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The 2014 Cinema Eye Honors for Nonfiction Filmmaking http://www.cinemaeyehonors.com The Cinema Eye Honors for Nonfiction Filmmaking recognize and honor exemplary craft and innovation in nonfiction film. Cinema Eye’s mission is to advocate for, recognize and promote the highest commitment to rigor and artistry in the nonfiction field. Tue, 01 Apr 2014 02:40:41 +0000 en-US hourly 1 2014 Cinema Eye Winners Revealed http://www.cinemaeyehonors.com/archives/press/2014-cinema-eye-winners-revealed http://www.cinemaeyehonors.com/archives/press/2014-cinema-eye-winners-revealed#comments Thu, 09 Jan 2014 20:30:02 +0000 http://www.cinemaeyehonors.com/?p=3278 The Act of Killing, the acclaimed Danish film that features former Indonesian death squad leaders re-enacting their crimes, was named the Outstanding Feature at the 7th Annual Cinema Eye Honors for Nonfiction Filmmaking at the Museum of the Moving Image in Astoria, Queens tonight with hosts and Cinema Eye Chair Esther Robinson and Founding Director AJ Schnack, and opening remarks from Michael Moore (Bowling for Columbine, Fahrenheit 9/11). Filmmaker Steve James (Hoop Dreams, The Interrupters) presented the award to director Joshua Oppenheimer and producer Signe Byrge Sørensen, who earlier in the evening picked up the prize for Outstanding Production.

Sarah Polley was named the year’s Outstanding Director for Stories We Tell, her personal exploration of memory and storytelling. Last year’s winners for directing, Heidi Ewing and Rachel Grady (Detropia, Jesus Camp), presented Polley her award.

Zachary Heinzerling’s Cutie and the Boxer, a portrait of the relationship between two New York artists, received a leading three honors, including Outstanding Debut for Heinzerling, Outstanding Graphics and Animation for Art Jail and Noriko Shinohara and Outstanding Original Score for Yasuaki Shimizu.

The Outstanding Editing award was presented by legendary editor Thelma Schoonmaker to Nels Bangerter for Let the Fire Burn, while the award for Cinematography went to Lucien Castaing-Taylor and Véréna Paravel for Levithan.

Schoonmaker said she could not have cut the improvisations in The Wolf of Wall Street if it had not been for her earlier work in documentary film (ie, Woodstock). “We (Scorsese and herself) just worshiped the Cinema Verite pioneers, some of whom are here tonight…like Albert Maysles.”

HBO Documentary Films’ The Crash Reel, directed by Lucy Walker, was named the first recipient of the Cinema Eye Television Award, designed to recognize collaborations between filmmakers and broadcasters.

Dave Grohl’s Sound City won the Audience Choice Prize, voted on by the public. More than 44,000 votes were cast for the award, a record-busting total (the previous high was just over 10,000) for the category. In a video acceptance, Grohl danced to Abba’s Dancing Queen to express his excitement.

This year’s Legacy Award was presented to the landmark 1976 film Harlan County, USA, about a brutal coal strike in Kentucky. The Legacy Award is intended to honor classic films that inspire a new generation of filmmakers and embody the Cinema Eye mission: excellence in creative and artistic achievements in nonfiction films. Director Barbara Kopple accepted the award on behalf of the film. In an opening tribute to the film’s use of music and it’s questioning of viewer and filmmaker objectivity, They Might Be Giants’ John Flansburgh and filmmaker Josh Fox joined Cinema Eye Founding Director AJ Schnack with a version of the protest classic, “Which Side Are You On?”

Kopple thanked Cinema Eye for the honor and a clip of Kopple accepting her Academy Award was played. “Showing this Academy Award piece brought back a lot of memories,” Kopple said. “I think the most profound memory was that night they put all the documentarians together. And when that award came up, we criss-crossed arms together…what it said to me was I am part of the community…we have each other’s back.”

