The Films of 2015. The 16th annual FiLM BiTCH Awards
PICTURE | ACTING | VISUALS | AURALS | EXTRAS | SPECIAL | SCENES
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Best Costume Design
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| Sandy Powell CAROL |
Sandy Powell CINDERELLA |
Janet Patterson FAR FROM THE MADDING CROWD |
Jenny Beavan MAD MAX FURY ROAD |
Joanna Johnston THE MAN FROM U.N.C.L.E. |
 Powell never fails to create mini movies within movies her costumes are so rich with expressive color choices and details. And Blanchett's wardrobe is multifaceted in each scene. |
Hyper stylized gowns that somehow corral all their gaudy rainbow explosiveness to elevate rather than overpower the film. And Cinderella's iconic "blue" ballgown. Yes. |
Patterson is still one of our most underappreciated artists and her work on Mulligan is sublime (that jacket!) as well as the careful touches of earthy romanticism and rigid callous wealth. |
 Talk about leaving your comfort zone. Beaven ditches all previous period fuss for this pop dystopia with makeshift armor, worn shirt, and bridal fantasized satirized |
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Finalists: Paco Delgado does sumptious costuming for THE DANISH GIRL on multiple characters but also traces Lili's self-actualization with clever hyper attentive choices from stiff colors to androgynous pantsuit and studied glamour. Semi-Finalists: Jacqueline Durran (MACBETH); Kate Hawley (CRIMSON PEAK) Ruth E Carter (CHI-RAQ); Courtney Hoffman (THE HATEFUL EIGHT); Odile Dicks-Mireaux (BROOKLYN); Michael Kaplan (STAR WARS: THE FORCE AWAKENS) |
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Best Cinematography
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| Ed Lachmann CAROL |
John Seale MAD MAX: FURY ROAD |
Hans Fromm PHOENIX |
Roger Deakins SICARIO |
Sturla Brandth Grølven VICTORIA |
| A supert 16 mm wonder, every shot feels lifted from some lost romantically heightened memory, both soft and crystalline [Interview Soon] |
For pushing the light and color to rigid iconic and unnatural extremes - let's retire orange & teal forever because you can't top this |
Fromm's use of light is subtly thematically flexible: noir mystery, nightmare surreal, doomed romantic. Then a diffuse inescapable truth |
Deakins is always battling with Lubezki for world's most beloved DP. Here's another winner with this brightly lit then suddenly shadowy thriller. |
Sturla's work on this night time one-shot wonder is so impossibly and fully achieved that the director gave him top billing! |
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Finalists: Another great year for DPs everywhere so I'm sorry I didn't have room for Mark Lee Ping Bing ravishing work with veils and color shifts in THE ASSASSIN; Emmanuel Lubezki use of natural light on THE REVENANT was the film's strongest selling point; And Sean Baker & Radium Cheng shot TANGERINE so inventively well with such great use of color and movement that I didn't know until after the premiere that it was all shot on an iPhone. Semi-Finalists: Maryse Alberti (CREED); Rob Hardy (EX MACHINA); Mátyás Erdély (SON OF SAUL); Alwin Kuchler (STEVE JOBS) |
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Best Production Design
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| Adam Stockhausen BRIDGE OF SPIES |
Judy Becker CAROL |
Thomas E Sanders CRIMSON PEAK |
Colin Gibson MAD MAX: FURY ROAD |
Ethan Tobman ROOM |
Though the recreation of the Berlin wall is the major setpiece the true wonders here are crowded work flat, and those inhospitable cold (literally) rooms [Interview Soon] |
Frankenberg's department store is perversely funny. But everything works from Abby's door, to Carol's rich home, and Therese's cheap flat [Interview] |
Allerdale Hall is the MVP of del Toro's gothic thriller. CGI gets in the way of enjoying it but there's smart use of scale, oppressive detail, knick-knacks, and faulty mechanics. |
Immortan Joe's skull fortress with fountain mouth is genius. But this world's fetishistic dominion is designed perfectly down to the last chastity belt and blood bag |
