'The Lost Daughter' and 'Zola' are multiple Spirit Award winners

by Nathaniel R

The Film Independent Spirit Awards were held today and The Lost Daughter emerged as the big winner with Maggie Gyllenhaal taking home three statues: Feature, Director, and Screenplay. Zola, our Bronze Medalist for Best Picture, also performed well winning Female Lead and Editing. On television Reservation Dogs was the big winner with two prizes. A complete list of winners and teary funny acceptance speeches after the jump...

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Podcast: The Team chats Oscar nods

Nathaniel gathered the team members who were available on Tuesday night for a quickie discussion of the Oscar nominations.  

You can listen to the podcast on iTunes, Stitcher or Spotify or download the attachment below. And while you're thinking of the Oscars, check out the charts and vote on the polls!

Post Nomination Discussion

Nathaniel's Top Ten List (Best of 2021)

by Nathaniel R

Movies are not quite keepsakes anymore with physical media dying. Yet they remain emotional treasures to return to or reflect upon as real as any beloved mementos you could place in a keepsake box. For awards and list obsessives they take on extra-meaning as stand-ins for each calendar year as well. We have to have a gimmick for the top ten lists each year, else the task of putting so much love into words becomes too daunting.  So this year we've chosen memorable objects as a frame with which to remember the year's best. These great films were filled with fawned over items and knick knacks from "purty" paper flowers to restless coffee cups, from razor-sharp seashell bracelets to winning lottery tickets, from horny religious figurines to magical belts.

20 HONORABLE MENTIONS

So that you don't immediately ask "WHERE IS  ____?" here are the 20 films outside of the top 10 list that were loved and/or deeply admired. Plus, in keeping with the chosen theme, the visual object we most closely associate with them... 

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Oscar Volley: Best Cinematography, Half-Locked, Half-Not?

Continuing our Oscar Volley series at The Film Experience. Eric Blume, Elisa Giudici, and Glenn Dunks talk Best Cinematography. 

Greig Fraser shooting Timothée Chalamet in the desert for Dune (2021)

Eric Blume:  Glenn and Elisa, Do we all agree that we probably have two "locks" for Best Cinematography nominations:  Delbonnel for The Tragedy of Macbeth, and Greig Fraser for Dune?  Those feel like two very worthy nominees to me.  While I think Joel Coen's conception of his film is limited and flawed, I admired Delbonnel's execution of Coen's concept, really leaning into that austere Calvinist guilt like we got in Carl Theodore Dreyer movies, and stealing from Sven Nykvist's framing in Bergman movies...yet netting out in its own unique visual scheme to highlight those sets and costumes.  And I thought Fraser's work made Denis Villeneuve's arid sci-fi epic surprisingly sensual, which helped the film (which is dense and heavy) enormously by taking you out of your head sometimes and back to your senses. Do you think both are locks?  What are your thoughts on those two, and their closest challengers... 

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Oscar Volley: Adapted Screenplay - a wealth of good choices, but will the Academy make the right ones?

The Oscar volleys continue. Today Lynn Lee, Mark Brinkerhoff, and Eurocheese sound off on this year’s Adapted Screenplay race.

a wealth of options for Oscar voters

Lynn: Gentlemen, I don’t know about you, but from where I’m standing, Adapted Screenplay is an embarrassment of riches this year. There are at least three contenders that tackle the incredibly difficult task of illuminating their characters’ inner lives and psychology (The Power of the Dog, Passing, and The Lost Daughter) with minimal to no voice-over narration and they all do it brilliantly. Then there are the play adaptations – everything from Shakespeare via Coen (The Tragedy of Macbeth) to Shakespeare / Sondheim / Laurents via Kushner (West Side Story) to Jonathan Larson via Lin-Manuel Miranda (tick, tick …BOOM!) to Stephen Karam doing Stephen Karam (The Humans) – where each manages to pull off a bold departure from previous iterations while retaining basic fidelity to the source text. And then there’s my personal favorite, Drive My Car, which manages to be at once an ambitious expansion of a Murakami short story and a spectacularly moving adaptation of Chekhov’s Uncle Vanya at once.

That said, we can’t realistically expect most Oscar voters to be familiar with the underlying material for these screenplays. It’s a safer bet the nominations will align pretty closely with the Best Picture nominees or almost-nominees that don’t have original screenplays...

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