2016 was rough, and 2017 is already seeming like a dark, daunting sequel. But there are several films coming out next year we’re excited about, not least of which are these five flicks we intend to see at their midnight premieres.
Snatched – May 12
What do you get when you combine comedy god Amy Schumer, legendary Goldie Hawn, and a South American island vacation gone horribly wrong? Snatched, which looks to be the raunchy irreverent followup to Trainwreck.
The Circle – April 28
Beauty and the Beast isn’t Emma Watson’s only big film hitting theaters in the New Year – she’ll also star in The Circle, a creepy tech thriller that’s assembled an impressive cast including Tom Hanks and John Boyega. It might be time to start putting tape over our laptop cameras after watching this trailer.
The Book of Love – January 13
Maisie Williams stars as a homeless child alongside Jason Sudeikis, a suburban architect trying to help her out. We’re excited by the casting, which also includes a long-absent Jessica Biel, although we’re still trying to come to terms with Williams’ accent for the role. Is it Southern? Still British? We need answers.
Star Wars: Episode VIII – December 15
This is perhaps the movie we’re most itching to see next year – no word yet on any additional title, although it’s rumored Tom Hardy will join the cast as a Stormtrooper. And we know Carrie Fisher had already wrapped filming for her role as General Leia Organa.
Murder on the Orient Express – November 22
Ok, wow. Daisy Ridley. Johnny Depp. Kenneth Branagh as the calculating Hercule Poirot. Agatha Christie. We’ve just named the four people we’d like to be stranded on a desert island with, as well as the cast and minds behind next year’s film incarnation of one of our favorite murder mysteries of all time.
This morning, Independent Spirit Award nominations were announced, boasting a diverse group of emerging artists and acclaimed filmmakers from Todd Haynes and Ed Lachman to Sean Baker and Cary Joji Fukunaga. The awards will be presented on February 27st so check out a selection of the nominees below and for the full list head here.
Best Feature Anomalisa Producers: Duke Johnson, Charlie Kaufman, Dino Stamatopoulos, Rosa Tran
Beasts of No Nation Producers: Daniel Crown, Idris Elba, Cary Joji Fukunaga, Amy Kaufman, Daniela Taplin Lundberg, Riva Marker
Carol Producers: Elizabeth Karlsen, Christine Vachon, Stephen Woolley
Spotlight Producers: Blye Pagon Faust, Steve Golin, Nicole Rocklin, Michael Sugar
Tangerine Producers: Sean Baker, Karrie Cox, Marcus Cox, Darren Dean, Shih-Ching Tsou
Best Director Sean Baker, Tangerine Cary Joji Fukunaga, Beasts of No Nation Todd Haynes, Carol
Charlie Kaufman & Duke Johnson, Anomalisa
Tom McCarthy, Spotlight
David Robert Mitchell, It Follows
Best Screenplay Charlie Kaufman, Anomalisa
Donald Margulies, The End of the Tour
Phyllis Nagy, Carol
Tom McCarthy & Josh Singer, Spotlight
S. Craig Zahler, Bone Tomahawk
Best First Feature The Diary of a Teenage Girl Director: Marielle Heller
Producers: Miranda Bailey, Anne Carey, Bert Hamelinck, Madeline Samit
James White Director: Josh Mond
Producers: Max Born, Antonio Campos, Sean Durkin, Melody Roscher, Eric Schultz
Manos Sucias Director: Josef Kubota Wladyka
Producers: Elena Greenlee, Márcia Nunes
Mediterranea Director: Jonas Carpignano
Producers: Jason Michael Berman, Chris Columbus, Jon Coplon, Christoph Daniel, Andrew Kortschak, John Lesher, Ryan Lough, Justin Nappi, Alain Peyrollaz, Gwyn Sannia, Marc Schmidheiny, Victor Shapiro, Ryan Zacarias
Songs My Brothers Taught Me Director/Producer: Chloé Zhao
Producers: Mollye Asher, Nina Yang Bongiovi, Angela C. Lee, Forest Whitaker
Best First Screenplay Jesse Andrews, Me and Earl and the Dying Girl
Joseph Carpignano, Mediterranea
Emma Donoghue, Room
Marielle Heller, The Diary of a Teenage Girl John Magary, Russell Harbaugh, Myna Joseph, The Mend
Best Male Lead Christopher Abbott, James White
Abraham Attah, Beasts of No Nation
Ben Mendelsohn, Mississippi Grind
Jason Segel, The End of the Tour
Koudous Seihon, Mediterranea
Best Female Lead Cate Blanchett, Carol
Brie Larson, Room
Rooney Mara, Carol
Bel Powley, The Diary of A Teenage Girl
Kitana Kiki Rodriquez, Tangerine
Best Supporting Male Kevin Corrigan, Results
Paul Dano, Love & Mercy
Idris Elba, Beasts of No Nation
Richard Jenkins, Bone Tomahawk
Michael Shannon, 99 Homes
Best Supporting Female Robin Bartlett, H.
