Montag, 31. Dezember 2018

"Facing the Bitter Truth"-Filmpreis 2018

BESTER FILM


  • Annihilation von Alex Garland
  • BlacKkKlansman von Spike Lee
  • Call Me by Your Name von Luca Guadagnino
  • The Florida Project von Sean Baker
  • A Ghost Story von David Lowery
  • Kulenkampffs Schuhe von Regina Schilling
  • The Rider von Chloé Zhao
  • Roma von Alfonso Cuarón
  • Sweet Country von Warwick Thornton
  • You Were Never Really Here von Lynne Ramsay


BESTE REGIE


  • Alfonso Cuarón – Roma
  • Alex Garland – Annihilation
  • Lucrecia Martel – Zama
  • Steve McQueen – Widows
  • Lynne Ramsay – You Were Never Really Here
  • Alice Rohrwacher – Lazzaro felice
  • Chloé Zhao – The Rider


BESTE HAUPTDARSTELLERIN


  • Yalitza Aparicio als Cleodegaria "Cleo" Gutiérrez in Roma
  • Toni Collette als Annie Graham in Hereditary
  • Viola Davis als Veronica Rawlings in Widows
  • Frances McDormand als Mildred Hayes in Three Billboards Outside Ebbing, Missouri
  • Maggie Mulubwa als Shula in I Am Not a Witch
  • Brooklynn Prince als Moonee in The Florida Project
  • Saoirse Ronan als Christine "Lady Bird" McPherson in Lady Bird


BESTER HAUPTDARSTELLER


  • Timothée Chalamet als Elio Perlman in Call Me by Your Name
  • John Cho als David Kim in Searching
  • Marcello Fonte als Marcello in Dogman
  • Ryan Gosling als Neil Armstrong in First Man
  • Hamilton Morris als Sam Kelly in Sweet Country
  • Joaquin Phoenix als Joe in You Were Never Really Here
  • Benoît Poelvoorde als Commissaire Buron in Au poste!


BESTE NEBENDARSTELLERIN


  • Sakura Andō als Nobuyo Shibata in Shoplifters
  • Awkwafina als Goh Peik Lin in Crazy Rich Asians
  • Cynthia Erivo als Darlene Sweet in Bad Times at the El Royale
  • Lilly Jandreau als Lilly Blackburn in The Rider
  • Lesley Manville als Cyril Woodcock in Phantom Thread
  • Laurie Metcalf als Marion McPherson in Lady Bird
  • Bria Vinaite als Halley in The Florida Project


BESTER NEBENDARSTELLER


  • Willem Dafoe als Bobby Hicks in The Florida Project
  • Jonah Hill als Donnie Green in Don't Worry, He Won't Get Far on Foot
  • Michael B. Jordan als N'Jadaka / Erik "Killmonger" Stevens in Black Panther
  • Daniel Kaluuya als Jatemme Manning in Widows
  • Denis Ménochet als Antoine Besson in Jusqu'à la garde
  • Charlie Sexton als Townes Van Zandt in Blaze
  • Michael Stuhlbarg als Samuel Perlman in Call Me by Your Name


BESTE VOICEOVER-PERFORMANCE


  • Bryan Cranston als Chief in Isle of Dogs
  • Jessica Dinnage als Iben in The Guilty
  • Tom Hardy als Venom in Venom
  • Holly Hunter als Helen Parr / Elastigirl in Incredibles 2
  • Shameik Moore als Miles Morales / Spider-Man in Spider-Man: Into the Spider-Verse
  • Koyu Rankin als Atari Kobayashi in Isle of Dogs
  • Maria Schrader als Regina Schilling in Kulenkampffs Schuhe


BESTES SCHAUSPIEL-ENSEMBLE


  • Crazy Rich Asians – Awkwafina, Gemma Chan, Ronny Chieng, Henry Golding, Ken Jeong, Lisa Lu, Sonoya Mizuno, Chris Pang, Constance Wu, Jimmy O. Yang, Michelle Yeoh
  • The Florida Project – Macon Blair, Valeria Cotto, Willem Dafoe, Caleb Landry Jones, Aiden Malik, Mela Murder, Brooklynn Prince, Christopher Rivera, Bria Vinaite
  • Hunt for the Wilderpeople – Rhys Darby, Julian Dennison, Rachel House, Oscar Kightley, Sam Neill, Rima Te Wiata, Taika Waititi
  • Lady Bird – Timothée Chalamet, Beanie Feldstein, Lucas Hedges, Stephen McKinley Henderson, Tracy Letts, Laurie Metcalf, Saoirse Ronan, Lois Smith
  • Ocean's Eight – Richard Armitage, Awkwafina, Cate Blanchett, Helena Bonham Carter, Sandra Bullock, James Corden, Mindy Kaling, Sarah Paulson, Rihanna
  • Shoplifters – Sakura Andō, Lily Franky, Sōsuke Ikematsu, Kairi Jō, Kirin Kiki, Mayu Matsuoka, Miyu Sasaki
  • Widows – Jon Bernthal, Carrie Coon, Viola Davis, Elizabeth Debicki, Garrett Dillahunt, Robert Duvall, Cynthia Erivo, Colin Farrell, Lukas Haas, Brian Tyree Henry, Daniel Kaluuya, Liam Neeson, Michelle Rodriguez, Jacki Weaver


