The Film Experience™ was created by Nathaniel R. All material herein is written by our team. (This site is not for profit but for an expression of love for cinema & adjacent artforms.)
Welcome to the Independent Spirit Awards Live Blog! Your usual host Nathaniel is otherwise occupied. I’m Murtada hoping to take you through the next couple of hours in good spirits and minimal puns.
Refresh periodically for updates!
The show hosts today are Saturday Night Live star Kate McKinnon and Silicon Valley’s Kumail Nanjiani. They gave a fun interview to Vanity Fair where they both admitted to being obsessed with awards shows growing up. Do you think they read The Film Experience?
McKinnon:
"I have this notebook. I’m about 12 and I’ve got a notebook, and I watch all these shows and write down the winners in all of the categories. In every category at all the Oscars, the Globes, the Emmys. . . . Because I was really so interested in the entertainment industry.”
Nanijani:
"I loved the Oscars and I had V.H.S. tapes for the Oscars, and I used to watch them over and over. There was probably one year where I watched it like 20 times or something.”
The nominations were led by Carol (6) and Beasts of No Nation (5). But if the last few years are any indication then Spolight, which scored 4 nominations, is the favorite since it's the only Oscar best picture nominee in the running. They really love the Oscars at Indie Spirits.
However this year there are several categories that have 0 correlation with Oscar. So we are in for an unpredictable show. Hopefully.
People say such strange things when they're talking about Oscars • Bwin predicts Leo will lose the Oscar. One especially weird bit of reasoning is that all of the Actor nominees are playing good guys. Um, did they watch Steve Jobs? • The Guardian says a "conservative" estimate is that Australians will win 10 Oscars tomorrow. Conservative? Have they not heard of The Revenant? • /Film Stunt people want their own Oscar and recently protested again. Unfortunately they also felt the need to belittle other industry talents saying:
People love action; that’s why people go to the movies. No disrespect, but who goes to the movies to see the hairstyles?”
*raises hand*
More Oscar Mania • Vanity Fair fun interview with nominated Jenny Beavan, Mad Max Fury Road costume designer, with a choice Charlize Theron quote • Boston Globe really interesting piece from Ty Burr on "what if the Oscars didn't exist..." and it takes you to place I personally wasn't expecting • Psychology Today on why we're obsessed with the Oscars. STOP PSYCHOANALYZING ME! • IndieWire Ira Deutchman suggests changes to make the Academy more diverse. "First film" would be interesting and skew young but I am adamantly opposed to breakthrough since that is too easily gamed -- see the "breakthrough" prizes Charlize Theron won for Monster after several years of stardom. We'd have a whole new category fraud problem with that. • The Guardian has an interesting take on the Short Film categories -- why don't people watch them when they're increasingly available -- and why do they feel like commercials for features? • Variety beautiful reminiscence from Alfre Woodard on her earliest theatrical success and her 80s Oscar nomination • Tim Brayton's Oscar Predictions • Movie Motorbreath's Oscar Predictions
General Film • Interview ZOMG Julianne Moore interviewing Christina Vachon! • Instagram The Sleeping Beauty dragon via LEGOs! • i09 JJ Abrams is claiming Star Wars will feature gay characters. I'll believe that when I see it (but until then it's fun that Oscar Isaac winked to queer fans with Poe Dameron. And also the Star Wars Saga is largely asexual anyway so...
Off Cinema • Pajiba nails Marco Rubio with a great Turing Test joke • i09 Bram Stoker Awards -- for horror fiction. Which of these will end up as movies? • /Film Tom McCarthy is going to follow up Spotlight with a Netflix series called 13 Reasons Why... it's based on a bestseller but honestly the suicidal premise sounds atrocious / reductive. Already worried! • Jeanne the Fangirl amazing find - a letter to Marvel from 1974 complaining about Iron Fist's whitewashing. Here we are in 2016 and Marvel is STILL planning a white Iron Fist even though the story is Asian by origin • Playbill.com has a badly needed redesign. Check it out if you love Broadway
Today's Watch A Cat predicting the Oscars. (Monty, TFE's Oscar predicting cat, wouldn't cooperate this year but he's always been temperamental about his psychic duties. Also: he's very very old now and only wants to sleep.) So anyway here is some random cat who thinks he can do it. Rampling, eh?
We're nearly finished* with 2015 Film Bitch Awards, our own annual year in review yearbook/party and of imaginary Oscar ballot (well, half of it is that). Today the remainder of our Best Scene categories with six final scene categories. This group hands more nominations to films from the top ten list of course but for highlights to point out here on the blog before you click over, we're using films outside the top ten list.
Obviously this page (and post) of awards contains mild spoilers so if you haven't seen the films and wish to stay pure, these are not the awards categories you're looking for. Here is one nominee I felt the need to gab about (maybe you will too?) from each category...
BEST KISS While Creed was mostly ignored by the Academy, chances are its big box office (which significantly outgrossed Stallone's last two attempts are reigniting the franchise) will insure a big career for Michael B Jordan. Can Tessa Thompson hope for the same (it's always trickier for actresses of color)? They're wonderful together. Especially endearing is the scene in her apartment where Adonis makes up a godawful wrap and they end up collapsed on the floor, caught up in the moment. It's an upside down shot from above and they're something beautifully innocent and pure but also sexy about this kiss. (Later they'll bring the heat in a proper sex scene at Rocky's house. "but what about your Uncle?" / "He old!" Ha!)