Marin Ireland, Glass Chin
Jennifer Jason Leigh, Anomalisa
Cynthia Nixon, James White
Mya Taylor, Tangerine
Best Documentary (T)error Directors/Producers: Lyric R. Cabral & David Felix Sutcliffe
Producer: Christopher St. John Best of Enemies Directors/Producers: Robert Gordon and Morgan Neville
Heart of Dog Director/Producer: Laurie Anderson
Producer: Dan Janvey
In celebration of Halloween, we’re rerunning our essay on Rosemary’s Baby, one of the most haunting and wonderful films of all time. Take a read below and check out what other terrifying features you should be watching tonight.
“But I love him, Bob. I love him. I’m going to have to quit,” Mia Farrow said helplessly after her husband, Frank Sinatra, told her that if she was not done shooting Rosemary’s Baby by mid-February that he would divorce her. She was set to star alongside him in The Detective and Sinatra refused to delay his shoot date simply because Roman Polanski’s perfectionist obsessions were pushing Mia’s shooting schedule further and further back.
“If you walk out in the middle of my film, you’ll never work again,” crooned producer Robert Evans. Now in hysterics, Mia continued to cry, “I don’t care, I don’t care. I just love Frank.” So to quell her sobbing, Evans brought Mia into his executive screening room and showed her an hour of Rosemary’s Baby cut together. “I never thought you had it in you. It’s as good, no, even better than Audrey Hepburn’s performance in Wait Until Dark. You’re a shoo-in for an Academy Award.” Yes, the world is an entirely different place when love is involved, but the world is also a very solipsistic place when satisfaction of the ego is in full view. Devotion tends to evaporate when you realize the person you love the most stands in the way of finally achieving something great. And when the lights when dark, Mia’s pleas of, “I don’t care,” turned into Rosemary Woodhouse’s “All of them witches.” She didn’t hit the road and run of—just as swiftly as she made her decision, she was served divorce papers by Sinatra’s lawyer on the set. And that, according to the notorious Evans, is how this kid stayed in the picture.
The studio heads at Paramount wanted William Castle, a veteran director, to helm the film but Evans wanted Roman Polanski—bad. He knew that the young Polish director, who had made Repulsion, Knife in the Water, and The Fearless Vampire Killers had just worked with Marty Ransohoff, someone whom Evans says, “whatever he liked, I hated, and vice versa. When I heard Marty ranting all over town about what a no-talent Polanski was, I knew Roman was the man for me.” Knowing that Polanski was an avid skier, Evans lured him over to his house with the enticement of directing Downhill Racer. “He looked at the titles of the books on my shelves. Within five minutes he was acting out crazy stories—somewhere between Shakespeare and theater of the absurd,” recalls Evans. Eventually he told Polanski that Downhill Racer was out the cards, the director’s seat had already been filled, but if he read this book by Ira Levin and liked it, his next ski trip could be billed to Evans himself. And so thus their working relationship began and Levin’s 1966 novel, Rosemary’s Baby, was set for a screen adaptation. The two got along famously, although things weren’t always easy—but what good ever comes from easy? “Fighting is healthy. If everyone has too much reverence for each other, or for the material, results are invariably underwhelming. It’s irreverence that makes things sizzle. It’s irreverence that gives you that shot at touching magic,” says Evans.
