Monthly Archives: February 2021

Film Review: Malcolm & Marie (dir by Sam Levinson)

Posted on by Lisa Marie Bowman

Eh, Malcolm & Marie.  

John David Washington is Malcolm, a director who has been called the next Spike Lee though he would rather be known as the next William Wyler.

Zendaya is Marie, an actress and former drug addict who is Malcolm’s girlfriend and the inspiration for his latest film.

Malcom & Marie is the first Hollywood production to be filmed during the COVID-19 lockdowns.  It was shot largely in secret and the announcement that it even existed took many people by surprise.  This is pandemic filmmaking: a small cast working with a small crew in one location and it’s all stagey as Hell.

Indeed, Malcolm & Marie feels like an interminable play and one can easily imagine future acting students performing the film’s monologues on dingy stages in low-lit classrooms.  That it’s a talky film is, I guess, unavoidable.  When you’ve only got two characters and no one’s trying to rob a bank or kill the Avengers, there’s not really much to do other than to talk.  To be honest, this is the type of film that some of us have spent the past few years repeatedly asking for: it attempts to deal with big issues, it features two characters with their own separate ways of looking at the world, and it debates all the issues of art and commerce. There’s no explosions.  There’s no CGI.  There’s not post-credits scene designed to get us to spend money to see a sequel.  When we asked for a film like this, did we realize that the end result would be so monotonous and boring?  The obvious answer is that we didn’t but a part of me wonders if there’s not a certain group of critics who look at a film like Malcolm & Marie and think to themselves, “It’s so dull that it has to be good!  It’s either that or else we admit that we just wasted two hours of our life in the middle of a pandemic.”

(Seriously, everyone — life is short and you only get so many hours.  You don’t get those hours back, either.  Two hours may not seem like a lot but when you’ve only got 168 hours to live, those wasted hours start to add up.)

The film open with Malcolm and Marie returning from the premiere of his latest film.  Malcolm is excited because the premiere went well.  Marie is upset because Malcolm failed to thank her when he gave his post-film speech.  (Of course, there’s more to her anger than that.)  Malcolm and Marie bicker and then they laugh and then they go back to arguing again.  They start to make love several times, just to stop as one of them inevitably brings up what happened at the premiere.  Malcolm spends a lot of time complaining about the critics and how they insist on trying to categorize him as being solely a black filmmaker or a political filmmaker or a male filmmaker when he just wants to be known as a great filmmaker.  Malcolm compares himself to William Wyler and George Cukor.  Marie continually calls him out for being so full of himself, perhaps because she knows that neither Wyler nor Cukor would have allowed Malcolm to indulge in so many endless rants.  One especially gets the feeling that William Wyler, who directed The Best of Years Of Our Lives and who risked his life filming World War II, would have told Malcolm to get a grip.

Watching the film, one gets the feeling that the entire production is basically just a two-hour therapy session for director Sam Levinson.  When Malcolm vents about the critics, Sam Levinson is venting about the critics.  When Marie calls out Malcolm and talks about how selfish he is, it comes across as Levinson saying, “See, I’m actually a lot more self-aware than you realize!”  And when Marie stays with Malcolm despite the fact that he’s a pompous blowhard, it comes across as Levinson letting us know that he’s decided that he’s worth the trouble.

And really, that’s fine.  Insecurity can be a painful thing and it’s something that everyone has to deal with.  Far too often, people assume that just because you’re attractive or you’ve got a lot of money or you’ve found success in your field, that means you magically no longer have to deal with any self-doubt.  In fact, the opposite is true.  The more attractive you are and the more successful you are and the more honest you are about both your strengths and your weaknesses, the more time you spend wondering if people like you or if they just like being associated with you.  To paraphrase a frequently heard saying, with great talent comes great insecurity.  So, I certainly don’t blame the film’s director for spending the pandemic putting together a two-hour therapy session.  But that still doesn’t make the film particularly interesting to watch.

