“Bob understood the importance of recognizing craft in nonfiction film,” said AJ Schnack, Cinema Eye Founding Director. “He took an impassioned idea and bankrolled it, making it possible for us to host the first awards just four months after the initial spark. Without his enthusiasm, it’s unlikely Cinema Eye would exist in the form that it does today.”
Indiepix, led by Alexander, presented the first two Honors in 2008 and 2009. Since 2010, Cinema Eye has been an independent organization supported by a number of sponsors and community members.
“Bob was an early believer and pioneer of the viability of docs on VOD. He was a risk-taker and Cinema Eye couldn’t have launched without his support,” said Thom Powers, the documentary programmer of the Toronto International Film Festival and co-founder of Cinema Eye.
Writing about the inaugural event in 2008, Alexander said it was his goal to “shine a bright light on the achievements of these filmmakers…and to signal to audiences everywhere that the evolution of nonfiction story-telling continues today as rapidly as the social and technological context of their art.”
Our sincere condolences to Bob’s wife Margo, his family and his co-workers.]]>
Poitras also becomes the first person in Cinema Eye history to win the award for Outstanding Direction twice (she previously won for The Oath in 2011). Citizenfour also won awards for Mathilde Bonnefoy’s Editing and for the film’s Production, which was shared by Poitras, Bonnefoy and Dirk Wilutsky. In total, Poitras won three awards, tying a record set previously by Lixin Fan in 2011 for Last Train Home.
There were two ties at this year’s Cinema Eye Honors, a first for the awards. In the category of Graphic Design, Syd Garon of Jodorowsky’s Dune and Heather Brantman & Tim Fisher of Particle Fever shared the honor, while in Cinematography, laurels were shared by 20,000 Days on Earth’s Erik Wilson and Virunga’s Franklin Dow and Orlando von Einsiedel. Previously, there had only been one other tie at Cinema Eye, in 2010 for Graphic Design.
Alan Hicks’ Keep On Keepin’ On won the Audience Choice Prize, which was determined by public voting at the Cinema Eye website. More than 7,000 people cast their vote in the final 36 hours of voting for the Audience award.
The Nonfiction Short Film award went to Lucy Walker’s The Lions Mouth Open. Walker won the Cinema Eye Honor for Nonfiction Film for Television last year for her film The Crash Reel. She becomes the first person in Cinema Eye history to win awards in back-to-back years in different categories.
This year’s award for Nonfiction Film for Television went to ESPN 30 for 30’s The Price of Gold, directed by Nanette Burstein.
Academy Award-nominated filmmaker Sam Green hosted this year’s event, with an audio assist from Serial podcast host Sarah Koenig, who served as announcer and Voice of God for this year’s proceedings. Presenters included documentary legends Albert Maysles, DA Pennebaker, Steve James, Alan Berliner and the director and editor of this year’s Legacy Award winner Paris is Burning, Jennie Livingston and Jonathan Oppenheim.
A full list of this year’s winners follows:
Outstanding Achievement in Nonfiction Feature Filmmaking
Directed by Laura Poitras
Produced by Laura Poitras, Mathilde Bonnefoy and Dirk Wilutzky
Outstanding Achievement in Direction
Outstanding Achievement in Editing
Outstanding Achievement in Production
Laura Poitras, Mathilde Bonnefoy and Dirk Wilutzky
Outstanding Achievement in Cinematography (tie)
20,000 Days on Earth
Franklin Dow and Orlando von Einsiedel
Outstanding Achievement in Nonfiction Films Made for Television
The Price of Gold
Directed by Nanette Burstein
Produced by Libby Geist
For ESPN/30 for 30: John Dahl, Connor Schell, Bill Simmons
Audience Choice Prize
Keep On Keepin’ On
Directed by Alan Hicks
Outstanding Achievement in a Debut Feature Film
Finding Vivian Maier
Directed by John Maloof and Charlie Siskel
Outstanding Achievement in Original Music Score
Nick Cave and Warren Ellis
20,000 Days on Earth
Outstanding Achievement in Graphic Design or Animation (tie)
Heather Brantman & Tim Fisher
Directed by Johanna Hamilton
Outstanding Achievement in Nonfiction Short Filmmaking
The Lion’s Mouth Opens
Directed by Lucy Walker
Directed by Richard Linklater
Paris is Burning
Directed by Jennie Livingston
Livingston, who was a young photographer in New York when she started filming Paris is Burning, will accept the award on behalf of the film at the inaugural Honors Lunch, to be held on Tuesday, January 6, 2015 in Manhattan. Netflix is the Premier Sponsor of the Honors Lunch and the Jonathan Murray Center for Documentary Journalism at the University of Missouri is the Institutional Sponsor for the event.