Fox later received Cinema Eye’s “Hell Yeah” Prize, given for his two HBO Documentary Films, Gasland and Gasland II, which have spurred a nationwide, grassroots movement that calls attention to the environmental risks of hydraulic fracking, an issue that was largely unheard of prior to the first Gasland film’s debut at the Sundance Film Festival in 2010. The Hell Yeah Prize is a periodic award, given to filmmakers who have created works of incredible craft and artistry that also have significant, real-world impact.

“Cinema Eye is guilty for making me miss a protest this afternoon in Albany,” Fox said regarding the over 1,000 New Yorkers who came out to tell Governor Andrew Cuomo to ban fracking in New York State. Fox then asked the audience to stand up and put their hands up in the air and shout “Hell Yeah!”, to take a twitter pic to send to Gov. Cuomo and President Barack Obama.

Lisa Fischer, named one of Cinema Eye’s “Unforgettables” – a list of this year’s notable and significant nonfiction film subjects for her appearance in Morgan Neville’s 20 Feet From Stardom – brought the audience to cheer as she performed the song Fever.

The following is a complete list of Cinema Eye Honors winners for 2014:

Outstanding Achievement in Nonfiction Feature Filmmaking

The Act of Killing
Directed by Joshua Oppenheimer
Produced by Signe Byrge Sørensen
Presented by Steve James

Outstanding Achievement in Direction

Sarah Polley
Stories We Tell
Presented by Heidi Ewing and Rachel Grady

Outstanding Achievement in Editing

Nels Bangerter
Let the Fire Burn
Presented by Thelma Schoonmaker

Audience Choice Prize

Sound City
Directed by Dave Grohl
Presented by John Flansburgh and Robin “Goldie” Goldwasser

Outstanding Achievement in Production

Signe Byrge Sørensen
The Act of Killing
Presented by Jennifer Fox and Ross Kauffman

Outstanding Nonfiction Film for Television

The Crash Reel
Directed by Lucy Walker
Produced by Julian Cautherley and Lucy Walker
For HBO Documentary Films: Executive Producer Sheila Nevins and Supervising Producer Sara Bernstein

Outstanding Achievement in Nonfiction Short Filmmaking

A Story for the Modlins
Directed by Sergio Oksman
Presented by Kirsten Johnson and Darius Marder

Outstanding Achievement in Cinematography

Lucien Castaing-Taylor and Véréna Paravel
Presented by Kirsten Johnson and Darius Marder

Heterodox Award

Post Tenebras Lux
Directed by Carlos Reygadas
Presented by Jeremy Saulnier and Angela Tucker

Outstanding Achievement in an Original Music Score

Yasuaki Shimizu
Cutie and the Boxer
Presented by Jeff Reichert and Farihah Zaman

Spotlight Award

The Last Station
Directed by Cristian Soto and Catalina Vergara
Presented by Jeff Reichert and Farihah Zaman

Outstanding Achievement in Graphic Design and Animation

Art Jail and Noriko Shinohara
Cutie and the Boxer
Presented by Chris Hegedus and Jehane Noujaim

Outstanding Achievement in a Debut Feature Film

Zachary Heinzerling
Cutie and the Boxer
Presented by Chris Hegedus and Jehane Noujaim

Legacy Award

Harlan County, USA
Directed and Produced by Barbara Kopple
Presented by Kristi Jacobson

Hell Yeah Prize

Josh Fox
Gasland and Gasland, Part 2
Presented by AJ Schnack

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Cinema Eye to Present 2014 Legacy Award to Barbara Kopple’s Harlan County, USA http://www.cinemaeyehonors.com/archives/press/cinema-eye-to-present-2014-legacy-award-to-barbara-kopples-harlan-county-usa http://www.cinemaeyehonors.com/archives/press/cinema-eye-to-present-2014-legacy-award-to-barbara-kopples-harlan-county-usa#comments Tue, 17 Dec 2013 21:35:10 +0000 http://www.cinemaeyehonors.com/?p=3241 The Cinema Eye Honors for Nonfiction Filmmaking today announced that the 2014 Legacy Award will be presented to the landmark 1976 documentary, Harlan County, USA, Barbara Kopple’s groundbreaking chronicle of a historic Kentucky coal miner strike.