Even though Sam Levinson’s keeps the camera moving, Malcolm & Marie ultimately feels more theatrical than cinematic.  For all the yelling and the anger and the failed attempts at sex, it’s just a bit dull.  Far too many scenes are both overwritten and, in Washington’s case, overacted.  John David Washington never convinces us that Malcolm is worth all of the trouble.  When he’s supposed to be compelling, he just comes across as being a blowhard.  Zendaya, on the other hand, proves herself to be a major talent by giving a compelling performance even in this mess of a film.  Even when her dialogue is awkward, Zendaya manages to find some sort of emotional truth in her character.  She’s relatable and, as opposed to Washington, she makes Marie’s complaints into something universal.  We can understand her frustration and her anger because, in our own individual ways, we’ve all been there.  We all know what it’s like to be underappreciated.  We all know what it’s like to wonder where we fit in.  Of course, it also helps that both Zendaya and the viewer spend the majority of the movie annoyed with Malcolm.

Malcolm & Marie is essentially a two-hour argument and watching it is about as much fun as …. well, listening to two people argue for two hours.  Zendaya proves her talent but otherwise, this is one private discussion that need not be heard by the public.

Artwork of the Day: Smashing Detective Stories (Artist Unknown)

Posted on by Dazzling Erin

Artist Unknown

This issue of Smashing Detective Stories is from 1952.  Unfortunately, the identity of the artist who did this cover is not known.

It’s love!  Or is it a prison break?  Or a chase through the swamps?  I’m impressed that anyone could keep their hair looking that good even after passing out in a swamp.  Is the man on the cover Mickey?  Is the passed out woman named Mayhem?  Perhaps only Richard Deming knows for sure.

 

Music Video of the Day: Guilty of Love by Whitesnake (1983, directed by Lindsey Clennell)

Posted on by Jedadiah Leland

David Coverdale is guilty of love!  I’m not sure how you can be guilty of something that isn’t a crime or even a bad thing but I’m sure David Coverdale could find a way.

Sorry, Tawny Kitaen is not in this video.  Instead, it’s just clips taken from a series of different Whitesnake shows.  A good deal of this video was filmed during a Monsters of Rock show.

This song was the first single to be released off of their sixth studio album, Slide It In.  One thing that no one will ever accuse Whitesnake of being is subtle.

It’s rocking song, though.

Enjoy!

Here Are The SAG Nominations!

Posted on by Lisa Marie Bowman

Here are the SAG nominations!  I’ll be post my thoughts under the noms because — let’s be honest, the noms are what you’re here for:

BEST ENSEMBLE
Da 5 Bloods
Ma Rainey’s Black Bottom
Minari
One Night In Miami
The Trial Of The Chicago 7

BEST LEAD ACTOR (FEMALE)
Amy Adams – Hillbilly Elegy
Viola Davis – Ma Rainey’s Black Bottom
Vanessa Kirby – Pieces Of A Woman
Frances McDormand – Nomadland
Carey Mulligan – Promising Young Woman

BEST LEAD ACTOR (MALE)
Riz Ahmed – Sound Of Metal
Chadwick Boseman – Ma Rainey’s Black Bottom
Anthony Hopkins – The Father
Gary Oldman – Mank
Steven Yeun – Minari

BEST SUPPORTING ACTOR (FEMALE)
Maria Bakalova – Borat Subsequent Moviefilm
Glenn Close – Hillbilly Elegy
Olivia Colman – The Father
Youn Yuh-Jung – Minari
Helena Zengel – News Of The World

BEST SUPPORTING ACTOR (MALE)
Sacha Baron Cohen – The Trial Of The Chicago 7
Chadwick Boseman – Da 5 Bloods
Daniel Kaluuya – Judas And The Black Messiah
Jared Leto – The Little Things
Leslie Odom Jr. – One Night In Miami

BEST STUNT ENSEMBLE
Da 5 Bloods
Mulan
News of the World
The Trial of the Chicago 7
Wonder Woman 1984

BEST ENSEMBLE IN A DRAMA SERIES
Better Call Saul
Bridgerton
The Crown
Lovecraft Country
Ozark

BEST ACTRESS IN A DRAMA SERIES
Gillian Anderson – The Crown
Olivia Colman – The Crown
Emma Corrin – The Crown
Julia Garner – Ozark
Laura Linney – Ozark

