Friday, December 27, 2019 at 9:16AM Amusing movie-related tweets curated for you this week...
The most depressing part of LITTLE WOMEN (1869) is not when Beth dies but when Jo's short story wins a prize of $100, reminding any fellow writers reading the book that freelance rates have remained roughly stable SINCE THE RECONSTRUCTION ERA
— Jennifer Morrow (@jenniferemorrow) December 27, 2019
Thursday, December 26, 2019 at 5:10PM 
Anchored by a staggering performance from Alfre Woodard, Clemency is a powerful, precise and scorching indictment of capital punishment. We follow Woodard as prison warden Bernadine Williams, as she prepares to execute another inmate (Aldis Hodge), and deal with the toll, years of carrying out death row executions have taken on her life and relationships.
Director Chinonye Chukwu won the Grand Jury Prize at the Sundance Film Festival last January. She started working on the film after Troy Davis was executed in a Georgia State prison in 2011, when “the sounds of the hundreds of thousands who protested against his execution kept ringing in my ears, and I couldn’t help but wonder: if so many of us struggled with what had happened to Mr. Davis, what about the people who actually had to carry out his execution? What if some of them were also grappling with having to kill this man?”
We recently met with Chukwu in New York. [This interview has been edited and condensed for clarity.]
Murtada Elfadl: Congratulations on the film. You start your movie with an execution, you end it with an execution. So it's these two bookends. That was a bold, strong choice. Can you talk about why you made that choice?
Chinonye Chukwu: I did that for a couple of reasons. One, to show Bernadine's arc and that she's not in the same place at the end as she was at the beginning of the story. Also, I wanted to get at the cyclicalness of the space of a prison that with or without her, this cycle of capital punishment is going to go on.
This film is very performance driven. Did you write it with Alfre Woodard in mind?
Thursday, December 26, 2019 at 10:32AM 
As an obsessive list-maker, to write a top ten for The Film Experience's Year in Review was more of a dream come true than a challenge. As we're in festive times, I decided to give myself a gift, by fusing one obsession with another. Cinema, costume design and list-making all consumed my Christmas Eve afternoon in a haze of sartorial glory. Looking back at the movies of 2019, from opulent period pieces to humble contemporary dramas, I went in search of the year's greatest style icons. Not those of real life, obviously, but the ones who graced the silver screen.
In decades to come, we may look at them as we now look at Darth Vader's sinister countenance or Holly Golightly's Givenchy clad figure. Who knows? More than predicting future icon-status, this is a list of personal favorites, though.
Without further ado, let's celebrate 2019's style icons, but first, some honorary mentions…
Wednesday, December 25, 2019 at 3:19PM 
In these merry times of winter holidays and gift-giving, there's no better present than the gift of hope. For Oscar obsessives, this can come in many forms. One of them can be the reminder that the precursors aren't everything when it comes to the race for Hollywood's most coveted little golden man.
Even if your favorite performance of the year hasn't been getting any sort of awards love, that doesn't mean its Oscar chances are dead and buried. Remember the case of Marcia Gay Harden, a surprise nominee that became a surprise victor when she conquered the Academy Award for Pollock. What a thrill.
She's the patron saint of Oscar surprises. In honor of her, here's a list of those lucky actors who scored an Oscar nomination despite having no nod whatsoever from the Globes, the SAGs, the Critics Choice Awards, or the BAFTAs...
Wednesday, December 25, 2019 at 12:00PM by Chris Feil
White Christmas is a classic “let’s put on a show to save the barn” musical, except its traveling entertainers are saving... a resort hotel in Vermont. What it isn’t is a Christmas staple that has all that much to do with Christmas. Despite the title, the film is closer to a winter-set cousin to the likes of Gentlemen Prefer Blondes or Summer Stock, and still we watch it every holiday season. Perhaps that’s partial carryover from Bing Crosby’s White Christmas album (more of a staple in my household than the film was) and Crosby’s other holiday films (ditto, strangely) - his presence alone is enough to make him some baritone duke of the holiday season in the eyes of audiences.
