Where to watch: Netflix CA  Natasa Stork in Preparations to Be Together for an Unknown Period of Time (2020) Dreaming Under the Influence with Márta
In the perfectly titled Preparations to Be Together for an Unknown Period of Time, writer-director Lili Horvát tells a fascinating love story about the power of the unknown. To satisfy the unknown would mean to determine or clarify answers. How can one really ascertain as such when met with love at first sight? Love that exists under the influence of some abstraction? Márta (Natasa Stork) is a brilliant neurosurgeon who leaves her American career behind and returns to Budapest “for personal reasons.” She’s in love. The love of her life is János (Viktor Bodó), a man she met once at a medical convention in New Jersey, who agreed they shall meet again exactly one month later at 5pm on the Liberty Bridge in Budapest. He doesn’t keep his promise. Having not exchanged numbers, she tracks him down in search of an explanation and he claims the two have never met in the first place. Márta is abstracted from the reality of who she fell in love with, which puts her in a constant haze…dreaming while awake. She lives distractedly under the influence of love and the mystifying aftermath of not knowing the other person’s feelings. When she first met fellow Hungarian doctor János, she knew in that moment he was exactly who she’s been looking for, and so the loss of a promised meeting between the two of them perplexes her to the point of self-doubt. She worries that she filled in the blanks of her desires; “I wanted something so bad that I dreamed up the whole thing and I lost myself in it,” she tells her case worker during a session, giving him an inquisitive dose of self-reflection. This film tells a story of enormous potency. From the camera’s close-up depictions of Márta to the frequent use of reflections and mirror images, ‘Preparations’ has an incredibly introspective quality. This is also a story that studies the power of a gaze and its many interpretations. One of the most startling scenes in the film shows Márta studying a photo from the New Jersey convention that shows her looking over intensely at a completely unaware János. Filmmaker Lili Horvát creates such a powerfully inward-looking portrait of a woman, and gives energy to Márta’s moments of loss which come with the pursuit of what love can satisfy. Natasa Stork’s all-encompassing performance as Márta gives the film such hypnotizing energy, like being in a trance. The film leaves behind a lingering afterthought: that sometimes what becomes lost through love is a part of yourself. After Márta’s first confrontation with János, where he reacts with complete indifference upon missing the bridge meet, the two unexpectedly find themselves working together in an operation room. Márta had taken a job at a hospital in Budapest; working among misogynistic colleagues, her talent shines and she expertly handles a procedure during which János walks in and oversees. Afterwards the two “officially” meet; he recognizes her from that first confrontation, but she dismisses this and claims she confused him for someone else. Lili Horvát plants the seeds for a fascinating shift that starts to take over, whereby the moment Márta assures János she was mistaken and formally introduces herself, the more he begins to gravitate towards her. Viktor Bodó plays exceptionally into the mystery of János and the ambiguity of his feelings when Márta approaches him. The film is a fascinating look at characters under the influence of not only falling in love, but also running away from it. “Sometimes I see someone on the street and feel I know them, like a long-dead patient,” János tells the audience (while catching a glance towards Márta) at his book launch when asked if he believes in ghosts. There’s a haunting quality that Lili Horvát explores so well throughout the film, in that sometimes a missed opportunity or brief encounter can in fact be haunting. The more time that passes after a powerful first encounter, the more time one has to sit with the ‘what if?’ factor. The film is very much about the power of love at first sight, and the power of lost time. Moments left unsaid between two people make room for mentally filling in the blanks of what could have been, while also opening the door to abstracting one’s self from another person’s reality. The brain is indeed like a city, as János explains, sacrificing one room to save the frontal castle. In many ways, Márta gives a part of herself to a brief encounter, and it’s a part that exists entirely in a world where love rules above all else. The more Márta and János show remnants of recognition, the more Horvát’s film morphs into a dance of the rekindled connection that was once buried. The final chapter of this story is a strange one; what the characters gain in a semblance of certainty, the film loses in intriguing ambiguity. Preparations to Be Together for an Unknown Period of Time unexpectedly feels a lot more disjointed in its conclusion than it does during all the moments preceding. What remains is the persisting abstraction of Márta as she dreams under the influence of love at first sight. Maybe it is the instant feeling of knowing, when you first lock eyes with someone, that holds all the answers.  Tahar Rahim in The Mauritanian (2021) Based on the best-selling memoir Guantánamo Diary, The Mauritanian tells the devastating true story of Mohamedou Ould Slahi. During a horrific chapter of his life, he was detained without charges at the US military’s Guantánamo Bay detention center. Director Kevin Macdonald brings forth his experience as a documentarian to portray what Guantánamo looked like to Mohamedou. The US government spent millions of dollars keeping the realities of this center a secret. For those who have not heard Mohamedou’s story, the film tells terrifying truths that play out with a mystery/thriller structure which then morphs into greater focus on Mohamedou himself. Echoing at the heart of The Mauritanian is Tahar Rahim’s absolutely phenomenal performance as a man forced to endure such harrowing psychological and physical mistreatment.