BEST ACTOR IN A DRAMA SERIES
Jason Bateman – Ozark
Sterling K. Brown – This Is Us
Josh O’Connor – The Crown
Bob Odenkirk – Better Call Saul
Regé-Jean Page – Bridgerton

BEST ENSEMBLE IN A COMEDY SERIES
Dead To Me
The Flight Attendant
The Great
Schitt’s Creek
Ted Lasso

BEST ACTOR IN A COMEDY SERIES
Nicholas Hoult – The Great
Daniel Levy – Schitt’s Creek
Eugene Levy – Schitt’s Creek
Jason Sudekis – Ted Lasso
Ramy Youseff – Ramy

BEST ACTRESS IN A COMEDY SERIES
Christina Applegate – Dead To Me
Linda Cardellini – Dead To Me
Kaley Cuoco – The Flight Attendant
Annie Murphy – Schitt’s Creek
Catherine O’Hara – Schitt’s Creek

BEST ACTOR IN A TV MOVIE/LIMITED SERIES
Bill Camp – The Queen’s Gambit
​Daveed Diggs – Hamilton
Hugh Grant – The Undoing
Ethan Hawke – The Good Lord Bird
Mark Ruffalo – I Know This Much Is True

BEST ACTRESS IN A TV MOVIE/LIMITED SERIES
Cate Blanchett – Mrs. America
Cole – I May Destroy You
Nicole Kidman – The Undoing
Anya Taylor-Joy – The Queen’s Gambit
Kerry Washington – Little Fires Everywhere

Okay, my thoughts:

I guess the big news is that the SAG appreciated Hillbilly Elegy a bit more than the critics.  Glenn Close picking up a supporting actress nom isn’t a huge shock but I do think a few people were a bit surprised to see Amy Adams nominated.  Personally, I think Amy Adams was okay in Hillbilly Elegy but I’ll be kind of disappointed if — after all the great performance she’s given — this is the one that she picks up an Oscar for.

We all kind of laughed off Jared Leto picking up that supporting nomination from the Golden Globes but the SAG nominated him as well!  Is this a sign of momentum or just a crazy coincidence?  Either way, this doesn’t bode well for the Oscar hopes of Sound of Metal‘s Paul Raci.  Raci’s picked up a lot of critical support but getting snubbed by both the Globes and SAG doesn’t seem like a good sign.

Speaking of signs, I’m going to assume that Sidney Flanigan’s Oscar hopes are pretty much gone.  Like Raci, she seems like she would have needed either a GG or a SAG nomination to really break through.

Amanda Seyfried was not nominated.  That took me by surprise but it didn’t upset me as much as Raci getting snubbed, largely because I like Sound of Metal considerably more than Mank.

I think Spike Lee’s Da 5 Bloods is the overrated film of 2020 but you still have to wonder how the film could pick up a Best Ensemble nomination without also getting best actor nomination for Delroy Lindo.  Lindo was also snubbed by the Globes so again, the prospect of him getting nominated for an Oscar no longer seems like a sure thing.

Good news for Steven Yeun!  Some people were writing him off after he didn’t get a Golden Globe nomination but the SAG nomination puts him right back into the hunt.

Finally, the SAG is one of the best precursors regarding what films and performances will actually receive Oscar nominations.  So, whether or not I or anyone else agrees with all of the nominations, the nominees have to be feeling very happy right now.  Best of luck to them all!

Artwork of the Day: Like Ice She Was (by Raymond Johnson)

Posted on by Dazzling Erin

by Raymond Johnson

Like Ice She Was was first published in 1960.  Unfortunately, writer William Ard died of cancer shortly after writing this book.  He was only 37 years old.  This was one of the many books that Ard wrote about hard-boiled private detective Lou Largo.  After he died, a few more Largo books were ghost-written by authors like Lawrence Block and John Jakes.  You can read more about William Ard at this tribute site.  And you can read a review (albeit a negative one) of this novel at this site.

