Film Bitch Awards finale: Best scenes & big results from small parts

by Nathaniel R

Christian Magby and Lance Reddick in "One Night in Miami"

You know where I am if you need me.

We're finally closing out our 2020 coverage. Five months into the calendar year. We'd say 'Oops' but in this one case we'll happily blame the Oscars pretending that the calendar wasn't the calendar rather than our own sometimes-lacking time management skills. Though we are excited to move on to 2021, in point of fact lists and awards are our happy place. That is not because they have inherent definitive value as arbiters of quality (as the naysayers like to remind). No, that's not it at all. Only time is the definitive tastemaker but even that is fallible since it never stops and collective opinion can shift dramatically from generation to generation just as it does from person to person. No we value and love lists and awards because they are superb documents of feelings about quality at a specific moment in time. What moved people en masse? The answer is all over awards season. What struck certain individuals in a seismic way? That can be found in personal top ten lists and personal awards for those who bother to make such things. 

So let's start with one of our favourite things to honor: smashing work in very limited screentime...

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Nathaniel's Top Twenty (Plus) of 2020

by Nathaniel R

Swallow, one of 2020's twenty best

Dementia, toxic masculinity, mental illness, economic inequality, nationalism, and racism were impossible to miss in 2020. And for once I'm not even referring to the soulless depravity of the GOP! Those were also recurring themes in world cinema this past film year. The silver lining is this: difficult topics and trying times can make for great art. This past year's best films were hardly a cheerful lot, but the best filmmakers know how to incorporate tonal variety to keep their movies three-dimensional and lively with ideas, moods, and unforgettable scenes.

The following movies greatly enriched a very tough year. Whether you already love them or are yet to discover them I wish you the best film experiences with these...

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Lynn Gives Thanks, 2020

Team Experience is giving thanks. Here's Lynn Lee...

Between the scourge of COVID-19 and the utterly dysfunctional American response, 2020 is looking more and more like a lost year for public health, good governance, and the arts and entertainment industry in this country.  Still, as tantalizing hopes of a return to normalcy glimmer on the horizon (three potential vaccines! A responsible, expertise-driven presidential administration!), Thanksgiving provides a much-needed reminder to appreciate the things that helped get us through the past several months.  Here are some of the movie and TV-related moments and discoveries that brought me joy this year:

• Parasite making history as the first Korean movie to win the Oscars for Best Picture, Best Director, and Best Foreign Film.

• The huge, unblinking gimlet eyes of Anya Taylor-Joy (which bring to mind a cross between Emma Stone and Alita): sometimes challenging, sometimes disquieting, always riveting.

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"Virtual" Moviegoing - What's New?

by Nathaniel R

Tired of aimlessly scanning choices on Netflix? Treat yourself to a newish movie tonight that you might have been seeing in a theater in a better world! Increasingly the small indie distributors like Kino Lorber and Music Box Films are releasing their movies to pay per view streaming systems which share the ticket purchase price with the movie theater of your choice! So this weekend make some popcorn and pretend you're going to your local arthouse with one of these gems...

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Review: Don't miss "And Then We Danced"

by Cláudio Alves

A man is a monument of strength, hard and unbending. A woman is a vision of purity, soft and willowy. For those who teach Georgian traditional dance, this binary is tantamount to a universal truth whose cosmic certainty must be supported by the choreographed bodies. But binaries are conventions fated to be broken by the messiness of being human. Merab, the protagonist of Levan Akin's And Then We Danced, is the element of humanity that breaks the convention and exposes its brittle frailty.

Merab's too soft to be a monument. He's too willowy to be the man of folkloric tradition. He's still a man, though, and a dancer too, one that trains to be part of the National Georgian Ensemble...

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