When it came to casting the film, Farrow had been Evans’s number one choice for the leading role of Rosemary Woodhouse, a naive and loving housewife who becomes trapped in a haze of paranoia and obsession once she begins to believe that a coven of witches is scheming to steal her unborn child for a human sacrifice. Polanski worried that the “ethereal quality” she possessed wouldn’t translate onto the screen, but at the end of the day Evans won the battle and 45 years later, it’s still impossible to imagine anyone else fitting the role with such a haunting presence. And for the part of her husband, Guy Woodhouse, a narcissistic actor who sells his unborn child to the devil in exchange for personal fortune, Polanski had his eye on Robert Redford. But he was taken. Naturally, Warren Beatty was upset that Evans never bothered to offer him the role, to which Evans responded, “It’s yours Warren, but you’re not right for Rosemary’s Baby unless you play it in drag.” Eventually they went with a young actor by the name of John Cassavetes who had recently starred in The Dirty Dozen. At the time, this was hardly ideal casting, but when you watch the film now with all the knowledge of Cassavetes’ maniacal demeanor and volatility matched with an endearing charm the role of Guy only makes complete sense—someone that Rosemary loves so deeply yet is so blind to.
Rosemary and Guy are a young couple who have moved into a large new apartment in the Bramford, an antiquated (and supposedly haunted) New York City apartment building. They quickly become friends with their elderly neighbors, Roman and Minnie Castevet, who are a bit eccentric and nosey, but who at first pose no danger. The Castevets invite the Woodhouses to dinner at their home and the two couples begin to spend a lot of time together—particularly Guy, acting as if they serve as a parental figure missing from his life. When Rosemary becomes pregnant, Guy and the Castevets insist that she begin to see an obstetrician, Dr. Sapirstein (also the name of Polanski’s dog), who tells Rosemary that rather than taking the usual prenatal vitamins, Minnie will make her a special herbal drink to have everyday to aid in the baby’s health. Over the first few months of her pregnancy, Rosemary suffers from extreme abdominal pain, which the doctor tells her will “go away on its own.” She begins to loose weight and her complexion pales as she craves raw meat and chicken liver—to her own disgust. She senses something is wrong and doesn’t want to lose the baby. Meanwhile, Guy’s career is on the rise since his understudy role turned into a lead when the main actor inexplicably goes blind.
Rosemary consults her old friend Hutch about her feelings of unease, and he is disturbed when he hears that her drinks from Minnie have been containing tannis root; he tells Rosemary he is going to look into what she has been consuming. A few weeks later, Hutch mysteriously falls into a coma only to regain consciousness right before his death to leave her a book about witchcraft. When Rosemary attends his funeral, she receives the book along with a cryptic message: “The name is an anagram.” She eventually realizes that Roman Castevet is actually the son of a former resident of the Bramford who was accused of worshipping Satan. This leads her to realize that her neighbors must be part of a coven of witches out for her baby and that Guy is cooperating with them in exchange for help in his career. From there, Rosemary spirals into a web of paranoia and doors with no exit. She’s trapped from that moment on, only to realize everyone in her world has sinister intentions and there’s nowhere to turn.
What works so incredibly well about Polanski’s adaptation of Levin’s book is how it avoids the pratfalls of the typical “horror” or “suspense” genre. It’s a brooding, anxious psychological horror-thriller that’s more of a slow breathing on your neck or a chilled hand grazing your spine rather than a swift jab at fright. The danger of the film is of another world: of the Devil; it’s beyond our mortal grasp and is therefore compelling in that it leaves us unable to know where to run. It’s not only frightening because of the outside powers that be, but speaks to the fear of one’s own mind. The Castevets, Dr. Sapirstein, and Guy all lead Rosemary to believe she’s the crazy one, and she is therefore trapped in a disassociated bewilderment at what reality really is. Her pregnancy also leaves her a vulnerable target for blame, allowing Rosemary to fall prey to their satanic demands.