Kopple will accept the award on behalf of the film at the 7th annual Cinema Eye Honors ceremony on January 8, 2014, to be held at the Museum of the Moving Image in Astoria, New York. This is the fifth year that Cinema Eye will present a Legacy Award, intended to honor classic films that inspire a new generation of filmmakers and embody the Cinema Eye mission: excellence in creative and artistic achievements in nonfiction films.

“Barbara has long been leading the way for all of us, not only in the quality, generosity and wisdom of her work but as a path breaking woman in what used to be largely a man’s field,” declared Cinema Eye Board Chair Andrea Meditch in announcing Harlan County, USA as this year’s Legacy Award recipient.

Continuing its partnership with Cinema Eye, the Hot Docs Film Festival will host a Cinema Eye Legacy Award screening of Harlan County, USA in Toronto during the 2014 edition of the festival, featuring a conversation with Barbara Kopple.

In October, Cinema Eye announced a list of 25 all-time influential nonfiction films, determined by the votes of more than 75 of this year’s eligible filmmakers. Harlan County, USA joins previous Legacy Award recipients Sherman’s March (awarded in 2010), Grey Gardens (2011), Titicut Follies (2012) and The War Room (2013) on that list of films.

In his original review of the film from 1977, Roger Ebert wrote that Harlan County, USA was “not just a document of a strike, but an affecting, unforgettable portrait of a community… The movie is a great American document, but it’s also entertaining. Kopple structures her material to provide tension, brief but vivid characterizations and dramatic confrontations (including one incredibly charged moment when the sheriff attempts to lead a caravan of scabs past the picket line). There are many gunshots in the film, and a death, and also many moments of simple warmth and laughter. The many union songs on the sound track provide a historical context, and also help Kopple achieve a fluid editing rhythm. And most of all there are the people in the film, those amazing people, so proud and self-reliant and brave.”

“It’s such an honor and thrill to be recognized with a Legacy Award from Cinema Eye and Hot Docs,” said filmmaker Barbara Kopple. “Cinema Eye is an invaluable event for the Documentary Community, a chance for us to come together and celebrate the important, entertaining and inspiring work of the past year, and our achievements. Harlan County, USA taught me about life and death and what it means to stand up for what you believe in. Thank you for recognizing this film’s strength and ongoing relevancy today. Having the opportunity to make documentary films, to work with such incredible people, and to tell the stories I believe in, is a reward in itself.”

“If Cinema Eye is like a family, then the Legacy Award is for the filmmaker-relative most likely to influence you by being smarter, more talented, compassionate and more vital than anyone else you know. So it’s no surprise that Barbara Kopple and her ever-relevant Harlan County, USA are our treasured honorees this year,” said Esther Robinson, Chair of the Cinema Eye Honors. “Barbara was the presenter of our very first Legacy award to Ross McElwee and Sherman’s March, and she’s been the mentor and hero to many many of us in the documentary community. Harlan County, USA is an important and essential work. And make no mistake, like all our Legacy Award winners, Barbara continues at the top of her game– encouraging and inspiring the rest of the doc family to keep up!”

“Hot Docs is excited to once again sponsor the Legacy Award and to continue our partnership with Cinema Eye” said Charlotte Cook, the Director of Programming for Hot Docs and Chair of the Cinema Eye Nominations Committee. “To be able to bring Barbara and her seminal film to Toronto is a real joy, and we are looking forward to an incredible screening at the 2014 festival.”

Harlan County, USA credits:
Directed by Barbara Kopple
Produced by Barbara Kopple
Edited by Nancy Baker and Mary Lampson
Principal Cinematographer Hart Perry
Sound Recordist Barbara Kopple
Associate Director Anne Lewis


About Barbara Kopple

Barbara Kopple is a two-time Academy Award winning filmmaker. A director and producer of narrative films and documentaries, her most recent project is the documentary Running from Crazy, which examines the personal journey of writer, model and actress Mariel Hemingway, the granddaughter of Ernest Hemingway, as she strives for a greater understanding of her complex family history. The film premiered earlier this year at Sundance and went on to screen at Tribeca and many other festivals.

