'Power of the Dog' takes the top BAFTA but 'Dune' wins the most awards

by Nathaniel R

Ariana DeBose wins again

It was a spread the wealth kind of night at the BAFTAs with the score going like so The Power of the Dog (2), CODA (2), West Side Story (2), and Dune (4) all winning prizes though The Power of the Dog was able to cinch Best Film, despite only Best Director also falling in its column. Belfast had to make due with one prize, Best British Film. We'll never understand why BAFTA doesn't broadcast live. We almost never watch the full ceremony because there's just no suspense and drama when the winners are released ahead of time and we know they edit everything before hand (which rules out any quirks or accidents that make live viewing so fun). 

We'll add acceptance speeches to this post as they become available but for now the winners and a few comments...

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BIFA Nominations: Is "Belfast" a David or a Goliath?

by Nathaniel R

In extremely good news for presumed Oscar frontrunner Belfast, they're still running as a "David" rather than a "Goliath" in the Oscar race. That's by way of a leading the British Independent Film Award nominations without truly hogging the spotlight since Kenneth Branagh's charming memoir film missed in the big categories like Film and Director. It still leads the nominations by way of across the board love in the craft categories. It's funny because we initially thought it might have the opposite problem at the Oscar. Yes, it's a period drama but it's not particularly flashy about its craft elements (beyond the black & white cinematography and the Van Morrison songscape). Tying it for most nominations, 9, is a continuous shot movie called Boiling Point by Philip Barantini.

Five other films also scored six or more nominations suggesting the juries had a small pool to choose from or only loved seven films. The Souvenir Part II, Censor, Ali & Ava, The Nest, and After Love were all obviously well regarded, too. A complete list of nominations and more after the jump...

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Interview: Joanna Scanlan on 'The Invisible Woman' and Working with Icons

Photo via Beige PlusThere's a wonderful little moment in Notes on a Scandal (2006) in which a well meaning but unwelcome teacher by the name of Sue Hodge advises her fellow schoolteachers (played by Dami Judi Dench and Cate Blanchett), who are struggling with their students to "concern yourself with the gems". I'm shamelessly borrowing that line right now to talk about the British actress who utters it, because she is one.

Joanna Scanlan co-wrote and starred in the BBC series Getting On (now enjoying an American remake) and has played witches, nurses, schoolteachers, and more yet she's largely unknown to American audiences. She's got her best cinematic showcase yet in The Invisible Woman as Catherine Dickens, the neglected depressed wife of the famous writer Charles Dickens (Ralph Fiennes). Her husband may neglect her and the Oscar conversation did, too (despite its ostensible purpose being to, well, concern itself with the gems) so we're picking up their slack.

She's remarkable in the movie and though the title does not literally refer to her character, we like to think it has a double meaning. The movie business is not a meritocracy but it there's any justice Joanna Scanlan won't be an 'invisible woman' much longer but will be popping up in more roles worthy of her. I eagerly telephoned her to discuss her role in this Oscar nominated picture (Best Costume Design) and her nifty habit of acting opposite true icons like Dench, Fiennes, Pfeiffer, and Blanchett. 

Our conversation is after the jump...

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Links with an Invisible Glass of Moët

Inside Movies Andrew Lincoln looks back at "to me you are perfect" from Love Actually
MNPP wants to watch Only God Forgives again. Are you also experiencing these deviant feelings?
Ultra Culture anatomy of most Blue is the Warmest Color "reviews" 

In Contention wonders if Will Forte can win Best Supporting Actor traction for Nebraska - well the category is amorphous still...
BuzzFeed saw fit to rank every episode of Buffy the Vampire Slayer. Such a mammoth project so even if you quibble with the ranking -- and boy do I (love "Beer Bad") --you have to respect 
Gawker weeping through The Best Man Holiday 
Pajiba how to prepare yourself for the release of Nicolas Cage's nude photos 

And while I was in Los Angeles earlier this week the Moët British Independent Film Award nominations were announced. I love little weird awards groups like this (the corporate titling not so much) because you can't tie them to "ooh, they're trying to influence the Oscars" which is just about the most boring thing you can possibly do if you're a group thinking of handing out awards. No matter what your group is, if it has no character, personality or purpose outside of predicting another groups awards, QUIT - the world doesn't need you! But anyway... here's a complete list of nominations in case you missed them as I did. They were big fans of the bleak with the violent Starred Up and Clio Barnard's festival gem The Selfish Giant leading the nominations. They also approved of Metro Manila which is the UK's Oscar submission. But they also found room for more mainstream senior Brit efforts like Philomena with Judi Dench and Le Week-End starring Jim Broadbent and Lindsay Duncan.

What a World: Ralph Fiennes & Kristin Scott Thomas are co-stars again. But this time he's sleeping with her screen daughter. Here's why I spit out my Moët, though. They ignored 12 Years a Slave in "International Film" and had a reaction to Ralph Fiennes' The Invisible Woman that I find not only puzzling but deeply lazy. They nominated it only for Best Actress (Felicity Jones, whose appeal still escapes me like crazy) and Best Supporting Actress (Kristin Scott Thomas). Now y'all know I am an über fan of KST but if you're handing out acting prizes to that movie and you DON'T start with Joanna Scanlan, who plays the unloved wife of Charles Dickens, you're on autopilot with stars in your eyes. To which you might counter if you haven't yet seen the film "But KST is a great actress!!!" Well, yes, dear reader and BIFA voters, she is... but Joanna is this movie's MVP. And by a significant margin, too. 

Of course the movie is marginalizing Scanlan, too. She doesn't appear or barely appears in the ads and none of the film's promotional stills include her; P&A has never been a meritocracy.