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Showing posts with label marion cotillard. Show all posts
Showing posts with label marion cotillard. Show all posts

Friday, February 20, 2015

FILM NEWS: THE PROGIES 2014 WINNERS

This year's John Garfield Award recipient for Best Actor in a Film: David Oyelowo as Martin Luther King Jr. in Selma.
Thinking differently
 
By John Esther
 
This week an anonymous member of the Academy declared "Selma has no art to it," and that the decision of its filmmakers to wear a "I Can't Breathe" t-shirt in memorial to Eric Garner's death at the film's premiere was "offensive."
 
Nevermind, for a moment, that this member of an organization that is reportedly 94 percent white is complaining about a protest against police brutality on unarmed black people at the filmmakers' own premiere of their film. Or that Selma is a film about a man, and many others, who stood up against police brutality and were indeed victims of police brutality. Forget that for a second because he or she does not know what he or she is talking about. Selma has plenty of art to it. Otherwise there is no way the James Agee Critics Circle could have awarded it the Trumbo for Best Picture of the year and the film's lead, David Oyelowo the Garfield Award for Best Actor in a film released in the U.S. 2014.
 
That would not be possible. (This person probably thinks the woefully offensive Last Days in Vietnam is one of the best documentaries of the year.)
 
Here are the other winners of the 8th Annual Progies -- in Blue.
 
THE TRUMBO: The Progie Award for BEST PICTURE is named after Oscar-winning screenwriter Dalton Trumbo, a member of the Hollywood Ten, who was imprisoned for his beliefs and refusing to inform. Trumbo helped break the Blacklist when he received screen credit for Spartacus and Exodus in 1960.
 
Winner: Selma.
 
Other nominations:
Birdman;
Cesar Chavez;
The Congress;
Goodbye to Language;
The Liberator;
Pride;
Two Days, One Night
 
THE GARFIELD: The Progie Award for BEST ACTOR is named after John Garfield, who starred in pictures such as Gentleman’s Agreement and Force of Evil, only to run afoul of the Hollywood Blacklist.
 
Winner: David Oyelowo in Selma.
 
Other nominees:
Benedict Cumbert, The Imitation Game;
Harvey Keitel, The Congress;
Michael Keaton, Birdman;
Eddie Ramierez, The Liberator;
Jeremy Renner, Kill the Messenger;
Eddie Redmayne, The Theory of Everything;
Channing Tatum, Foxcatcher;

KAREN MORLEY AWARD: The Progie Award for BEST ACTRESS in a film is named for Karen Morley, co-star of Scarface (1932) and Our Daily Bread (1934). Morley was driven out of Hollywood in the 1930s for her leftist views.

Winner: Marion Cotillard in Two Days, One Night.

Other nominees:
American Ferrara, Cesar Chavez;
Juianne Moore, Still Alice;
Tilda Swinton, Snowpiercer;
Tessa Thompson, Dear White People;

THE RENOIR: The Progie Award for BEST ANTI-WAR FILM is named after the great French filmmaker Jean Renoir, who directed the 1937 anti-militarism masterpiece, Grand Illusion.

Winner: The Imitation Game.

Other nominations:
The Kill Team;
The Unknown Known;
Zero Motivation;

THE GILLO: The Progie Award for BEST PROGRESSIVE FOREIGN FILM is named after the Italian director Gillo Pontecorvo, who lensed The Battle of Algiers and Burn!

Winner: Goodbye to Language.

Other nominations:
The Circle;
Human Capital;
The Liberator;
Norte, the End of History;
Two Days, One Night;
 
THE DZIGA: The Progie Award for BEST PROGRESSIVE DOCUMENTARY is named after the Soviet filmmaker Dziga Vertov, who directed 1920s nonfiction films such as the Kino Pravda series and The Man With the Movie Camera.

Winner: Citizenfour.

Other nominations:
The Case Against 8;
Gore Vidal: The United States of Amnesia;
The Internet's Own Boy: The Story of Aaron Swartz;
To Be Takei;
Whitey: The United States of America vs. James J. Bulger;
 
OUR DAILY BREAD AWARD: The Progie Award for the MOST POSITIVE AND INSPIRING WORKING CLASS SCREEN IMAGE is named after King Vidor’s 1934 classic about an American collective farm.

Winner: Pride.

Other nominations:
Cesar Chavez;
The Liberator;
Snowpiercer;
Two Days, One Night;

THE ROBESON: The Progie Award for the BEST PORTRAYAL OF PEOPLE OF COLOR that shatters cinema stereotypes, in light of their historically demeaning depictions onscreen. It is named after courageous performing legend, Paul Robeson, who starred in Song of Freedom and The Proud Valley.

Winner: Dear White People.