As for the cover, the combination of the gun, the cigarette, the red bikini, and the high-wasted pants that compliment the confused expression on her fella’s face make this a pulp classic.  This cover was done by Raymond Johnson, whose work has been featured many times on this site.

Music Video Of the Day: Gone Daddy Gone by Violent Femmes (1983, directed by Doug Martin and Steve Martin)

Posted on by Jedadiah Leland

I will be the first to admit that I was hoping that it would turn out that this video was directed by that Steve Martin.  But no, the directors of this video were twin brothers Douglas Brian Martin and Steven M. Martin.  Along with a few acting appearances (they played “angry twins” in Fast Times At Ridgemont High), Steve Martin is credited with directed the documentary Theremin: An Electronic Odyssey in 1993.

According to the imdb, Doug Martin ” (d)irected the following music videos: “Murder, Mystery & Mayhem (1981)” for Peter Ivers “No Smoking (1982)” for John Waters “Shock Value (1982)” for John Waters “I Predict (1982)” for Sparks “Get Up And Go (1982)” for The Go-Go’s “Gone Daddy Gone (1983)” for Violent Femmes “Barefoot Rock (1983)” for The Blasters “One Red Rose (1983)” for The Blasters “The Cutting Edge (1983)” for MTV “Christian Girls Problems (1983)” for The Gleaming Spires “Head Over Heels (1983)” for The Go-Go’s “Sound Of The Rain (1984)” for Rank & File “Livin’ A Little, Laughin’ A Little (1985)” for John Hiatt/Elvis Costello “When Angels Kiss (1985)” for Gary Myrick “Stick Around (1985)” for Julian Lennon “Lips To Find You (1986)” for Teena Marie “Situation #9 (1986)” for Club Nouveau.”

This song features not one but two xylophone solos.

Enjoy!

Here Are The 78th Annual Golden Globe Nominations!

Posted on by Lisa Marie Bowman

I’m totally turned off by the self-importance of the Golden Globes and I resent every time that I have to write about them.

That said, despite the fact that no one is quite sure who actually votes for the damn things and stories of corruption in the Hollywood Foreign Press Association have been rampant for years, the Golden Globes have still emerged as one of the main Oscar precursors.  So, you kind of have to pay attention to them.  Bleh.

There really aren’t any huge shocks in the list of nominees below, with the exception of maybe Jared Leto for Best Supporting Actor and James Corden’s Prom nomination.  I mean, if you’re that determined to nominate someone for The Prom, why would you go for James Corden as opposed to Meryl Streep?  That’s just odd.

Anyway, here are the nominations:

Best Motion Picture, Drama
“The Father”
“Mank”
“Nomadland”
“Promising Young Woman”
“The Trial of the Chicago 7”

Best Motion Picture, Musical or Comedy
“Borat Subsequent Moviefilm”
“Hamilton”
“Music”
“Palm Springs”
“The Prom”

Best Director, Motion Picture
Emerald Fennell, “Promising Young Woman”
David Fincher, “Mank”
Regina King, “One Night In Miami”
Aaron Sorkin, “The Trial of the Chicago 7”
Chloé Zhao, “Nomadland”

Best Performance by an Actress in a Motion Picture, Drama
Viola Davis, “Ma Rainey’s Black Bottom”
Andra Day, “The United States vs. Billie Holiday”
Vanessa Kirby, “Pieces of a Woman”
Frances McDormand, “Nomadland”
Carey Mulligan, “Promising Young Woman”

Best Performance by an Actress in a Motion Picture, Musical or Comedy
Maria Bakalova, “Borat Subsequent Moviefilm”
Kate Hudson, “Music”
Michelle Pfeiffer, “French Exit”
Rosamund Pike, “I Care a Lot”
Anya Taylor-Joy, “Emma”

Best Performance by an Actress in a Supporting Role in any Motion Picture
Glenn Close, “Hillbilly Elegy”
Olivia Colman, “The Father”
Jodie Foster, “The Mauritanian”
Amanda Seyfried, “Mank”
Helena Zengel, “News of the World”

