by
Julien Faddoul
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.
No comments:
Post a Comment