This is the sixth 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. The First Annual Cinema Eye Honors Lunch will celebrate Paris Is Burning as well as the 24 other films recently named to the annual list of The Influentials, classic films such as previous Legacy Award winners Grey Gardens, Harlan County USA, Titicut Follies and The War Room, that were cited by this year’s class of documentary filmmakers as the films that inspired them. The Lunch will also recognize this year’s Unforgettables, notable and significant documentary subjects from the past year’s films.
“Paris is Burning opened the doors onto the exuberant world of vogue culture in NYC on the eve of the AIDS epidemic. The film’s intimate, empathic focus on the struggles and joys of trans and gay culture is just as transformative today as it was nearly twenty-five years ago when it premiered,” declared Cinema Eye Board Chair Andrea Meditch in announcing Paris is Burning as this year’s Legacy Award recipient.
“Just making the Influentials list was swoon-worthy,” said Paris is Burning director Jennie Livingston. “Now Paris is Burning is a Legacy Film, too? Does the award come with smelling salts? Or better, yet a trip on the Orient Express along with Errol Morris, Agnes Varda, Ross McElwee and the rest? I’m ready! And immensely excited. And wildly appreciative.”
Continuing its partnership with Cinema Eye, the Hot Docs Film Festival will host a Cinema Eye Legacy Award screening of Paris is Burning in Toronto during the 2015 edition of the festival, featuring a conversation with Jennie Livingston. “Hot Docs is thrilled to continue our partnership with Cinema Eye and our sponsorship of the Legacy Award” said Charlotte Cook, the Director of Programming for Hot Docs and Chair of the Cinema Eye Nominations Committee. “We are very excited to be able to celebrate the incredible filmmaking achievement of Paris is Burning and to host Jennie at the festival for what will be a very special screening at the 2015 festival.”
The inaugural Honors Lunch is the latest edition to Cinema Eye Week, a multi-day, multi-city event that recognizes and celebrates excellence in nonfiction filmmaking. The week culminates in the 8th Annual Honors Awards Ceremony, which will be held on Wednesday, January 7 at the Museum of the Moving Image in Queens, New York where 12 awards will be presented recognizing achievement in nonfiction film over the past year. Academy Award-nominated filmmaker Sam Green, who has revolutionized the concept of documentary through his live performances of nonfiction theatre, will serve as the host for the 2015 Honors Awards Ceremony. Tickets are now on sale at cinemaeyehonors.com.
HBO Documentary Films is the Premier Sponsor for the 2015 Cinema Eye Honors. Major Sponsors are Netflix and Radius/TWC. Cinema Eye’s Festival Partners are the Camden International Film Festival, CPH:DOX, Hot Docs and True/False. Venue Partner is the Museum of the Moving Image. Institutional Sponsors include the Jonathan Murray Center for Documentary Journalism at the University of Missouri, Chicken and Egg and the LEF Foundation. Industry Sponsors include Filmmaker Magazine and Spacestation Media.]]>
Paris is Burning credits:
Directed by: Jennie Livingston
Produced by: Jennie Livingston
Edited by: Jonathan Oppenheim
Cinematography by: Paul Gibson
Paris is Burning depicts a New York fashion subculture. Shot in the late 1980s, the film examines how a community of Black and Latino gay and transgender New Yorkers build sustenance, creativity, and family. Exploring ballroom culture – and defining and re-defining words like “house,” “mother,” “shade” “voguing” and “fierce” – Paris is Burning draws a series of incisive character portraits. The movie writes a complex essay on class, race, identity, and the transformative powers of dance and performance.]]>
The five films nominated this year for the Cinema Eye Heterodox Award are:
These films demonstrate the porous boundaries between life’s documentation and creative storytelling, highlighting the ways in which today’s fiction filmmakers are inspired, challenged and provoked by the realities in which their dramatic constructs live. This marks the fifth year for the Heterodox Award at Cinema Eye. Previous winners of the award were Matt Porterfield’s Putty Hill (2011), Mike Mills’ Beginners (2012), Jem Cohen’s Museum Hours (2013) and Carlos Reygados’s Post Tenebras Lux (2014).
“These nominees prove once again that the blurred lines between fiction/non-fiction, actor/non-actor and verite/script continue to thrill and provoke,” said Esther Robinson, Chair of the Cinema Eye Honors. “Year five of the Heterodox award gives us farmers, loners, aliens, addicts, and adolescents. The films ask thrillingly big questions about childhood, time, utopia, modernity, sexuality and what happens when you drop a come-hither Scarlett Johansson into the Scottish countryside with a hidden camera.”
“In this fifth year of the Heterodox Award,” said Filmmaker Magazine Editor-in-Chief Scott Macaulay, “these nominated filmmakers, using technology as varied as spy cams to old-fashioned 35mm, have created seamless blends of the real and ‘the real.’ Their films, crackling with the rhythms of life, offer inspirations out of the creative cul de sacs found in so much mainstream storytelling.”