BESTER NICHT-ENGLISCHSPRACHIGER FILM


  • Cold War von Paweł Pawlikowski (Polnisch)
  • The Guilty von Gustav Möller (Dänisch)
  • Jusqu'à la garde von Xavier Legrand (Französisch)
  • Kulenkampffs Schuhe von Regina Schilling (Deutsch)
  • Lazzaro felice von Alice Rohrwacher (Italienisch)
  • Loveless von Andrey Zvyagintsev (Russisch)
  • Roma von Alfonso Cuarón (Spanisch und Mixtekisch)
  • Shoplifters von Hirokazu Kore-eda (Japanisch)
  • Visages villages von Agnès Varda und JR (Französisch)
  • Zama von Lucrecia Martel (Spanisch)


BESTER ANIMATIONSFILM


  • Bao von Domee Shi
  • Isle of Dogs von Wes Anderson
  • Spider-Man: Into the Spider-Verse von Bob Persichetti, Peter Ramsey und Rodney Rothman


BESTER DOKUMENTARFILM


  • Ex Libris: The New York Public Library von Frederick Wiseman
  • The King von Eugene Jarecki
  • Kulenkampffs Schuhe von Regina Schilling
  • Shirkers von Sandi Tan
  • Visages villages von Agnès Varda und JR


BESTES ORIGINALDREHBUCH


  • The Guilty – Gustav Möller, Emil Nygaard Albertsen
  • Lady Bird – Greta Gerwig
  • Lazzaro felice – Alice Rohrwacher
  • Loveless – Oleg Negin, Andrey Zvyagintsev
  • Private Life – Tamara Jenkins
  • Searching – Aneesh Chaganty, Sev Ohanian
  • Shoplifters – Hirokazu Kore-eda


BESTES ADAPTIERTES DREHBUCH


  • The Ballad of Buster Scruggs – Ethan Coen, Joel Coen ("All Gold Canyon" basiert auf der gleichnamigen Kurzgeschichte von Jack London; "The Gal Who Got Rattled" basiert auf der Kurzgeschichte "The Girl Who Got Rattled" von Stewart Edward White)
  • BlacKkKlansman – Spike Lee, David Rabinowitz, Charlie Wachtel, Kevin Willmott (basierend auf den Memoiren Black Klansman von Ron Stallworth)
  • Call Me by Your Name – James Ivory (basierend auf dem Roman Call Me by Your Name von André Aciman)
  • Hunt for the Wilderpeople – Taika Waititi (basierend auf dem Roman Wild Pork and Watercress von Barry Crump)
  • Widows – Gillian Flynn, Steve McQueen (basierend auf der TV-Serie Widows von Lynda La Plante)
  • You Were Never Really Here – Lynne Ramsay (basierend auf der Novelle You Were Never Really Here von Jonathan Ames)
  • Zama – Lucrecia Martel (basierend auf dem Roman Zama von Antonio di Benedetto)


BESTE KAMERA


  • Climax – Benoît Debie
  • Cold War – Łukasz Żal
  • The Florida Project – Alexis Zabe
  • A Ghost Story – Andrew Droz Palermo
  • The Killing of a Sacred Deer – Thimios Bakatakis
  • Roma – Alfonso Cuarón
  • Searching – Juan Sebastian Baron


BESTER SCHNITT


  • BlacKkKlansman – Barry Alexander Brown
  • Blaze – Jason Gourson
  • Call Me by Your Name – Walter Fasano
  • A Ghost Story – David Lowery
  • The Other Side of the Wind – Bob Murawski, Orson Welles
  • Widows – Joe Walker
  • You Were Never Really Here – Joe Bini


BESTE FILMMUSIK


  • Geoff Barrow, Ben Salisbury – Annihilation
  • Carter Burwell – The Ballad of Buster Scruggs
  • Cody Carpenter, John Carpenter, Daniel Davies – Halloween
  • Alexandre Desplat – Isle of Dogs
  • Jonny Greenwood – You Were Never Really Here
  • Daniel Hart – A Ghost Story
  • Justin Hurwitz – First Man