Best Performance by an Actor in a Motion Picture, Drama
Riz Ahmed, “Sound of Metal”
Chadwick Boseman, “Ma Rainey’s Black Bottom”
Anthony Hopkins, “The Father”
Gary Oldman, “Mank”
Tahar Rahim, “The Mauritanian”

Best Performance by an Actor in a Motion Picture, Musical or Comedy
Sacha Baron Cohen, “Borat Subsequent Moviefilm”
James Corden, “The Prom”
Lin-Manuel Miranda, “Hamilton”
Dev Patel, “The Personal History of David Copperfield”
Andy Samberg, “Palm Springs”

Best Performance by an Actor in a Supporting Role in any Motion Picture
Sacha Baron Cohen, “The Trial of the Chicago 7”
Daniel Kaluuya, “Judas and the Black Messiah”
Jared Leto, “The Little Things”
Billy Murray, “On the Rocks”
Leslie Odom Jr., “One Night In Miami”

Best Screenplay, Motion Picture
Emerald Fennell, “Promising Young Woman”
Jack Fincher, “Mank”
Aaron Sorkin, “The Trial of the Chicago 7”
Florian Zeller and Christopher Hampton, “The Father”
Chloé Zhao, “Nomadland”

Best Original Score, Motion Picture
Alexandre Desplat, “The Midnight Sky”
Ludwig Göransson, “Tenet”
James Newton Howard, “News of the World”
Trent Reznor and Atticus Ross, “Mank”
Trent Reznor, Atticus Ross and Jon Batiste, “Soul”

Best Original Song, Motion Picture
“Fight For You,” Judas and the Black Messiah”
“Hear My Voice,” The Trial of the Chicago 7”
“Io Sì (Seen),” The Life Ahead”
“Speak Now,” One Night In Miami”
“Tigress & Tweed,” The United States Vs. Billie Holiday”

Best Motion Picture, Animated
“The Croods: A New Age”
“Onward”
“Over the Moon”
“Soul”
“Wolfwalkers”

Best Motion Picture, Foreign Language
“Another Round”
“La Llorona”
“The Life Ahead”
“Minari”
“Two Of Us”

Best Television Series, Drama
“The Crown”
“Lovecraft Country”
“The Mandalorian”
“Ozark”
“Ratched”

Best Television Series, Musical or Comedy
“Emily in Paris”
“The Flight Attendant”
“The Great”
“Schitt’s Creek”
“Ted Lasso”

Best Limited Series, Anthology Series or a Motion Picture made for Television
“Normal People”
“The Queen’s Gambit”
“Small Axe”
“The Undoing”
“Unorthodox”

Best Performance by an Actress in a Television Series, Drama
Olivia Colman, “The Crown”
Jodie Comer, “Killing Eve”
Emma Corrin, “The Crown”
Laura Linney, “Ozark”
Sarah Paulson, “Ratched”

Best Performance by an Actress in a Television Series, Musical or Comedy
Lily Collins, “Emily In Paris”
Kaley Cuoco, “The Flight Attendant”
Elle Fanning, “The Great”
Jane Levy, “Zoey’s Extraordinary Playlist”
Catherine O’Hara, “Schitt’s Creek”

Best Performance by an Actress in a Limited Series, Anthology Series or a Motion Picture Made for Television
Cate Blanchett, “Mrs. America”
Daisy Edgar Jones, “Normal People”
Shira Haas, “Unorthodox”
Nicole Kidman, “The Undoing”
Anya Taylor-Joy, “The Queen’s Gambit”

Best Performance by an Actress in a Television Supporting Role
Gillian Anderson, “The Crown”
Helena Bonham Carter, “The Crown”
Julia Garner, “Ozark”
Annie Murphy, “Schitt’s Creek”
Cynthia Nixon, “Ratched”

Best Performance by an Actor in a Television Series, Drama
Jason Bateman, “Ozark”
Josh O’Connor, “The Crown”
Bob Odenkirk, “Better Call Saul”
Al Pacino, “Hunters”
Matthew Rhys, “Perry Mason”