Barbara produced and directed Harlan County, USA and American Dream, both winners of the Academy Award for Best Documentary Feature. In 1991, Harlan County, USA was named to the National Film Registry by the Librarian of Congress and designated an American Film Classic. Harlan County, USA was recently restored and preserved by the Women’s Preservation Fund and the Academy Film Archive, and was featured as part of the Sundance Collection at the Sundance Film Festival in 2005. The Criterion Collection released a DVD of Harlan County, USA in 2006.

Barbara produced and directed Shut Up and Sing, which tells the story of the Dixie Chicks and their personal and creative response to the political fallout they faced after making comments critical of President Bush on the eve of the Iraq War; A Conversation with Gregory Peck, a film portrait of the career and family life of the actor; The Hamptons, a four-hour mini-series for ABC; My Generation, which examines the Woodstock legacy and Generation X; and Fallen Champ: The Untold Story of Mike Tyson, for which she was nominated for an Emmy for Outstanding Individual Achievement in Directing. She directed the feature nonfiction film Wild Man Blues, about the European tour of Woody Allen and his New Orleans-style jazz band, for which she won the National Board of Review Award for Best Documentary. Barbara also produced the HBO documentary American Standoff, which chronicled an 18-month strike of the Teamsters Union against Overnite Transportation, and the A&E documentary Bearing Witness about female war correspondents working in Iraq. Barbara was a member of the Winter Soldier Collective, which created the film Winter Soldier.

Other recent projects include Fight To Live, which through the eyes of terminal patients and their advocates tells the story of the struggles many with rare and orphan diseases face in choosing their preferred therapies through the roadblocks imposed by the current FDA approvals process; A Force of Nature, which celebrates the life and work of journalist and philanthropist Ellen Ratner, following her from her home base in Washington, DC, to hurricane-ravaged Mississippi to war-torn South Sudan; Gun Fight, which explores the place of guns in US culture, profiling victims of gun violence and proponents on both sides of the gun debate; The House of Steinbrenner, part of ESPN’s Emmy nominated “30 for 30″ series, which received a 2010 Peabody Award as well as the International Documentary Association Award for Best Continuing Series; and the Emmy-nominated, Woodstock: Now and Then, a look back at the legacy of the historic music festival, 40 years later. Well known for her work on US labor issues, Barbara directed Steamfitters Local Union 638 in 2007 for HBO’s acclaimed Addiction Series. The New York Times likened this short documentary to “crisp tonic with lime.” This program was awarded the Television Academy of Arts and Sciences Governor’s Award.

Other nonfiction films include The DC Sniper’s Wife, a documentary that takes a look at the life of Mildred Muhammad, ex-wife of the infamous DC sniper, John Allen Muhammad; High School Musical: The Music in You, a film following students in Fort Worth, Texas performing a stage adaptation of “High School Musical.”; No Nukes, a “rockumentary” shot during five days of concerts at Madison Square Garden and distributed by Warner Brothers; Defending Our Daughters, an investigation into women’s human rights issues in Bosnia, Pakistan and Egypt and winner of a Voices of Courage Award; With Liberty and Justice For All?, a short documentary made for the Alliance for Justice, which explores the issue of immigration law. Barbara also directed a series of specials for the Disney Channel, including Friends for Life: Living with AIDS, the first show about AIDS to air on that network. She also co-created, produced and directed I Married…, a series for VH1 about the spouses and families of rock stars.