Polanski gives us plenty of information early on in the film, and his attention to detail allows us to get to know the characters well from the very beginning; the slow reveal of their idiosyncrasies and personal details only heighten the suspense and make their later changes even more poignant. The horror in the film comes from the normalcy of it all. Rosemary’s live goes on as usual as this thing grows inside her. This sense of waiting creates an anxiety and therefore echoes Rosemary’s growing sense of paranoia. Polanski uses interior space and blocking to create a sense of claustrophobia. The Woodhouses’ apartment, which once seemed huge and open, now feels like a confined trap that Rosemary is locked in.
But one of the most important and most chilling scenes in the film comes in the form of Rosemary’s dream. The Castevetes have drugged her with a mousse dessert and, as she falls into a slumber, a dream sequence begins that is disturbingly realistic. The sequence hops from one moment to the next, inviting in fear and sexuality from the most unlikely of sources. Voices penetrate the dream as in life they are wont to do; this is not your typical haze-lit daydream. The dream’s bizarre world that moves from a boat, where Rosemary is being publicly undressed, to scaffolding where she lies under Michelangelo’s ceiling of the Sistine Chapel, is like a surrealist manifestation of her subconscious desires and anxieties. Naked figures surround her as a creature of some kind begins to claw at her flesh and rape her. Rosemary yells, “This is no dream, this is really happening!” The voices she hears in her dream mirror the reality of what is consciously happening in waking life, as Guy impregnates her, giving us two worlds that Rosemary is inhabiting—both evil. She is stuck in the nightmare, but would reality be any better?
The pay off at the end of the film, no matter how frightening, is that it’s finally a confirmation for Rosemary that she is not insane, that all the events she has experience actually happened. It’s a successful film because it wraps you around its crooked finger, never letting you know for sure just what to believe, and therefore consuming you in the fears that Rosemary faces. Mia Farrow’s face works as a wonderful blank canvas to project your fears onto as we see the once vibrant and beautiful mother-to-be wither away and succumb to her paranoia. We never see the demonic newborn, only the look of pure, unfettered horror on Farrow’s face. It’s a choice that at first feels like a tease, but then you realize that the act of not seeing is even worse—the imagination can make of it what they may.
In an afterword to the 2003 New American Library edition of Levin’s novel, he said, “Lately, I’ve had a new worry. The success of Rosemary’s Baby inspired Exorcists and Omens and lots of et ceteras. Two generations of youngsters have grown to adulthood watching depictions of Satan as a living reality. Here’s what I worry about now: if I hadn’t pursued an idea for a suspense novel almost forty years ago, would there be quite as many religious fundamentalists around today?” Let’s chew on some tannis root about that one for a while.
This morning, the 2015 Gotham Awardsnominations were announced and the nominees look to highlight a potpourri of some the year’s most beloved films from both renowned directors like Todd Haynes (Carol) and brilliant filmmakers on the rise like John Magary (The Mend). The ceremony will be held on November 30 at Cipriani Wallstreet with tributes to celebrated artists Robert Redford, Helen Mirren. and Haynes. Check out the full nominees list below.
