As long as the focus is on Mia and Elliot, the film is involving and moving.
* 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.
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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.
The Chicago International Film Festival is celebrating its 45th anniversary in better form than ever, I think. The festival, which opened Thursday, will be presenting 145 films from 45 countries. That's fewer than Toronto or Cannes but more, I believe, than any other American festival -- and besides, can you see 10 films a day?
Matthew Modine was attending the Toronto Film Festival launch party for the U.S. edition of Norman Jewison’s autobiography, so the subject of his own memoirs came up. “I don’t know if that book will ever be written,” he said. “But I am publishing Full Metal Diary, which is the diary I kept when I was making Stanley Kubrick’s ‘Full Metal Jacket.’ That was so long ago that when I read it, it’s like the writings of a young actor who doesn’t have a whole lot to do with me. An actor writing journal entries on the set every day, just excited to be working with this great director on this film.”
TELLURIDE, Colo. -- In the blazing noon sun of Labor Day, on a panel discussion in Elks Park, the veteran critic Stanley Kauffmann put his finger on the kinds of films that the Telluride Film Festival does not exist to support: movies made of special effects and technology.