SEX SCENE Angelina Jolie's third directorial effort By the Sea was mercilessly trashed upon arrival but this was always going to be its fate. The Jolie-Pitts are extremely mainstream-famous. And household name blockbuster stars that the public has longed to see paired again onscreen aren't supposed to reunite for an indulgent overly serious tribute to Euro art cinema of the 1970s. That's for the other kind of movie star, like the Julianne Moores and the Ryan Goslings of the world, whose filmographies are built on eclectic sensibilities and crisscrossing between the ittybitty and the giant. But By the Sea isn't without its moments. The best scene, repeated in different forms like a musical riff, is when the couple sits on the floor in their hotel room and shyly watches another younger couple (Melanie Laurent & Melvil Poupaud) make love in the next room through a peephole. It's beautifully sympathetic and tragicomic, an estranged couple tiptoeing back to intimacy through surrogates.
OPENING SCENE David O. Russell's Joy is an easy movie to quibble with. It often feels like five different movies that haven't reconciled themselves. This problem (?) is embedded right in its prologue which jumps from inside a stylized soap opera, to Diane Ladd's wonderfully expressive fable-like narration, and back to the soap opera but this time "outside" of it through a TV set, and into little Joy's bedroom where she makes a castle and theorizes about her possible superpower (maybe she doesn't need a Prince?). Ladd's Grandma guides us through this collision of styles and ideas with an expertly dropped line about Joy's creativity that doubles as a guide to how to watch and make ambitious movies.
The patience to figure it out."
Will Joy grow on us with time? Perhaps it might. Perhaps we quibbled too much. Perhaps Russell didn't have the patience to truly figure this one out but there's a lot to figure therein.
ENDING Spotlight may have the most mellow finale we've ever nominated in this category but there's something about its sober work ethic and the core ensemble wide shot, with Walter "Robby" Robinson centered, that really lands emotionally and elevates the film. His phone rings and they all just return to work. Where they've always been.
Spotlight..."
CREDIT SEQUENCE I've been disappointed these last few years that it's more and more common for films to have virtually no credits at the beginning and double up at the ending. So shout out to Mission: Impossible - Rogue Nation which has great opening and closing credits. The opening credits would be spoiler-alert central if they didn't come at you so aggressively with machine-gun montage speed. The ending credits are even more stylish --both an homage to the TV show and film appropriate -- with action frames from the film outlined by the wicks of time bombs; this movie is a blast.
MISCELLANIA - A DOZEN FAVORITE SCENES When writing about the Film Bitch Awards I often revisit a whole bunch of movies in clip forms, particularly the earlier releases that are blurry int he memory. Here we are at the end of the prize-giving and here comes Diary of a Teenage Girl and it suddenly looks just as good as everyone claimed it to be (I was previously in the admired but only admired camp). It was easy to turn certain movies off after checking the scene in question but I kept getting sucked into this film, as if it were the first time. One of the best moments is an animated interlude "The Making of Harlot" where a 'Beautiful Junior,' getting it on with Minnie, remarks upon her aggressive sexuality with something like judgment in his voice (though he's benefitting). Giant Minnie, holding him in her King Kong paw, turns away, with a single teardrop and casts him aside. True movie magic.
* Only three categories left to announce (Limited Roles x2 & Line Readings). Can you believe we're actually going to finish this year before the Oscars**?! Wheeee. We'll announce those three categories plus all the Gold Silver and Bronze medals at some point in the next 24, ya dig?
** Okay technically I won't have finished, damnit. I never named the Animated Feature nominees (we only go 3-wide here) because I was trying to see Boy and The World before voting. So we'll be finished with everything but that category.
Busy awards weekend, huh? The Spirit Awards commence this evening (Murtada will graciously live blog so yours truly can reserve last fumes of energy for Oscar night) but France's own Oscars, the Césars were already held. (We discussed their nominations earlier right here.)
<-- The glorious Juliette Binoche graced the poster for the big event and also presented best picture. Michael Douglas was the honorary winner (they love their Hollywood stars at the Césars in that particular way).
It turned out to be quite a Ladies Night as three films about women battled it out for supremacy: Fatima, an immigrant drama was the surprise Best Picture winner; Marguerite an operatic musical/comedy (based on the same story as Meryl Streep's forthcoming Florence Foster Jenkins) was the nomination leader and won multiple tech trophies and Best Actress; and, finally, the great Mustang (France's Turkish-language Oscar nominee and on my top ten list) took Screenplay, First Film and Editing prizes
The full list of winners and ceremony photos are after this amazing picture of 3 giants of French cinema: Kristin Scott Thomas, Juliette Binoche, and Emmanuel Béart
Lynn here, chewing on another bit of non-Oscar related movie news.
Ever since it was announced earlier this week that Ava DuVernay had signed on to direct the upcoming film version of Madeleine L’Engle’s much-beloved A Wrinkle in Time, I’ve been trying to imagine just how the director of Selma is going to approach a sci-fi fantasy that features benevolent shape-shifting inter-dimensional beings, entire planets controlled by a single giant brain, and children who literally cross the universe by bending the laws of both space and time. She won’t be starting from scratch, at least; the project’s apparently been in the works for some time, with a script by Frozen’s Jennifer Lee. But this will be the first time the book’s ever been brought to the big screen. It’s frequently, and unsurprisingly, been called unfilmable, and the only previous adaptation – a 2003 TV movie on ABC – was such a failure that it’s best known for the quip it inspired from L’Engle:
I expected it to be bad, and it is.”
In other words, there’s every reason for apprehension. Is there also reason for hope?
Saturday, February 27, 2016 at 5:00PM 