Carol— Todd Haynes, director; Elizabeth Karlsen, Tessa Ross, Christine Vachon, Stephen Woolley, producers (The Weinstein Company)
The Diary of a Teenage Girl— Marielle Heller, director; Anne Carey, Bert Hamelinck, Madeline Samit, Miranda Bailey, producers (Sony Pictures Classics)
Heaven Knows What—Josh and Benny Safdie, directors; Oscar Boyson, Sebastian Bear-McClard, producers (RADiUS)
+ read our interview with Safdie brothers here
Spotlight—Tom McCarthy, director; Michael Sugar, Steve Golin, Nicole Rocklin, Blye Pagan Faust, producers (Open Road Films)
Tangerine—Sean Baker, director; Darren Dean, Shih-Ching Tsou, Marcus Cox & Karrie Cox, producers (Magnolia Pictures)
+read our interview with Baker here
Approaching the Elephant—Amanda Rose Wilder, director; Jay Craven, Robert Greene, Amanda Rose Wilder, producers (Kingdom County Productions)
+ read our interview with Wilder here
Cartel Land—Matthew Heineman, director; Matthew Heineman, Tom Yellin, producers (The Orchard and A&E IndieFilms
Heart of a Dog—Laurie Anderson, director; Dan Janvey, Laurie Anderson, producers (Abramorama and HBO Documentary Films)
Listen to Me Marlon—Stevan Riley, director; John Battsek, RJ Cutler, George Chignell, producers (Showtime Documentary Films)
The Look of Silence—Joshua Oppenheimer, director; Signe Byrge Sørensen, producer (Drafthouse Films)
+ read our interview with Oppenheimer here
Bingham Ray Breakthrough Director Award
Desiree Akhavan for Appropriate Behavior (Gravitas Ventures)
+ read our interview with Akhavan here
Jonas Carpigano for Mediterranea (Sundance Selects)
Marielle Heller for The Diary of a Teenage Girl (Sony Pictures Classics)
John Magary for The Mend (Cinelicious Pics)
+ read our interview with Magary here
Josh Mond for James White (The Film Arcade)
Carol, Phyllis Nagy (The Weinstein Company)
The Diary of a Teenage Girl, Marielle Heller (Sony Pictures Classics)
Love & Mercy, Oren Moverman and Michael Alan Lerner (Roadside Attractions, Lionsgate, and River Road Entertainment)
Spotlight, Tom McCarthy and Josh Singer (Open Road Films)
While We’re Young, Noah Baumbach (A24)
Christopher Abbott in James White (The Film Arcade)
Kevin Corrigan in Results (Magnolia Pictures)
+ read our interview with Corrigan here
Paul Dano in Love & Mercy (Roadside Attractions, Lionsgate, and River Road Entertainment)
Peter Sarsgaard in Experimenter (Magnolia Pictures)
Michael Shannon in 99 Homes (Broad Green Pictures)
Cate Blanchett in Carol (The Weinstein Company)
Blythe Danner in I’ll See You in My Dreams (Bleecker Street)
Brie Larson in Room (A24 Films)
Bel Powley in The Diary of a Teenage Girl (Sony Pictures Classics)
Lily Tomlin in Grandma (Sony Pictures Classics)
Kristen Wiig in Welcome to Me (Alchemy)
Rory Culkin in Gabriel (Oscilloscope Laboratories)
Arielle Holmes in Heaven Knows What (RADiUS)
Lola Kirke in Mistress America (Fox Searchlight Pictures)
+ read our interview with Kirke here
Kitana Kiki Rodriguez in Tangerine (Magnolia Pictures)
Watching a Wong Kar-wai film can be an overwhelming experience. Of course there’s the technical mastery and his beautiful storytelling, but there’s also an atmosphere he creates—a tone and texture that weighs heavy on his films and hits directly in the heart. Between the brilliant actors like Tony Leung, Faye Wong, and Maggie Cheung that populate his films, the incomparable skill for soundtracking his films, and the signature and striking cinematography throughout his oeuvre, there’s so much to love and so much emotion to be experienced with each of his films. Whether it’s his early features like Happy Together and Fallen Angels, or his classic duo In the Mood for Love and 2046, the existential romantic yearnings, desires, and the thwarted passion evoked from his work occupy the same internal space, residing in the warmest corners of your heart, filling you with an inevitable sense of sorrow but also an ineffable joy and pleasure in the arduous nature of excruciating love.
As today marks the director’s 57th birthday, let’s take a look back on some of his most cinematically brilliant, emotional, brutal, and stunning moments.
What makes a film feels distinctly of one season? It has little to do with the period of the year in which it is set, and much more to do with the tone and texture of the picture, making it tethered to a certain season psyche. The hazy, languid days of summer call for warm-hues, soft focus, and a more sensuous kind of film—one that both sparks our excited and wanderlust, but also allows us to wallow in a particular dreamy air of melancholy and nostalgia.
When it comes to films that have their debuts this summer, it’s a mixed bag of large Hollywood films and indie gems. This summer we’ll see films like Noah Baumbach’s Mistress America, Xavier Dolan’s Tom at the Farm, James Ponsoldt’s The End of the Tour, but if you’re looking for something out of time, something that feels distinctly in tune with the season—look no further.