BESTES TONDESIGN


  • Climax – Ken Yasumoto
  • First Man – Mary H. Ellis, Mildred Iatrou Morgan, Ai-Ling Lee
  • Hereditary – Lewis Goldstein, Steven C. Laneri, Viktor Weiszhaupt
  • A Quiet Place – Erik Aadahl, Michael Barosky, Brandon Jones, Ethan Van der Rhyn
  • Roma – Craig Berkey, Steve Browell, Sergio Diaz, Enrique Greiner, Javier Quesada, Liliana Villaseñor
  • You Were Never Really Here – Paul Davies, Drew Kunin
  • Zama – Guido Berenblum, Manuel de Andres, Gerardo Kalmar


BESTE AUSSTATTUNG


  • Annihilation – Gareth Cousins, Michelle Day, Mark Digby, Lauren Doss, Simon Elsley, Elaine Kusmishko, Denis Schnegg
  • Au poste! – Joan Le Boru, Jérémie Sfez
  • The Florida Project – Kurt Thoresen, Stephonik Youth
  • In den Gängen – Daniela Grömke, Maria Klingner, Jenny Rösler
  • Roma – Carlos Benassini, Eugenio Caballero, Barbara Enriquez, Oscar Tello
  • The Shape of Water – Paul D. Austerberry, Nigel Churcher, Jeffrey A. Melvin, Shane Vieau
  • Shoplifters – Akiko Matsuba, Keiko Mitsumatsu


BESTE KOSTÜME


  • Black Panther – Ruth E. Carter
  • Blaze – Lee Kyle
  • A Ghost Story – Annell Brodeur
  • I Am Not a Witch – Holly Rebecca
  • I, Tonya – Jennifer Johnson
  • Phantom Thread – Mark Bridges
  • Zama – Julio Suárez


BESTE SPEZIALEFFEKTE


  • Avengers: Infinity War
  • Bumblebee
  • First Man
  • Mission: Impossible – Fallout
  • Roma
  • The Shape of Water
  • Solo: A Star Wars Story


"SPOILER ALERT": BESTE SZENE




Nominationen-Total:
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Donnerstag, 27. Dezember 2018

Kinojahr 2018: Top 10

1
ROMA
(Alfonso Cuarón, Mexiko)

2
A GHOST STORY
(David Lowery, USA)

3
ANNIHILATION
(Alex Garland, UK/USA)

4
CALL ME BY YOUR NAME
(Luca Guadagnino, Italien/USA)

5
THE FLORIDA PROJECT
(Sean Baker, USA)

6
BLACKKKLANSMAN
(Spike Lee, USA)

7
KULENKAMPFFS SCHUHE
(Regina Schilling, Deutschland)

8
YOU WERE NEVER REALLY HERE
(Lynne Ramsay, UK/USA)

9
SWEET COUNTRY
(Warwick Thornton, Australien)

10
THE RIDER
(Chloé Zhao, USA) 


HONOURABLE MENTIONS
  • Black Panther (Ryan Coogler)
  • Ex Libris: The New York Public Library (Frederick Wiseman)
  • Isle of Dogs (Wes Anderson)
  • Loveless (Andrey Zvyagintsev)
  • Zama (Lucrecia Martel)
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Mittwoch, 26. Dezember 2018

Zama

"They were two perfectly insignificant and incapable individuals, whose existence is only rendered possible through the high organization of civilized crowds. Few men realise that their life, the very essence of their character, their capabilities and their audacities, are only the expression of their belief in the safety of their surroundings. The courage, the composure, the confidence; the emotions and principles; every great and insignificant thought belongs not to the individual but to the crowd: to the crowd that believes blindly in the irresistible force of its institutions and of its morals" – Joseph Conrad, "An Outpost of Progress"

Zama, Lucrecia Martel's remarkable period drama about the misadventures of a low-level judge in colonial Argentina, is a haunted film – haunted by both the shadowy presence of countless works of art that preceded it and, not unlike Warwick Thornton's stunningly radical Sweet Country (2017), a lurking feeling of repressed guilt.

Watching Martel's ethereal, deviously laconic adaptation of Antonio di Benedetto's eponymous 1956 novel is to see textual spectres at every corner – allusions the film does not seem to actively invoke. Most obviously, there is the sense of imperialist ennui, which has been a mainstay of European postcolonial art from Joseph Conrad all the way to Werner Herzog's Aguirre (1972): Zama's protagonist, Don Diego de Zama (Daniel Giménez Cacho), is stuck in a sleepy Argentinian backwater, where he is respected neither by the natives nor by his fellow colonisers. His only wish is to be called back to his native Spain, but the vast and abstract network of authority that rules over his deployment never deigns to indulge him.