The direction and screenplay go for a balancing act, interweaving Mohamedou’s experiences and memories with the exposé that unravels after his situation gets more attention. The key players involved in his case include his defense attorney Nancy Hollander (Jodie Foster) fighting for his release and prosecutor Stuart Couch (Benedict Cumberbatch) on a crusade against him. Mohamedou puts his trust into Nancy the moment he signs on the dotted line in acceptance of her defense, and the two share some emotionally intense scenes that rightfully question the legitimacy of the corrupt legal system that would decide his fate. With the depictions of characters surrounding Mohamedou, The Mauritanian looks through the lens of America’s relationship to him. The film broadens his story to portray the contrasting attitudes working for and against his rights. Several scenes show characters operating on the right and wrong side of history, sparring with words in the fight towards different meanings of justice. During one of very few scenes between Nancy and Stuart in particular, they share a conversation after which she realizes she needs to change the narrative. People need to hear Mohamedou's story directly from him. The mystery/thriller trope that questions whether he is guilty or innocent morphs into a character study that uncovers the brutality of how he was treated in prison. Through Mohamedou's written testimony, the film depicts his trauma which includes some moments that are horrific to watch on screen. The film is a powerful depiction of the terrifying embedded realities hidden away at a place that was built outside of court reach. The decision to balance an intense character study with so many other moving parts is not one that pays off. When operating as a character study, The Mauritanian resonates. The story follows Mohamedou from the moment he is detained to the rulings on his case, while also intertwining some of his childhood memories in Mauritania. “You are our hope,” a family member once told him after learning he received a scholarship to study in Germany. The film provides glimpses into his life outside of prison, further stressing the time he lost and the relationships he missed. The majority of Mohamedou’s story is told during his imprisonment, which depicts not only the mistreatment he’s forced to endure but also the love and humanity that exists within him. The role is played by one of the most gifted actors of his generation, Tahar Rahim, who gives a spirited performance that works absolute wonders for the film. In the face of fear and terror he brings moments of warmth and energy, a work of humanity that is heartbreaking to watch. When operating as a thriller and courtroom drama, The Mauritanian stumbles through questionable dialogue and distracting roles. The film shows the legal side to Mohamedou’s case by introducing defense and prosecution characters. While it’s somewhat understandable to incorporate Stuart Couch in exploration of such blatant corruption and a haunted conscience, not only is the role itself by far the least interesting but it’s also poorly written. To worsen matters, Cumberbatch and his sour accent go in the opposite direction of elevating the material. Another role falling flat is that of Teri Duncan (Shailene Woodley), an amalgamation of two lawyers who worked with Nancy on the case at different times. Woodley is a fine actor and brings a short-lived intrigue to a character that exists in tiny glimpses. Teri is more openly caring, which Mohamedou picks up on and gravitates towards in their brief meetings. But her hesitance wins out when she realizes the perceived possibility of him being guilty, whereas Nancy is more seasoned and lacks the patience for such indecisiveness. The star in this stumbling side of the operation is undoubtedly Jodie Foster, who delivers a truly great performance that portrays a strong determination not to allow distractions get in the way of her job. Foster brings plenty of vigor to her role and shares such compelling scenes with Rahim, the star performer of the film. The Mauritanian makes the most resonating impact when focused intently on Mohamedou’s perspective. This is a necessary film in that this story needs to be told, both in relation to him and to the corruption embedded in the legal system. While the interweaving technique works when balancing Mohamedou’s life in and out of prison, the narratives that emerge from the legal portion are not nearly as well written nor well balanced. At the heart of this film is a powerful character study led by Tahar Rahim’s incredible performance and incorporated with moving real-life footage of the real Mohamedou Ould Slahi.  Film Independent have announced their nominees recognizing the best of independent film. ✨
