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The Film Experience™ was created by Nathaniel R. Gemini, Cinephile, Actressexual. All material herein is written and copyrighted by Nathaniel or a member of our team as noted.


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Directors of For Sama

Lulu Wang (The Farewell)
Ritesh Batra (Photograph)
Schmidt & Abrantes (Diamantino)
Wanuri Kahiu (Rafiki)
Jia Zhang-ke (Ash is Purest White)

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Entries in Loving (19)


AARP Deems Loving The Most Grownup Movie of the Year

by Daniel Crooke

As Paul Ryan and his conference of House Republicans noodle over whether to raise the national retirement age, it’s more important than ever to stand with the AARP – even in Oscar season, when they honor their annual favorites in film. You can rely upon their Movies for Grownups Awards to serve up some fresh names in the same-old stale category line-ups and this year’s idiosyncratic nominations were no different: Molly Shannon! Tilda Swinton! Stephen McKinley Henderson! The ballots have been collected, the final winners tabulated, and this year the AARP Movies for Grownups selected Loving as the Best Picture of 2016. And Character Actress Margo Martindale will host their awards ceremony!

It would be silly to blow these awards out of proportion but as Nathaniel has pointed out, it’s interesting to consider the chief commonality between the Academy and the AARP: age.

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A Year with #52FilmsByWomen

Year in Review. Every afternoon, a new wrap-up. Today Glenn on his year with #52FilmsByWomen

The hashtag ‘52FilmsByWomen’ was started by Women in Film as a means of getting people to consciously watch at least one film a week directed by a woman. It seems like a simple mission considering the number of films many of us watch for both work and pleasure, but I have no doubt that of the 10,000+ people who pledged to do it, many didn’t reach the goal. That’s all right, though, because I saw enough for two.

No, really. In 2016, I watched 105 titles including feature films, shorts, and documentaries. They cover classics, new releases, hidden gems, animations, comedy, horror, and from all over the world. Here are...


Subverting Toxic Masculinity
We don’t just want more women making films for their fine-tuned insights into the lives of women – Kelly Reichardt’s Certain Women and Anna Rose Holmer’s The Fits being perhaps the most obvious examples among this year’s releases that I saw – but also for their unique takes on men and masculinity.

Look no further for Athina Rachel Tsangari’s Chevalier for a film that couldn’t have been made by a man, but which has so much to say in this year of “toxic masculinity”. What a shame it didn't catch fire with arthouse audiences and award voters. I wasn't too taken by Tsangari's Attenberg, but I responded to Chevalier more than any of Yorgos Lanthimos' works so far, so make of that what you will.

I’ll Go Anywhere with Andrea Arnold
From the surveilled streets of Scotland in Red Road, the council estates of Essex in Fish Tank, the moors of Wuthering Heights, and now, apparently, the American Midwest...

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Oscar Dark Horse Watch: Joel Edgerton for Best Actor  

by Lynn Lee

As we approach the start of Oscar voting, the race for Best Actor remains comparatively quiet, especially when compared with the super-tight margins in the Best Actress category.  Currently the smart money has the Academy tracking the SAG lineup, with Casey Affleck and Denzel Washington as virtual locks (notwithstanding the continued rumbling about those 2010 sexual harassment suits against Affleck) and Ryan Gosling, Viggo Mortensen, and Andrew Garfield filling the remaining slots...

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New Oscar Predictions: Acting Categories... Locked Up or Not? 

By Nathaniel R

Post SAG & Globe Nominations each year oscar's acting categories start feeling locked up. But here's something always worth remembering: Each year brings us 1 or 2 new additions to the "nominated for SAG & Globe but still missed Oscar" close-but-no-cigar club.  This year in particular seems unlikely to have as much exact 5/5 correlation due to the double whammy of Oscar's acting branch voting a little later than usual (they don't get ballots until January 5th) and the precursors voting a smidge earlier than usual. The next two weeks are crucial; no one who is remotely close to a nomination should give up just yet.

Portman has been winning lots of critics awards but, strangely, her film (just as strong or even stronger than her eery performance) isn't doing as well. She's not exactly locked for a second win but she's definitely giving Emma Stone a fright and probably preventing Amy Adams or Annette Bening from dreaming of their first very long-awaited wins. The nomination race is even tighter...

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Catching up w/ Critics Prizes: Chicago, London, Kansas City, and SEFCA

Another week another big round of critics prizes. As previously noted we only cover about 16 groups (for sanity purposes) so here were a fourth of them as announced these past few days.


Chicago's association was first established in 1988 with a Best Picture prize for Mississippi Burning of all things. This year they liked The Handmaiden so much that it even broke into their Best Picture nomination, a rarity for the group. The last foreign language film to do so with Chicago was Crouching Tiger Hidden Dragon back in 2000. It won three prizes, just shy of what Manchester by the Sea managed...

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Screenplay Shake Up Means New Predictions

We warned everyone to not "lock" up any screenplay predictions too early, especially when the provenance of a screenplay is confusing, and our warnings were not in vain. The Academy has rejected the campaigns of Loving and Moonlight as "Originals" and they have been moved to the "Adapted" category. Both had made no secret that they were inspired by other works, despite their Original campaigns. Loving is partially based on the documentary The Loving Story (2011) and Moonlight on an unproduced play (of sorts -- though now the playwright is saying it never was intended as a play... which makes the situation yet more confusing) called "In Moonlight Black Boys Look Blue". Regardless, the murkiness was enough for the Academy to cry foul on their preferred Original designations.  (If only the Academy's acting branch would play this kind of interference when obviously lead acting roles like Rooney Mara in Carol or Hugh Grant in Florence Foster Jenkins or dozens of others in recent years claimed "supporting" designation.)

Prior to this Academy ruling, the Original Screenplay competition looked enormously competitive with a nail-biting battle between Manchester by the Sea and Moonlight for the gold. Now both movies -- arguably the two biggest critical darlings of the year -- have a clearer shot at a win but it does make the competition for the other four nominations in each category more exciting and open. Both charts have been updated accordingly. Which screenplays do you think benefit from this ruling?