Gotham Nominations Spread the Wealth / Kick Off Awards Season

by Nathaniel R

THE INVITE nabs four nominations at the Gotham Awards

Hi strangers! I know I’ve been absent but I will now be inching back into the site. It's that time of year again! The Gotham Award nominations are in, unofficially kicking off “awards season”. Awards season continues to always be both shape-shifting and staying exactly the same. Each year is familiar in terms of narrative tropes, genre "slots" and more, but also brand new with a new set of films and constant awards show tinkering with rules and categories! Usually with awards shows one or two films get the headlines as “leaders” but the Gothams have so few categories (just 10 really) that no film can truly claim to be "leading" the pack this time around. Japan’s Oscar submission All of a Sudden, the Nigerian “Mrs Dalloway” adaptation Clarissa, Olivia Wilde’s open marriage dramedy The Invite, Mike Leigh’s possible swan song Tender Loving Care, and the festival darling La Gradiva share the “lead” status with four nods apiece.  If you look at it by distributors the “leaders” are more glaringly obvious; A24 and NEON, distributors who have carved out recognizable identities and developed their own loyal fanbases, lead with 15 and 14 nominations respectively. Let's talk about each category...

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Cannes: With "Teenage Sex and Death at Camp Miasma" Jane Schoenbrun doubles down on becoming a defining generational voice.

by Elisa Giudici

TEENAGE SEX AND DEATH AT CAMP MIASMA. MUBI

By the time Teenage Sex and Death at Camp Miasma premiered at Cannes, Jane Schoenbrun had already become something close to a generational folk hero for younger cinephiles. You could feel it inside the Debussy theater before the lights even went down: critics squeezed onto theater steps, festival attendees treating an Un Certain Regard opener like the hottest ticket on the Croisette, audiences buzzing less about Cannes prestige than about what the filmmaker behind I Saw the TV Glow might do next. And honestly, the excitement makes sense. Few filmmakers right now understand how media obsession functions emotionally for millennials and Gen Z quite like Schoenbrun does. Their work isn’t simply nostalgic. It treats pop culture, horror movies, forgotten VHS relics, fandom rituals, and half-ironic internet cinephilia as part of the architecture of identity itself...

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