Best Performance by an Actor in a Television Series, Musical or Comedy
Don Cheadle, “Black Monday”
Nicholas Hoult, “The Great”
Eugene Levy, “Schitt’s Creek”
Jason Sudeikis, “Ted Lasso”
Ramy Youssef, “Ramy”

Best Performance by an Actor in a Limited Series or a Motion Picture Made for Television
Bryan Cranston, “Your Honor”
Jeff Daniels, “The Comey Rule”
Hugh Grant, “The Undoing”
Ethan Hawke, “The Good Lord Bird”
Mark Ruffalo, “I Know This Much is True”

Best Performance by an Actor in a Television Supporting Role
John Boyega, “Small Axe”
Brendan Gleeson, “The Comey Rule”
Daniel Levy, “Schitt’s Creek”
Jim Parsons, “Hollywood”
Donald Sutherland, “The Undoing”

Artwork of the Day: The Marriage Rite (by Walter Popp)

Posted on by Dazzling Erin

by Walter Popp

The Marriage Rite was first published in 1953 by Intimate Novels.  You can probably guess what type of books they published just by the name of their company.  Five years later, the art was reused for the cover of a novel called Wild Oats, which was published by Beacon.  I think The Marriage Rite is a better title than Wild Oats.

“Thou shalt not commit adultery!,” the cover reads, “But if a husband sins, should his wife follow suit?”  Was that the only option available?  The cover also says that this is “a novel of sham passions and triumphant love.”  What are sham passions?

I like the contrast between the swooning lovers and the shocked witness, who I am assuming is the wife.  Is he cheating at home or has his wife followed him to his secret love nest?  His mistress has good fashion sense, combining a green skirt and a red sash with a black top.

This cover was done by Walter Popp, who is one of my favorites.

Music Video of the Day: Guns for Hire by AC/DC (1983, directed by Paul Becher)

Posted on by Jedadiah Leland

One thing that you could always count on with AC/DC is that their music videos would be direct and to the point.  While other bands tried to come up with elaborate storylines or gimmicks for their videos, AC/DC was content to just rock.

Guns For Hire was the first single and video to be released off of their 1983 album, Flick of the Switch.  While the band was touring to support the album, Guns for Hire was the song that they opened with.  It’s also a song that they apparently stopped playing after the tour ended.  Though Flick of the Switch has its fans (and has been the subject of much positive reappraisal in recent years), it was a commercial disappointment when it was first released.  It was also during the recording of Flick of the Switch that drummer Phil Rudd left the band for the first time.  Malcolm Young later described the album as being a disappointment, saying that it was “thrown together real quick.”  Personally, I think Guns for Hire is a perfectly good AC/DC song but it’s understandable why the band may not have wanted to revisited the turmoil that was going on when it was recorded.

Because Phil Rudd either left the band or was fired during the recording of Flick of the Switch (it depends on who you ask), Guns For Hire was the first AC/DC music video to feature Simon Wright on drums.  Wright stayed with the band until 1989, when he left to join Dio.  He was replaced by Chris Slade, who was subsequently replaced in 1993 by …. Phil Rudd.  Time is a flat circle.

This video was directed by Paul Becher, who directed two other videos for AC/DC and one for Prince.

Enjoy!

 

Here Are The Winners From The 2021 Sundance Film Festival

Posted on by Lisa Marie Bowman

Sundance just kind of came and went this year, didn’t it?  Due to the pandemic, it was pretty much a virtual festival and it only lasted a week.  There were no celebrities posing for pictures.  There were no stories about people getting lost in the mountains of Colorado.  There was no interviews with a leathery Robert Redford pontificating about the importance of the type of indie films that could never afford to pay his salary.

Is Sundance about the films or is it about the celebrities?  This year, it was about the films and it never trended on twitter once.

That said, the prizes for this year’s Sundance Film Festival have been awarded and here they are!  Some of these films could be contenders at next year’s Oscars so read on:

(h/t to NextBestPicture)

GRAND JURY PRIZES
The U.S. Grand Jury Prize: Documentary was presented to: Ahmir “Questlove” Thompson, for Summer Of Soul (…Or, When The Revolution Could Not Be Televised)/ U.S.A. (Director: Ahmir “Questlove” Thompson, Producers: David Dinerstein, Robert Fyvolent, Joseph Patel) — During the same summer as Woodstock, over 300,000 people attended the Harlem Cultural Festival, celebrating African American music and culture, and promoting Black pride and unity. The footage from the festival sat in a basement, unseen for over 50 years, keeping this incredible event in America’s history lost – until now.

