FYC: Kelly Reichardt for Best Director

by Cláudio Alves

Today marks the end of Oscar voting. After the clock strikes 5 PM PST/8 PM EST all the ballots for the 93rd Academy Award nominations will be set in stone, and nothing will change until the results are announced next Monday. As it stands, this also marks the end of these FYC write-ups by the Team Experience. To conclude things, I took for myself the honor of writing the last such piece of the season. It's about my favorite of the Oscar eligible titles, a tale of kindness in an unkind world, of ancient friendships, untraditional masculinities, unhuman economies, and unforgiving histories. First Cow's Kelly Reichardt's magnum opus and the film for which the American cineaste should be conquering her first Oscar nomination…

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How many female directors are going to be nominated?

by Juan Carlos Ojano

In hindsight, concerns that "there are no movies" or cries to "cancel the Oscars" during the pandemic were premature and also insulting. We could lament all the films postponed or we could embrace the extraordinary films we got. 2020 was a rich year of diverse voices behind the movies. That happily translated to the awards conversation: BIPOC and female filmmakers have had an unprecedented presence in the run up to the Oscar nominations.

Looking back at Oscar history, only five women have been nominated for Best Director...

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Spirit Award Nods: "Never Rarely Sometimes Always" and "Minari" lead the nominations

Chauncy and Barry helping announce the Spirit nominationsby Nathaniel R

Nominations for the 36th annual Independent Spirit Awards have been announced. Spirit winners Olivia Wilde (Booksmart) and Barry Jenkins (Moonlight) as well as actress Laverne Cox announced the nominations. 

BEST FEATURE

• First Cow (Neil Kopp, Vincent Savino, Anish Savjani)
  Received 3 nominations
• Ma Rainey's Black Bottom (Todd Black, Denzel Washington, Dany Wolf)
  Received 5 nominations
• Minari (Dede Gardner, Jeremy Kleiner, Christina Oh)
  Received 6 nominations
• Never Rarely Sometimes Always (Sara Murphy, Adele Romanski)
  Received 7 nominations
• Nomadland (Mollye Asher, Dan Janveey, Frances McDormand, Peter Spears, Chloe Zhao)
  Received 5 nominations

A Full list of Film Independent Spirit nominees and commentary follow after the jump...

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Kelly Reichardt and the "Roads to Nowhere"

by Cláudio Alves

With First Cow, Kelly Reichardt reaches an apotheosis in her career. Watching the director's filmography, one wouldn't suppose she was building up towards a monument, a grand summation of an auteur's cinematic idioms and preoccupations. Yet, here we are. While Reichardt has a very characteristic style and collection of favorite themes, one of the main elements of her oeuvre is a conspicuous lack of grandiosity. She's one of the great voices in contemporary American cinema, but her works seldom underline their mastery or call back to the films that came before, their predecessors in the Reichardt canon. 

Because of that, it feels like a good time to meditate on Kelly Reichardt's cinema, to revisit her features' wonder and, perchance, reevaluate what each one was trying to say. It's also an opportune moment to examine how those films were made, the methodologies of the artist. The way something is created imbues it with particular qualities, both aesthetic and ideological, thematic, and even spiritual. Helping us through this odyssey of discovery on the films of Kelly Reichardt, we now have Seventh Row's latest e-book, Roads to Nowhere: Kelly Reichardt's broken American dreams, as a handy guide… 

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The Furniture: First Cow and the Architecture of Settlement

Daniel Walber's series on Production Design. Click on the images to see them in magnified detail.

First Cow is a mossy and melancholy tragedy. Kelly Reichardt makes the failure of her protagonists clear from the start, showing us their skeletons before introducing them in the flesh. There’s a morbid air to everything that follows, though it’s softened by an atmosphere of tremendous beauty. It’s the best ASMR video of the year.

Cookie Figowitz (John Magaro) and King-Lu (Orion Lee) clearly think that they are in a land of endless possibility: Oregon Country in the 1820s. Decades before a settled border, the USA and the British Empire “jointly occupied” the Pacific Northwest, in accord with an 1818 treaty agreement that did not even acknowledge the presence of indigenous people.

This is the context for King-Lu’s utterly false observation:

This is still new - more nameless things around here than you could shake an eel at… History isn’t here yet.”

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