Other nominations;
Big Hero 6;
Cesar Chavez;
The Liberator;
Memphis;
A Most Violent Year;
Selma;

THE BUNUEL: The Progie Award for the MOST SLYLY SUBVERSIVE SATIRICAL CINEMATIC FILM in terms of form, style and content is named after Luis Bunuel, the Spanish surrealist who directed The Andalusian Dog, Belle de Jour and The Discreet Charm of the Bourgeoisie.

Winner (four-way tie): Birdman; Inherent Vice; Nightcrawler; A Trip to Italy.

Other nominations:
The Congress;
Selma;

THE PASOLINI: The Progie Award for BEST PRO-GAY RIGHTS film is named after Italian director Pier Paolo Pasolini, who directed The Gospel According to St. Matthew, The Decameron and The Canterbury Tales.

Winner: Pride.

Other nominations:
The Circle;
The Imitation Game;
Love is Strange;
To Be Takei;
The Way He Looks;

THE LAWSON: The Progie Award for BEST ANTI-FASCIST FILM is named after John Howard Lawson, screenwriter of 1938’s anti-Franco Blockade and the 1940s anti-nazi films Four Sons, Action in the North Atlantic, Sahara and Counter-Attack, and one of the Hollywood Ten.

Winner: Snowpiercer.

Other nominations:
Most Wanted Man;
The Lego Movie;
Norte, the End of History;
Selma;
 
 
THE SERGEI: The Progie Award for LIFETIME PROGRESSIVE ACHIEVEMENT ON- OR OFFSCREEN is named after Sergei Eisenstein, the Soviet director of masterpieces such as Potemkin and 10 Days That Shook the World.

Winner: Harry Belafonte.





 
 
 
 

Saturday, December 8, 2012

FILM REVIEW: RUST AND BONE

Stéfanie (Marion Cotillard) in Rust and Bone.
Beds, buddies and bodies

By John Esther

By hook, crook and "booking it," Ali (Matthias Schoenaerts) and his five-year-old son, Sam (Armand Verdure), have made it to Antibes to live with his sister, Anna (Corinne Masiero), who he has not seen in five years. Anna gives her brother and nephew a couple of beds and shares her small refrigerator filled with the outdated food she brings home from her work, organized by the expiration date.

A husky man with emotional disabilities, Ali takes on many jobs throughout director/co-writer Jacques Audiard's Rust and Bone (De rouille et d'os). The first one is as a bouncer at a nightclub called Annex (the name of the club gets some legroom as the film goes on). A fight breaks out between two men with Stéfanie (Marion Cotillard) getting injured in the process.

Ali gives Stéfanie a ride home, making his share of machismo remarks along the way. Stéfanie is not really going for him but she lets Ali in the house where her significant other, Simon (Yannick Choirat), is waiting. Ready to play the tough guy, Simon cowers before Ali. Stéfanie likes that.

However, Stéfanie will not be too happy for long. During a show at Marineland Stéfanie suffers a horrific accident at the mouth of a killer whale. Thankfully, without all the gore.

Physically disabled, Stéfanie and the emotionally crippled Ali forge a meaningful relationship. He takes her to the beach, she supports his illegal fighting matches, and they occasionally have sex. Yet, Ali continues to screw up.

There is a lot going for Rust and Bone. Featuring quite a few scenes of great direction -- the accident scene is a tour-de-force; the digital composition is flawless -- Stéfanie, Ali and the others, are also some of of the best written characters this year. They are extremely flawed, barely likable people at times, yet they are genuine. One does not have to like Ali and Stéfanie to understand them. (It is no wonder France did not submit this film as its Oscar submission; Ali and Stéfanie are not heroic enough for the reactionary Academy.)

Along those lines the film offers an honest portrayal of working class struggles, where everybody scrapes by, often working two or more jobs just to live.

The acting is superb, too.

Moreover, it takes great strengths and lengths to show the value of friendship during life. Audiard and cinematrographer, Stéphane Fontaine repectfully guide the camera across the people who make up the lives of the film's two primary protagonists. Stéfanie's friend and co-worker, Louise (Celine Sallette), has a relatively small part, but she is memorable for just being there for Stéfanie. Anna is an interesting, sympathetic charcater in her own right. She deserves her own film.The depth of humanity here is worthy of the filmmaker Akira Kurosawa (High and Low; Red Beard; Ikuru).

And though it is one of the better films of the year, Rust and Bone has its faults. Based on Rust and Bone a collection of short stories of Canadian writer Craig Davidson, the film is rife with hyper dramatic scenes: near-deaths; fights; numerous confrontations. It is also way too conservative with the sex scenes. Considering Ali's strength and Stéfanie's size, the sex is uneventful.

Yet despite its dramatic hyper realization and sexual reservation, there are few films this year are as humane, human, complex and sophisticated as Rust and Bone.


 


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