There is something Sisyphean about Zama's existence – reinforced by the frequent repetition of mundane lines of dialogue – which gives the whole affair a distinctively absurdist tinge; a life spent waiting in vain for a better life, sporadically interrupted by pointless tasks and hopeless appeals to uncaring and ever-changing superiors, whose offices aren't even powerful enough to keep out the llamas. Remnants of Buñuel, specifically the sense of self-imposed stagnation encountered in The Exterminating Angel (1962) and Simon of the Desert (1965), are rattling around the film as well.

Hapless coloniser Don Diego de Zama (Daniel Giménez Cacho) is waiting to be transferred to a better position.
© trigon-film
Finally, Martel's deft direction, coupled with DP Rui Poças' beautiful and precise tableaux of rooms, windows, and doorframes, brings to mind Diego Velázquez's painting Las Meninas with its complex web of sight lines, which philosopher Michel Foucault famously translated into indications of power relations. In Zama, as in Las Meninas, it matters who sees whom, who looks at whom, and who notices – or not – whether they are being looked at. And it's rarely the colonisers – and least of all Zama, in spite of all his posturing in the foreground of the frame – who come out on top in this game of political peekaboo.

Indeed, Martel, without diminishing the racist entitlement and cruel capriciousness of the Spanish invaders, portrays her titular character and most of his compatriots as being almost comically out of their depth. As time wears on, with no way of telling whether months or years have passed, their fashionably powdered wigs become increasingly dishevelled, their clothes ragged and dusty. The native population confounds them with customs and a language they do not understand, nor bother to learn; they unsettle each other with tales of a mysterious outlaw, who has either been executed or is waiting to strike at any moment. The third act, an aimless trek into the countryside, plays like a dark variation on Don Quixote, with a local tribe refusing to adhere to European notions of "savagery" standing in for the windmills, and Sancho Panza slowly dying of an infected insect sting.

In colonial Argentina, Zama and his compatriots are hopelessly out of their depth.
© trigon-film
As in the somewhat grimmer Sweet Country, the bottom line of Martel's brilliant film appears to be a thinly veiled challenge to the legitimacy of a state founded on colonialism. The historical injustice on which Argentina, and much of modern South America, is built is palpable in nearly every scene – be it the native people in the margins, the black slaves waiting on the white aristocrats in wary silence, or the moral doubts that creep into some of the colonisers' conversations here and there.

Even though its larger point is virtually unmissable, Zama is an extraordinarily subtle film that gains upon reflection and, presumably, revisiting. It is at once a serious deconstruction of colonialist attitudes and a wryly funny satire of the very notion of European supremacy – incorporated into an absurdist descent into madness and despair. In short, it's a treat.

★★★★★
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Dienstag, 25. Dezember 2018

22 July

Over the course of his almost 30-year career, Paul Greengrass, even though probably best known for his series of Jason Bourne thrillers, has fashioned himself into cinema's premier expert for what could be termed "fact-based atrocity procedurals." Since his 1989 debut, the Englishman has covered egregious police misconduct (Open Fire), racist hate crimes (The Murder of Stephen Lawrence), the Northern Irish Troubles (Bloody Sunday, Omagh), 9/11 (United 93), the Iraq War (Green Zone), and Somalia-based piracy (Captain Phillips) in his trademark style of fast-paced immediacy.

Going into 22 July, Greengrass' take on the 2011 Norway attacks, in which far-right terrorist Anders Behring Breivik (played here by Anders Danielsen Lie) killed 77 people, with this back catalogue in mind might prove disorienting, however. In fact, those who expect the Netflix-produced film to be a fly-on-the-wall documentary thriller focused on the event itself, something in the vein of United 93 – which dramatised one of the 11 September plane hijackings –, will be in for a surprise: Breivik's highly publicised massacres – the detonation of a car bomb in downtown Oslo and a shooting spree on Utøya Island, the site of a Labour Party-organised summer camp for teenagers – take up just 30 minutes of the 143-minute film.

The rest of the runtime concerns itself with the political, legal, and emotional fallout of Breivik's crimes. While Norwegian Prime Minister Jens Stoltenberg (Ola G. Furuseth) calls for an inquiry into how the events of 22 July 2011 could happen, left-leaning lawyer Geir Lippestad (Jon Øjgarden) grapples with Breivik handpicking him as his defender in court. And then there's Viljar Hanssen (Jonas Strand Gravli), an Utøya attendee who barely escapes the attack with his life and who now faces an uncertain future.