Barbara directed the narrative feature Havoc, starring Anne Hathaway, Bijou Phillips and Freddy Rodriguez and written by Stephen Gaghan, about a group of wealthy teenagers coming of age and searching for an identity in Los Angeles. She also directs episodic television and commercial spots. Her television work includes episodes of OZ on HBO and Homicide, for which she won a DGA Award for Outstanding Direction. Barbara has directed spots for companies such as Sprint, Applebee’s, Dove, Intel, Target, The Tiger Woods Foundation, Pearl Vision and the Children’s Defense Fund.

Barbara has been awarded the Human Rights Watch Film Festival Irene Diamond Award, Los Angeles Film Critics Award, National Society of Film Critics Award, the SilverDocs/Charles Guggenheim Award, New York Women in Film & Television Muse Award, the Maya Deren Independent Film and Video Award, the Woodstock Film Festival Maverick Award, Women in Film & Video of Washington, DC Women of Vision Award, the White House Project’s EPIC Award, the International Documentary Association Career Achievement Award, the San Francisco Film Society’s Persistence of Vision Award, the Sundance Film Festival Grand Jury Prize, Filmmakers Trophy & Audience Award, the Sarasota Film Festival Director’s Award, and the Nantucket Film Festival’s Special Achievement in Documentary Filmmaking Award. The Paley Center for Media has named Barbara a 2007 “She Made It Honoree.” She recently served her tenth year on the board of trustees for the American Film Institute and continues as an advisory board member for the American University Center for Social Media and Independent Feature Project’s Filmmaker Labs. In 2010, Barbara received an honorary Doctor of Humane Letters from American University. She is a member of the Academy of Motion Picture Arts and Sciences, the Academy of Television Arts and Sciences, the Director’s Guild of America, New York Women in Film and Television’s Honorary Board, the British Academy of Film and Television Arts, and actively participates in organizations that address social issues and support independent filmmaking.

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Legacy Award http://www.cinemaeyehonors.com/archives/distinctive-honors/legacy-award http://www.cinemaeyehonors.com/archives/distinctive-honors/legacy-award#comments Tue, 17 Dec 2013 21:00:09 +0000 http://www.cinemaeyehonors.com/?p=3233 Legacy Award

Harlan County, USA credits:
Directed by Barbara Kopple
Produced by Barbara Kopple
Edited by Nancy Baker and Mary Lampson
Principal Cinematographer Hart Perry
Sound Recordist Barbara Kopple
Associate Director Anne Lewis

From Roger Ebert’s 1977 review of Harlan County, USA:

“The movie is a great American document, but it’s also entertaining. Kopple structures her material to provide tension, brief but vivid characterizations and dramatic confrontations (including one incredibly charged moment when the sheriff attempts to lead a caravan of scabs past the picket line). There are many gunshots in the film, and a death, and also many moments of simple warmth and laughter. The many union songs on the sound track provide a historical context, and also help Kopple achieve a fluid editing rhythm. And most of all there are the people in the film, those amazing people, so proud and self-reliant and brave.”

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Cinema Eye Launches Voting for 2014 Audience Choice Prize http://www.cinemaeyehonors.com/archives/press/cinema-eye-launches-voting-for-2014-audience-choice-prize http://www.cinemaeyehonors.com/archives/press/cinema-eye-launches-voting-for-2014-audience-choice-prize#comments Mon, 09 Dec 2013 18:23:59 +0000 http://www.cinemaeyehonors.com/?p=3210 The Cinema Eye Honors for Nonfiction Filmmaking have opened voting for the 2014 Audience Choice Prize, the Cinema Eye award that is decided by the votes of the public.