Just as movies like Bad Timing and A Clockwork Orange are unmistakably winter films, we’ve put together a list of films that possess something that mirrors that seasonal affect of summer—from the tragically romantic and the existentially wandering, to the desperately delirious and the youthfully charged. So here’s your alternate list of summer movies to watch over the next two months. Enjoy.
Although I usually tend to disfavor remaking a film within less than a year of the original’s release, it’s hard not to get on board with a new project for Julia Louis-Dreyfus. And hot off its international success, Ruben Östlund’s familial psychodrama, Force Majeure is now getting an American reworking, thanks to Fox Searchlight who’ve just picked up the rights to the film. Dreyfus is currently in talks to star and possibly produce the film, which tells the story of:
…a week in the life of a model Swedish family on a picture-perfect vacation who find themselves in disarray after a sudden avalanche occurs while dining at a mountain-side restaurant. We witness the moment when the awed crowd of patrons goes from admiring the majesty of nature to total panic, and in those brief moments, when Ebba’s responds by protecting her children, Tomas takes his phone and flees the scene. And although no one is physically hurt, the psychological lacerations cut deep, as their differing survival instincts cause a rift in the marriage and bring to the surface a world of questions about responsibility, loyalty, and the gender roles of marriage.
We’ll be keeping a close eye on this one as more details emerge, but in the meantime, check out our interview with Östlund HERE and watch Force Majeure on Netflix Instant now.
Every Monday I find myself whispering that old Beckett adage into the morning air: I can’t go on / I’ll go on. As I settle into the week’s work, and no matter how thrilling the day’s prospects, it’s that beginning of the week existential stomach ache that always seemed to start gnawing away at my insides. But breathe, just breathe, the hours will pass themselves and soon it will all be easier and the weekend will come again—one that’s rife with fantastic films playing in theaters all around the city. But in the meantime, look forward to the evening, when a wealth of wonderful films will be at your fingertips.
With so many great movies streaming online, what better way to spend a cold March night than curled up beneath the sheets with some of the best rare and incredible cinema from the comfort of home? But with myriad options streaming, I understand the decision of what to screen in your private bedroom viewing can prove a challenge. So to make your troubles easier, this week we’ve highlighted some of our favorite science fiction movies to watch without leaving bed. From confounding classics like Rainer Werner Fassbinder’s World on a Wire to modern wonders such as Shane Carruth’s Upstream Color, get cozy and enjoy.
With the 87th Academy Awards commencing this Sunday, we’re reminded that artistic merit does not always mean taking home a gold statue. Simply because a film wins the award of Hollywood’s elite, does not be that it creatively surpasses its contemporaries. And just because a film goes unrecognized by the Academy, the lack of appreciation in that regard says little to what it deserves. This year, director Ava DuVernay went sans nomination for Selma, but over the course of cinematic history, few categories have caused as much of a stir as Best Director. From Stanley Kubrick and Wim Wenders to Ingmar Bergman and David Lynch, some of the last century’s most brilliant artists have failed to move past a nomination, if even given that—which, of course, speaks namely to the politics of Hollywood and not to their respective genius. So, to get you thinking about who will find themselves with arms full of gold on Sunday, here are some of film’s most beloved and talented directors who’ve never garnered the coveted Academy Award for Best Director.