Presumably spurred by Erik Poppe's Utøya: 22 July (2018) depicting the island attack in real time, it's a curious but by no means unwelcome move on Greengrass' part – more welcome, in any case, than his decision to have his Norwegian actors speak English, which is never less than at least slightly awkward. Shining the spotlight on the aftermath rather than on the bloodshed feels like the logical extension to the end of Captain Phillips (2013), which served as a stark reminder that a traumatic incident doesn't end when the last shot has been fired.

On 22 July, 2011, Anders Behring Breivik (Anders Danielsen Lie) killed 77 people in two coordinated terrorist attacks.
© Netflix
22 July does well to point out the multi-faceted impact the 2011 attacks had on Norwegian society and what their significance were in the broader context – a far-right side character Lippestad interviews on Breivik's behalf even slips in the term "alt-right." However, it's a different question altogether whether Greengrass' adaptation of Åsne Seierstad's non-fiction book One of Us, does justice to all of its narrative strands.

Although Ola G. Furuseth gives an arresting performance as Prime Minister Stoltenberg, he is underserved by a script that is noticeably unsure what to do with him, as his main function for the majority of the film is to keep in the background and let the public inquiry run its course. Thus, the audience is left waiting, along with a powerful yet largely inactive character, for the completion of the inquiry's decidedly uncinematic work.

But whereas the political drama of 22 July proves to be a bit of a bust, the legal chamber play that plays alongside it fares much better. Greengrass' unflinching, records-based dramatisation of Breivik's violent, ideological narcissism makes for some of the film's most disturbing moments – such as when Breivik, after being arrested, asks for medical attention because he cut his finger on of his victims' fractured skull.

Viljar Hanssen (Jonas Strand Gravli) is one of the survivors of Breivik's massacre.
© Netflix
The introduction of Geir Lippestad is a dramatic relief, but his captivatingly written verbal sparring with his client does little to counteract Breivik's grandstanding, which is, admittedly, in keeping with the lawyer's convictions: if the state did not give a fair hearing to a mass murderer, it would renounce the very democratic ideals he wants to topple. The movie translates this into a fairly well executed humanisation of its terrorist figure – though there is a lingering sense of the script, and Anders Danielsen Lie's frighteningly excellent portrayal, giving him an unduly prominent platform. It certainly is an interesting contrast to Poppe's Utøya, which made a point of relegating Breivik to a marginal figure.

Interestingly, the film's most successful element is the one that would most comfortably fit into a stereotypical Hollywood disaster narrative. Together with his mother, Svalbard politician Christin Kristoffersen (Maria Bock), young Viljar Hanssen, who narrowly survives the five gunshot wounds Breivik inflicts on him, forms 22 July's emotional core. Here, carried by two affecting performances, Greengrass' hit-and-miss script delivers a touching drama about working through trauma, grief, and survivor's guilt, which could also have worked as a film of its own.

In fact, most parts of 22 July may have reached their true potential if they had been addressed in individual works. In trying to offer a panoptic view of the Norway attacks, Greengrass has crafted an intriguing but overlong procedural that is at once heavy on details and lacking in depth. Thematically, it snugly fits into the Greengrass œuvre, but it probably won't go down as one of his major creations.

★★★
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Montag, 24. Dezember 2018

Shirkers

© Netflix

★★★★

"Shirkers ist ein faszinierender, vielschichtiger und immer wieder tief berührender Film über das Kino, über Kunst, über Machtverhältnisse – zwischen Männern und Frauen, zwischen dem Westen und dem Rest der Welt –, über geplatzte und verwirklichte Träume, über das Erwachsenwerden, über Singapur."

Ganze Kritik auf Maximum Cinema (online einsehbar)
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Sonntag, 23. Dezember 2018

3 Faces

© Filmcoopi

★★★★

"Unter der etwas chaotischen Oberfläche von 3 Faces – die wohl auch der ungewohnten Freiheit des Regisseurs zuzuschreiben ist – spielt sich eine spannende Auseinandersetzung mit der sozialen, politischen und künstlerischen Vergangenheit, Gegenwart und Zukunft des Irans ab: Kann die Generation, die unter dem Joch der Ayatollahs gross geworden ist, ihren Nachkommen überhaupt noch etwas beibringen? Oder liegt die einzige Hoffnung in der Rückbesinnung auf die Zeit vor der islamischen Revolution?"

Ganze Kritik auf Maximum Cinema (online einsehbar)
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