Lots of winners at a 'spread the wealth' kind of Gotham Awards

by Nathaniel R

Gay Joy! The "Fire Island" cast, in one of Gothams many tributes, were honored for their ensemble work

A24's Everything Everywhere All At Once triumphed at the Gotham Awards last night in NYC winning two prizes: Best Feature and Best Supporting Performance (Ke Huy Quan). Since the Gothams have very few categories, the nomination leaders Tár and Aftersun had to settle for one prize each. The big awards story of the night, punditry-wise if not at the actual event since she wasn't there, was Danielle Deadwyler taking Best Lead Performance for Till. That's a nice feather in her cap and when you're less famous than your competition, every bit of media attention helps. It's always been hard to win third Oscars so perhaps Best Actress will end up very competitive and not just a cakewalk for Blanchett?  Full list of winners plus a few quotes and notes after the jump...

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Review: 'Soft & Quiet' is anything but

by Matt St Clair

Soft & Quiet, the feature directorial debut from Beth de Araújo (a newly minted Gotham Award nominee), is the most anxiety-inducing experience you’ll have watching a movie this year. Taking place over the course of one stressful afternoon, this depiction of a group of like-minded women involved in a harrowing chain of events is bound to leave viewers squirming in various ways. 

When the women first meet up, it seems like a casual get-together. But, as they’re taking out refreshments, group leader Emily (Stefanie Estes) unwraps her pie with a swastika carved in the middle. It's a sudden revelation that this gathering is a meeting for their group called the Daughters for Aryan Unity...

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"TÁR" and "Aftersun" lead the 2022 Gotham Award Nominations

by Nathaniel R

The Gotham Awards, the East Coast indie prizes that pair nicely with the West Coast's much-later Spirit Awards, have announced their nominations for the 2022 film year so we're officially off! Todd Field & Cate Blanchett's collaboration TÁR and Charlotte Wells' debut film Aftersun (both fairly new in theaters) most impressed the various juries that the Gothams assign to categories each year. They led the way with four nominations each across the 8 film categories. Other films that have reason to celebrate today include but are not limited to Everything Everywhere All At Once and two films that have not yet opened for moviegoers, the gay military drama The Inspection (Nov 18th) and Sarah Polley's return with Women Talking (Dec 2nd).  Finally we've got a double acting nominee this year despite so few categories with Ben Whishaw nominated for both film  (Women Talking) and television work (This is Going to Hurt). 

Full list of nominees after the jump...

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"The Lost Daughter" reigns at the Gotham Awards

by Nathaniel R

Peter Sarsgaard, Maggie Gyllenhaal, and Dakota Johnson at the Gotham Awards

Last night, while many film journalists were at one of the several West Side Story premieres, the Gotham Awards were held celebrating much less expensive but also captivating cinema.  Maggie Gyllenhaal's feature directorial debut, The Lost Daughter  reigned winning four of its five categories. This was bad news for Passing, another Netflix film (which we like even more though they're both fine films) which received 5 nominations but lost in all of its categories. Other multiple nominees who took home no prizes included A24 films like Red Rocket, The Green Knight, and C'mon C'mon, 

Outside of  The Lost Daughter the biggest awards season boost was definitely for CODA. The family drama about a child of deaf adults who wants to be a professional singer won prizes for both its leading lady Emilia Jones and her onscreen father Troy Kotsur. Kotsur really should be more competitive in Best Supporting Actor discussions so perhaps this will help!

THE WINNERS and more commentary are after the jump...

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Gotham Nominees: "Faya Dayi"

by Nick Taylor

First thing’s first: Faya Dayi easily ranks as one of the most beautiful 2021 films I have seen. I don’t mean to equate its beauty with an automatic FYC for best cinematography, nor a backhanded comment on style over substance. In cahoots with the editing and sound design, the heavy, monochromatic images cloak Ethiopia in a hazy, dreamlike aura that’s foundational to the film’s tone and point of view, and unspeakably gorgeous to boot. I could've pulled a gallery's worth of screengrabs from the first five minutes alone. Producer/director Jessica Beshir also acts as her own cinematographer, and her ability to endow her images with such clarity and attention to movement, texture, and composition is a stunning achievement.

But is it fashion? Does the gorgeousness of the imagery actually serve the film, or is it too loaded down to carry its own weight? How much movie truly lies underneath all this black and silver? Well...

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