Cinematic Obsessions: CasualVoyeurism, Everyday Detectives, Seedy Underbelly’s Lurking Behind Pleasant Facades, What’s Hiding Behind the Red Curtains, Flesh on Flesh, 1950s Music and Ephemera, Psycho-Erotic Discomfort, Multiple Personalities, Saccharine Indulgences, Trout, Coffee, The Mysteries of Love, The Secret of Night Best Director Nominations:Mulholland Drive, Blue Velvet, Elephant Man Best Films: Mulholland Drive, Blue Velvet, Wild at Heart
Cinematic Obsessions: Man versus Technology, Man versus Himself, The Theatrics of Violence, Psychological Journeys Through the Use of Color, Meticulous Planning and Shooting, Psychosexual Aggression Best Director: Barry Lyndon, A Clockwork Orange, Dr. Strangelove or: How Learned to Stop Worrying and Love the Bomb, 2001: A Space Odyssey Best Films: A Clockwork Orange, Dr. Strangelove or: How Learned to Stop Worrying and Love the Bomb, Eyes Wide Shut, The Shining
Cinematic Obsessions: Dramatic Musical Cues, Languid and Beauitful Slow-Motion Shots, Wresting Weary Heads on Shoulders in the Back of Taxis, Endless Romantic Yearning, Food, Lonesome Cigarette Smoking, Deep and Impressionist Use of Color, The Torture of Love, Heartbreaking Matters of Timing Best Director Nominations: None Best Films: In the Mood for Love, Chungking Express, 2046
Cinematic Obsessions: The Great American West, Existential Romantic Longing, The Barriers of Human Connection, Transient Spaces, Child/Parent Dynamics, The Psycholoigcal Effects of Neon, Spirituality and a Nostalgic Longing for an Absent Something, Emotional Isolation Best Director Nominations: None Best Films:Paris, Texas, Wings of Desire, Alice in the Cities, Pina
Cinematic Obsessions: Exposed Realism, Psycho-Dramatic Character Studies, New York City Streets, Manicly Delivered Male Monologues, Exposure of Social/Societial Injustice/Disorder Best Director Nominations:The Verdict, Network, Dog Day Afternoon, 12 Angry Men Best Films: Dog Day Afternoon, Network, Serpico, 12 Angry Men
Cinematic Obsessions: Existential Questioning of Faith and Mortality, Female Sexuality and Desire, Looming Presence of Death, Moral Quandries and Crisis, Psychological Horror Best Director Nominations: Fanny and Alexander, Autumn Sonata, Face to Face, Cries & Whispers, Through a Glass Darkly, Wild Strawberries Best Films: Persona, The Seventh Seal, Wild Strawberries, Cries & Whispers, Scenes from a Marriage, Winter Light
Cinematic obsessions: Wheat fields Gently Blowing in the Wind at Magic Hour, Sweeping Philosophical Voiceovers, The Confounding Nature of Existence, The Evils of Man, The Divine Presence in Everyday Life, Examining Humility and Grace Through Love, Man’s Existence with Nature Through Time, Redemption and Forgiveness Best Director Nominations: The Tree of Life, The Thin Red Line Best Films: Days of Heaven, Badlands, The Tree of Life
Cinematic Obsessions: Rotating Character Studies, Emphasis of Atmosphere and Personalities Over Narrative Structure, Improvisation of Script, Multiple Plotlines, Intersection of Worlds, Music as a Driving Force Best Director Nominations:Gosford Park, Short Cuts, Nashville, MASH, The Player Best Films: 3 Women, The Long Goodbye, Nashville, McCabe & Mrs. Miller, MASH, Gosford Park
Cinematic Obsessions: The Psyche of Men, Matters of the Heart, The Struggle and Pain of Human Relationships, Alcohol, Volatility of Emotion, Expression of the Artistic Self, Characterization, Raw Performance, Love Best Director Nominations:A Woman Under the Influence Best Films: A Woman Under the Influence, Opening Night, Faces, The Killing of a Chinese Bookie
Cinematic Obsessions: Surrealist Imagery, Exposure of Cinematic Experimentation, Bourgeois Dinner Parties That Never Go As Planned, Satiristic Comedies of Fantasy, Criticism of Morals and Religion, Mocking of the Church, Nonsynchronous Music Nominations for Best Director:The Obscure Object of Desire, The Discreet Charm of the Boregeoisie Best Films: The Exterminating Angel, The Discreet Charm of the Bourgeois, Un Chien Andalou, Belle Du Jour
Cinematic obsessions: The Audience as a Voyeur, The Charms of Sociopathy, A Little Murder After Supper, Mommy Complexes, The Relationship Between Sex and Death Nominations for Best Director:Psycho, Rear Window, Spellbound, Lifeboat, Rebecca Best Films: Spellbound, Vertigo, North by Northwest, Rebecca, Psycho