You’ll shed a tear or two—especially if you’re a parent—and they’ll be totally earned.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
It's a wrap for the 2010 Muriel Awards, but although the winners have been announced, there's still plenty of great stuff to read about the many winners and runners-up. ('Cause, as we all know, there's so much more to life than "winning.") I was pleased to be asked to write the mini-essay about "The Social Network" because, no, I'm not done with it. (Coming soon: a piece about the Winkelvii at the Henley Gregatta section -- which came in 11th among Muriel voters for the year's Best Cinematic Moment.)
You might recall that last summer I compared the editorial, directorial and storytelling challenges of a modest character-based comedy ("The Kids Are All Right") to a large-scale science-fiction spectacular based on the concept of shifting between various levels of reality/unreality -- whether in actual time and space or in consciousness and imagination. (The latter came in at No. 13 in the Muriels balloting; the former in a tie for No. 22.) My point was that, as far as narrative filmmaking is concerned, there isn't much difference. To illustrate a similar comparison this time, I've used a one-minute segment out of "The Social Network" (Multiple levels of storytelling in The Social Network). You might like one picture better than the other for any number of reasons, but I find their similarities more illuminating than their differences:
Above: Best supporting actress winner Olivia Williams, "The Ghost Writer."
"The Social Network" has swept the major critics' groups honors (following NY and LA) with its best picture award from the National Society of Film Critics. From the NSFC website:
The Society, which is made up of 61 of the country's most prominent movie critics, held its 45th annual awards voting meeting at Sardi's Restaurant in New York City. 46 members voted. Scrolls will be sent to the winners.
BEST PICTURE *1. The Social Network 61 2. Carlos 28 3. Winter's Bone 18
BEST DIRECTOR *1. David Fincher 66 - The Social Network 2. Olivier Assayas 36 - Carlos 3. Roman Polanski 29 - The Ghost Writer
BEST ACTOR *1. Jesse Eisenberg 30 - The Social Network 2. Colin Firth 29 - The King's Speech 2. Edgar Ramirez 29 - Carlos
BEST ACTRESS *1. Giovanna Mezzogiorno 33 - Vincere 2. Annette Bening 28 - The Kids Are All Right 3. Lesley Manville 27 - Another Year
"35 Shots of Rum". Two couples live across the hall in the same Paris apartment building. Neither couple is "together." Gabrielle and Noe have the vibes of roommates, but the way Lionel and Josephine love one another, it's a small shock when she calls him "papa." Lionel (Alex Descas) is a train engineer. Jo (Mati Diop) works in a music store. Gabrielle (Nicole Dogue) drives her own taxi. Noe (Gregoire Colin) claims only his much-loved cat is preventing him from moving to Brazil.
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Tina Mabry's "Mississippi Damned," an independent American production, won the Gold Hugo as the best film in the 2009 Chicago International Film Festival, and added Gold Plaques for best supporting actress (Jossie Thacker) and best screenplay (Mabry). It tells the harrowing story of three black children growing up in rural Mississippi in circumstances of violence and addiction. The film's trailer and an interview with Mabry are linked at the bottom.
Kylee Russell in "Mississippi Damned"
The winner of the Audience Award, announced Friday, was "Precious" (see below). The wins came over a crowed field of competitors from all over the world, many of them with much larger budgets. The other big winner at the Pump Room of the Ambassador East awards ceremony Saturday evening was by veteran master Marco Bellocchio of Italy, who won the Silver Hugo as best director for "Vincere," the story of Mussolini's younger brother. Giovanna Mezzogiorno and Filippo Timi won Silver Hugos as best actress and actor, and Daniele Cipri won a Gold Plaque for best cinematography.