Vote Now for the 2014 Audience Choice Prize



Ten films, including a number of the most talked-about and debated documentaries of the year, are amongst this year’s Audience Choice nominees. They are:

20 Feet from Stardom – Directed by Morgan Neville
The Act of Killing – Directed by Joshua Oppenheimer
Blackfish – Directed by Gabriela Cowperthwaite
The Crash Reel – Directed by Lucy Walker
Cutie and the Boxer – Directed by Zachary Heinzerling
Muscle Shoals – Directed by Greg ‘Freddy’ Camalier
Rafea: Solar Mama – Directed by Mona Eldaief & Jehane Noujaim
Sound City – Directed by Dave Grohl
The Square – Directed by Jehane Noujaim
Stories We Tell – Directed by Sarah Polley

As part of Cinema Eye’s ongoing partnership with the Hot Docs Film Festival, all ten of this year’s films will be screened at the Hot Docs Bloor Cinema from December 25 to January 2. For more information about the Bloor screenings, visit: http://bloorcinema.com/cinema-eye-audience-choice-nominees/

The public can vote for the 2014 Audience Choice Prize on the Cinema Eye Honors website at http://www.cinemaeyehonors.com/vote or by sending a tweet to @cinemaeyehonors with the name of the film of their choice. [For example: @cinemaeyehonors I vote for Bully!]. Voting will be open through Monday, January 6, 2014.

“The Audience Choice Prize is one of our favorite awards because it celebrates the rich connection between films and audiences,” said Cinema Eye Founding Director AJ Schnack. “These films can bring audiences to their feet, may prompt boycotts and often take social media by storm. This award celebrates great films and their lasting and continuing impact.”

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The Unforgettables http://www.cinemaeyehonors.com/archives/distinctive-honors/the-unforgettables http://www.cinemaeyehonors.com/archives/distinctive-honors/the-unforgettables#comments Wed, 04 Dec 2013 03:22:54 +0000 http://www.cinemaeyehonors.com/?p=3182 The Unforgettables

Starting a new tradition, Cinema Eye has announced “The Unforgettables” – a list of this year’s notable and significant nonfiction film subjects. The focus of 15 films, these seventeen people (and one bull orca) were selected by votes from more than 80 of this year’s eligible filmmakers as well as Cinema Eye’s nominations committee. With “The Unforgettables” we acknowledge and honor the heart and soul of documentary films: our subjects.

  • The Act of Killing   Anwar Congo
  • 20 Feet From Stardom   Lisa Fischer
  • First Cousin Once Removed   Edwin Honig
  • William and the Windmill   William Kamkwamba
  • Good Ol’ Freda   Freda Kelly
  • The Crash Reel   Kevin Pearce and David Pearce
  • I Am Breathing   Neil Platt
  • Stories We Tell   Michael Polley
  • 12 O’Clock Boys   Pug
  • Rafea: Solar Mama   Rafea
  • After Tiller   Susan Robinson and Shelley Sella
  • Bending Steel   Chris “Wonder” Schoeck
  • Cutie and the Boxer   Ushio and Noriko Shinohara
  • Blackfish   Tilikum
  • Pussy Riot: A Punk Prayer   Nadezhda Tolokonnikova
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Hell Yeah Prize http://www.cinemaeyehonors.com/archives/distinctive-honors/hell-yeah-prize http://www.cinemaeyehonors.com/archives/distinctive-honors/hell-yeah-prize#comments Wed, 04 Dec 2013 02:58:11 +0000 http://www.cinemaeyehonors.com/?p=3177 Hell Yeah Prize

In the 2010 Oscar®-nominated exposé Gasland, director Josh Fox profiled hydraulic fracturing, or “fracking,” the process of injecting a pressurized mixture of water, sand and chemicals down a drilled well, causing layers of rock deep in the earth to crack and release natural gas. The film inspired a national dialogue over the multi-layered environmental dangers at risk. With Gasland Part II, Fox examines the long-run impact of the controversial process, including poisonous water, earthquakes and neurological damage, placing his focus on the people whose lives have been irreparably changed. Traveling from the Gulf of Mexico to the heart of Texas and back up to the Delaware River basin, he thoroughly investigates the effects of this once-touted energy source, as well as the industry’s equally disturbing reaction to negative claims via smear campaigns and lawsuits. Gasland Part II shows how the anti-fracking movement has done its best to amplify its message while the million-dollar conglomerates employ PSY-OPS tactics to shut it down. Unnerving interviews and shocking data underscore this scathing indictment of unregulated industry in Fox’s powerful, not-to-be-missed follow-up. (Tribeca)

