5. Cemetery of Splendour – Apichatpong Weerasethakul
Weerasethakul at his most uncomplicated: bringing all his philosophies and cultural specificity closer to the foreground than ever before. His hallucinatory rhythms remain unparalleled.
4. Pete’s Dragon – David Lowery
For having the guts to remake a big studio film with no discernible relation to its predecessor, and for creating a medley of thought in a mixture of Miyazaki, Spielberg and AA Milne.
3. Cameraperson – Kirsten Johnson
For sheer beauty: Johnson, in juxtaposing so many different kinds of pieces of footage, clinches together two forms of non-fiction cinema that are rarely seen within such proximity – the advocacy doc and the cinematographic diary. One gets the sense of such a rich life, and perhaps a distressing one.
2. Moonlight – Barry Jenkins
For such exacting specificity. One might think this life was his own (it isn't). Wong Kar-Wai would be proud.
1. OJ: Made in America – Ezra Edelman
For his powerful application. Edelman pierces the commentary from almost every angle, gaining testimony from close friends, potent enemies, mere fans, civil rights activists, LAPD officers, legal consultants, social and cultural journalists, and members of both the key defense and prosecution teams. The picture of the world the film paints is a bleak one; a world in which human beings are capable of things that confirm our darkest nightmares and where no one will be leaving quietly.
Runner Up: Jackie – Pablo Larrain
To return to the main awards page, CLICK HERE.