Nine finalists for the Heterodox Award were selected in voting by the Cinema Eye Honors Nominations Committee, made up of more than 25 international programmers who specialize in nonfiction film. The nine finalists were then viewed and five nominees selected by the writers and editors of Filmmaker Magazine. A jury of filmmakers and film professionals will watch the five nominees and select a winner. The award will be presented in January during Cinema Eye Week in New York City.
In addition to the Heterodox Award nominees, Cinema Eye announced that voting for the organization’s Audience Choice Prize is now open. The ten contenders for the award were announced last month at CPH:DOX in Copenhagen and the annual list includes many of the most discussed, acclaimed and beloved films of the year. The nominees for the Audience Choice Prize are:
Voting for the Audience Choice Prize is open to the public via the Cinema Eye website here. Last year, more than 44,000 people voted for the award, which was won by Dave Grohl’s Sound City. Previous winners of the award are The King of Kong: A Fistful of Quarters (2008), Up the Yangtze (2009), The September Issue (2010), Joan Rivers: A Piece of Work (2011), Buck (2012) and Bully (2013).
Tickets for the 8th Annual Honors Awards Ceremony are now on sale. The event will be held Wednesday, January 7, 2015 at the Museum of the Moving Image in Astoria, New York. Tickets can be purchased here. More information about this year’s Cinema Eye Honors Week, including event details and a list of this year’s sponsors will be announced in the coming days.]]>
Filming from 2002 to 2013, “Boyhood” is a narrative feature that covers twelve years in the life of a family. We follow a young boy, Mason (Ellar Coltrane), as he matures from first through twelfth grade, along with his older sister, Samantha (Lorelei Linklater), and his divorced parents, Olivia (Patricia Arquette) and Mason, Sr. (Ethan Hawke). As the years go by we find them facing the realities of not only growing up but also the ongoing challenges of parenting in an ever-evolving landscape. (SXSW)]]>
Italian director Roberto Minervini ventures deep into Texas’ rural Bible belt, achieving an intimacy with his subjects so deep that it seems spiritual. Focused on teenage Sara Carlson and her rising discomfort as she begins to feel the full confinement of her fundamentalist upbringing on a goat farm, the film quietly observes her daily life with its chores, sermons and the rare moments of freedom that entice her to see beyond the fences. Minervini captures the natural rhythm and soul of life in Waller, Texas, in a style best described by Werner Herzog as “poetic documentary,” meaning the characters and circumstances are real, but certain scenes are nudged or set up to find a deeper truth. Sara is intrigued by the cross-town world of Colby, a skinny boy who is learning how to ride bulls and participates in local rodeos. Entirely non-narrative, lyrical scenes awash in Terrence Malick-like golden light contrast with the shock of gun practice, a keg party and a live birth. A very pregnant woman firing off pistol rounds at a target is contraposed with a quiet scene of Sara at a small pond contemplating a pensive dusk. The remarkable communion Minervini has achieved with his characters provides a portrait of a little-known piece of America that is deeply personal and alive. (San Fransisco)]]>
A nameless man – in the guise of the musician Robert A.A. Lowe – travels across time and space from a neo-hippie collective in Estonia through the loneliness of the Finnish wilderness to a brutal black metal ritual in a Norwegian basement. A proto-mythological journey of enlightenment in the most basic sense of the word, divided into three chapters, and turned into a giddily ambitious film shrouded in a dense haze of occult mysticism. Ben Rivers and Ben Russell are two of contemporary cinema’s most visionary innovators, and they share a rock-solid and almost alchemical belief that film can create worlds out of nothing – at least in the consciousness of the spectator. With ‘A Spell to Ward Off the Darkness’, they have joined their creative forces, and if the title seems familiar there it is for a reason. (CPH:DOX)]]>
From visionary director Jonathan Glazer (SEXY BEAST, BIRTH) comes a stunning career transformation, a masterpiece of existential science fiction that journeys to the heart of what it means to be human, extraterrestrial – or something in between. A voluptuous woman of unknown origin (Scarlett Johansson) combs the highways in search of isolated or forsaken men, luring a succession of lost souls into an otherworldly lair. They are seduced, stripped of their humanity, and never heard from again. Based on the novel by Michael Faber, this film examines human experience from the perspective of an unforgettable heroine who grows too comfortable in her borrowed skin, until she is abducted into humanity with devastating results. (Toronto)]]>
The third narrative feature from brothers Josh and Benny Safdie explores a love story of heroin junkies living on the streets of New York City. Harley is in mad love with Ilya, so much so that she slits her wrists to capture his attention. But when her attention-grabbing stunt doesn’t get Ilya to reciprocate her love, she seeks support from Mike, a heroin dealer, who mistakes her interest in him as something more. Based on a memoir by Arielle Holmes, who here stars as Harley, the film occupies a space between narrative and documentary. Further blurring that line is cinematographer Sean Price Williams’ use of 16mm, which offers us close-ups of these characters’ desperation, while also quietly observing their monotonous daily routine amid the commotion of city life. (AFI)]]>