An unusual challenge aced: Design a macro child's world that's only 10 x 10 in which camera and actors and crew can fit. Compare / contrast with outer world [Interview] |
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Finalists: Kave Quinn for wholly convincing estates and romanticized farms on FAR FROM THE MADDING CROWD; Dante Ferretti for taking luscious royalty to extremes in CINDERELLA; and Mark Digby for all the shiny surfaces and glass and over-designed fortress feel of Nathan's compound (just how he would have designed it!) in EX MACHINA; Semi-Finalists: Jack Fisk (THE REVENANT); Kade Gruber (PHOENIX); Arthur Max (THE MARTIAN); Francois Seguin (BROOKLYN); |
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Best Film Editing
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| Affonso Gonçalvez CAROL |
Claudia Castello & Michael P Shaver CREED |
Jason Ballantine & Margaret Sixel MAD MAX FURY ROAD |
Nathan Nugent ROOM |
Joe Walker
SICARIO |
| For the fluidity of feeling in every exchange of glances and temperature shift [Interview] |
For those exciting non-repetitive fight sequences and for keeping the movie's energy up | A masterclass in visual coherence and careful detail within an insane maelstrom |
For such careful construction and laser focus on selling great performances [Interview] |
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Finalists: Elliot Graham keeps STEVE JOBS performances electric across three acts - no easy task given the repetitive structure; Tom McCardle keeps SPOTLIGHT on its driven course, smoothly, proficiently, and doesn't miss the chance to sell smart ensemble work; Mathilde Van de Moortel for attending to the visceral feelings whether in the languour or the eruptions of MUSTANG. Semi-Finalists: Mark Day (EX MACHINA);Pietro Scalia (THE MARTIAN); Sean Baker (TANGERINE); Xavier Dolan (TOM AT THE FARM) |
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Best Visual Effects
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| THE AVENGERS: AGE OF ULTRON | EX MACHINA | MAD MAX: FURY ROAD | STAR WARS: THE FORCE AWAKENS | TOMORROWLAND |
| State of the art superheroic mayhem - especially Hulk vs Iron Man. Plus eery/smart attention to detail with Vision and Scarlet Witch |
The ideal use of fx in movies: to support the characters and ideas. All with that misleading translucent body; you can't see right through Ava. |
For the glory of practical effects as well as the subtle CGI pushes into the surreal - that cosmically epic sandstorm. Plus minor 100% convincing business like missing arms |
For the return of all the old joys... Millenium Falcon, adorable robots, and the unseen (The Force). But especially for the smart tweaking. Kylo Ren's lightsaber is perfect | It was a toss up for the fifth spot (though nominations are listed alphabetically) but the title character is so crazy. That permeable floating pool! Wowee. |
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Finalists: The Revenant's bear is an A grade visual - so convincing; The Martian's is maybe not pushing any envelopes but this is classy polished space program adventure Semi Finalists: Ant-Man, Mission: Impossible - Rogue Nation; and The Walk |
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Best MakeUp and Hair |
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| CAROL |
MAD MAX: FURY ROAD |
MR HOLMES |
SPY | THE REVENANT |
| Maximum beauty for romantic image-making. Bonus points: Carol's manicure! |
Taking the smoky eye to its gonzo apotheosis. Plus all the genetic warboy troubles. |
Sir Ian McKellen is an elder statesman of the movies. But he's NOT that old. Great aging work. |
For having so much fun with the wigs. Everyone is Bond-glamorous. McCarthy has never looked better |
Maximum ugliness for brutal image-making. Bonus points: Tom Hardy's self grooming and Leo's chapped lips. |
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Finalists: Phoenix, Ex Machina Semi Finalists: Macbeth, The Martian, Brooklyn, The Man From UNCLE, Southpaw |
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