Eliza Hittman's Never Rarely Sometimes Always earned a total of 7 nominations. The film features a show stopping debut performance by Sidney Flanigan, who is nominated for Best Female Lead. Lee Isaac Chung's Minari is not far behind with 6 nominations, including well-deserved recognition for Yeri Han and Yuh-jung Youn in the Best Supporting Female category. Check out the full list of nominees below! The 2021 Film Independent Spirit Awards will take place on Thursday April 22nd at 10pm (ET) on the @IFC Twitter page and streaming on AMC Plus. Film Best Screenplay Mike Makowsky, Bad Education Lee Isaac Chung, Minari Alice Wu, The Half of It Eliza Hittman, Never Rarely Sometimes Always Emerald Fennell, Promising Young Woman Best Cinematography Michael Latham, The Assistant Shabier Kirchner, Bull Helene Louvart, Never Rarely Sometimes Always Joshua James Richards, Nomadland Jay Keitel, She Dies Tomorrow Best Documentary Collective Crip Camp Dick Johnson Is Dead The Mole Agent Time Best First Feature I Carry You With Me The Forty Year Old Version Miss Juneteenth Nine Days Sound of Metal Best Supporting Male Colman Domingo, Ma Rainey’s Black Bottom Orion Lee, First Cow Paul Raci, Sound of Metal Glynn Turman, Ma Rainey’s Black Bottom Benedict Wong, Nine Days Best Male Lead Riz Ahmed, Sound of Metal Chadwick Boseman, Ma Rainey’s Black Bottom Adarsh Gourav, The White Tiger Rob Morgan, Bull Steven Yeun, Minari John Cassavetes Award The Killing of Two Lovers La Leyenda Negra Lingua Franca Residue Saint Frances Robert Altman Award (awarded to one film’s director, casting director, and ensemble) One Night in Miami Director, Regina King Casting director, Kimberly R. Hardin Ensemble cast, Kingsley Ben-Adir, Leslie Odom Jr., Eli Goree, Aldis Hodge Best First Screenplay Kitty Green, The Assistant Noah Hutton, Lapsis Channing Godfrey Peoples, Miss Juneteenth Andy Siara, Palm Springs James Sweeney, Straight Up Best Editing Enat Sidi, I Carry You With Me Andy Canny, The Invisible Man Scott Cummings, Never Rarely Sometimes Always Chloé Zhao, Nomadland Merawi Gerima, Residue Best International Film Bacurau The Disciple Night of the Kings Preparations to be Together for an Unknown Period of Time Quo Vadis, Aida? Best Supporting Female Alexis Chikaeze, Miss Juneteenth Yeri Han, Minari Valerie Mahaffey, French Exit Talia Ryder, Never Rarely Sometimes Always Yuh-jung Youn, Minari Best Female Lead Nicole Beharie, Miss Juneteenth Viola Davis, Ma Rainey’s Black Bottom Sidney Flanigan, Never Rarely Sometimes Always Julia Garner, The Assistant Frances McDormand, Nomadland Carey Mulligan, Promising Young Woman Best Director Lee Isaac Chung - Minari Emerald Fennell, Promising Young Woman Eliza Hittman, Never Rarely Sometimes Always Kelly Reichardt, First Cow Chloé Zhao, Nomadland Best Feature First Cow Ma Rainey’s Black Bottom Minari Never Rarely Sometimes Always Nomadland Producers Award (awarded to emerging producers dedicated to producing quality independent films) Kara Durrett Gerry Kim Lucas Joaquin Someone To Watch Award (awarded to a talented filmmaker who has not yet been given recognition) David Midell, The Killing of Kenneth Chamberlain Ekwa Msangi, Farewell Amor Annie Silverstein, Bull Truer Than Fiction Award (awarded to an emerging non-fiction feature filmmaker who has not yet been given recognition) Cecilia Aldarondo, Landfall Elegance Bratton, Pier Kids Elizabeth Lo, Stray TV Best New Non-Scripted or Documentary Series Atlanta’s Missing and Murdered: The Lost Children City So Real Immigration Nation Love Fraud We’re Here Best New Scripted Series I May Destroy You Little America Small Axe A Teacher Unorthodox Best Female Performance in a New Scripted Series Elle Fanning, The Great Shira Haas, Unorthodox Abby McEnany, Work in Progress Maitreyi Ramakrishnan, Never Have I Ever Jordan Kristine Seamon, We Are Who We Are Best Male Performance in a New Scripted Series Conphidance, Little America Adam Ali, Little America Nicco Annan, P-Valley Amit Rahav, Unorthodox Harold Torres, Zero Zero Zero Best Ensemble Cast in a New Scripted Series I May Destroy You Ensemble cast, Michaela Coel, Wruche Opia, Paapa Essiedu, Stephen Wright |
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