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Neighboring Sounds http://www.cinemaeyehonors.com/archives/eligible-films/neighboring-sounds http://www.cinemaeyehonors.com/archives/eligible-films/neighboring-sounds#comments Mon, 25 Nov 2013 22:57:43 +0000 http://www.cinemaeyehonors.com/?p=3156 Neighboring Sounds

Those sounds you hear in Kleber Mendonça Filho’s magnificently sculpted fiction feature debut, about life on one upscale street in the bustling Brazilian city of Recife, are the kind that ruins your sleep, disturbs the illusion of security and echoes across the chasm dividing rich and poor. Filho’s ambitious strategy is to encompass an entire city block’s worth of characters, incidents and encounters across a few days of time, while generating a steadily rising undercurrent of tension that’s certain to break. Like the vivid parade of characters in Sherwood Anderson’s Winesburg, Ohio, an ensemble of lives unfolds: Stay-at-home mom Beatriz (Maeve Jinkings) battles a neighbor’s constantly howling dog with every weapon at her disposal, while her children learn English and Mandarin; João (Gustavo Jahn) starts what could become a passionate relationship but conflicts arise with younger brother Dinho’s (Yuri Holanda) dalliances with crime; Joao’s and Dinho’s grandfather Francisco (W.J. Solha), meanwhile, works out terms with a possibly shady “security” group led by Clodaldo (Irandhir Santos) to patrol the area. The totality of Filho’s film becomes symphonic in its structure and power. Brazil is now full of interesting young filmmakers working outside of Sao Paolo and Rio, and Mendonça Filho, whose output as a film critic and maker of shorts is already legion, stands as a leader of this new movement. (San Francisco International Film Festival)

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Post Tenebras Lux http://www.cinemaeyehonors.com/archives/eligible-films/post-tenebras-lux http://www.cinemaeyehonors.com/archives/eligible-films/post-tenebras-lux#comments Mon, 25 Nov 2013 22:57:43 +0000 http://www.cinemaeyehonors.com/?p=3152 Post Tenebras Lux

Carlos Reygadas’ POST TENEBRAS LUX is a landscape of possibility, vibrantly alert to the tensions of class, family and desire, pulsating with life. The film tells the story of Juan (Adolfo Castro) and Natalia (Nathalia Acevedo) and their two young children. A wealthy, modern family living in the secluded Mexican woodlands, they are surrounded by dreamlike possibilities and the blunt, violent realities of daily life. As a filmmaker Reygadas refuses to distinguish between dreams and reality, and so POST TENEBRAS LUX takes on issues of duty, class and morality with a feverish poetry from its thrilling opening sequence to its radical conclusion. (Sarasota)

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Computer Chess http://www.cinemaeyehonors.com/archives/eligible-films/computer-chess http://www.cinemaeyehonors.com/archives/eligible-films/computer-chess#comments Mon, 25 Nov 2013 22:57:42 +0000 http://www.cinemaeyehonors.com/?p=3166 Computer Chess

These days any dumbphone is smart enough to put even a chess grandmaster in his place. It was different though back in the early 1980s. Back then, nerds of all ages would get together, make bets on how much longer it would be until computers were superior to people, program in Fortran and Prolog on obscure hardware with acoustic couplers and tiny quaint screens, and the term “artificial intelligence” was on everybody’s lips. Andrew Bujalski catapults us back to that time in both aesthetic and thematic terms. Computer Chess is the story of how a chess programmers’ competition in a provincial hotel spins out of control when the somewhat inhibited chess geeks clash with the would-be sexually liberated members of a self-discovery group. This amusing, warm-hearted and lovingly detailed journey back in time was shot on a black-and-white Sony video camera from the era. Yet when the images at some point switch to colour as if by magic, sound and image are overlaid in psychedelic manner, one of the experts gets caught in a time warp and another enters into philosophical debates with his computer, all this marvelous frivolity turns deadly serious. Or vice versa. (Berlin)

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