The U.S. Grand Jury Prize: Dramatic was presented to: Siân Heder, for CODA / U.S.A. (Director and Screenwriter: Siân Heder, Producers: Philippe Rousselet, Fabrice Gianfermi, Patrick Wachsberger) — As a CODA – Child of Deaf Adults – Ruby is the only hearing person in her deaf family. When the family’s fishing business is threatened, Ruby finds herself torn between pursuing her love of music and her fear of abandoning her parents. Cast: Emilia Jones, Eugenio Derbez, Troy Kotsur, Ferdia Walsh-Peelo, Daniel Durant, and Marlee Matlin.

The World Cinema Grand Jury Prize: Documentary was presented to: Jonas Poher Rasmussen, for Flee / Denmark, France, Sweden, Norway (Director: Jonas Poher Rasmussen, Producers: Monica Hellström, Signe Byrge Sørensen) — Amin arrived as an unaccompanied minor in Denmark from Afghanistan. Today, he is a successful academic and is getting married to his long-time boyfriend. A secret he has been hiding for 20 years threatens to ruin the life he has built.

The World Cinema Grand Jury Prize: Dramatic was presented to: Blerta Basholli, for Hive / Kosovo, Switzerland, Macedonia, Albania (Director and Screenwriter: Blerta Basholli, Producers: Yll Uka, Valon Bajgora, Agon Uka) — Fahrije’s husband has been missing since the war in Kosovo. She sets up her own small business to provide for her kids, but as she fights against a patriarchal society that does not support her, she faces a crucial decision: to wait for his return, or to continue to persevere. Cast: Yllka Gashi, Çun Lajçi, Aurita Agushi, Kumrije Hoxha, Adriana Matoshi, Kaona Sylejmani.

AUDIENCE AWARDS
The Audience Award: U.S. Documentary, Presented by Acura was presented to: Ahmir “Questlove” Thompson for Summer Of Soul (…Or, When The Revolution Could Not Be Televised) / U.S.A. (Director: Ahmir “Questlove” Thompson, Producers: David Dinerstein, Robert Fyvolent, Joseph Patel) — During the same summer as Woodstock, over 300,000 people attended the Harlem Cultural Festival, celebrating African American music and culture, and promoting Black pride and unity. The footage from the festival sat in a basement, unseen for over 50 years, keeping this incredible event in America’s history lost – until now.

The Audience Award: U.S. Dramatic, Presented by Acura was presented to: Siân Heder, for CODA / U.S.A. (Director and Screenwriter: Siân Heder, Producers: Philippe Rousselet, Fabrice Gianfermi, Patrick Wachsberger) — As a CODA – Child of Deaf Adults – Ruby is the only hearing person in her deaf family. When the family’s fishing business is threatened, Ruby finds herself torn between pursuing her love of music and her fear of abandoning her parents. Cast: Emilia Jones, Eugenio Derbez, Troy Kotsur, Ferdia Walsh-Peelo, Daniel Durant, and Marlee Matlin.

The Audience Award: World Cinema Dramatic was presented to: Blerta Basholli, for Hive / Kosovo, Switzerland, Macedonia, Albania (Director and Screenwriter: Blerta Basholli, Producers: Yll Uka, Valon Bajgora, Agon Uka) — Fahrije’s husband has been missing since the war in Kosovo. She sets up her own small business to provide for her kids, but as she fights against a patriarchal society that does not support her, she faces a crucial decision: to wait for his return, or to continue to persevere. Cast: Yllka Gashi, Çun Lajçi, Aurita Agushi, Kumrije Hoxha, Adriana Matoshi, Kaona Sylejmani.

The Audience Award: World Cinema Documentary was presented to: Rintu Thomas and Sushmit Ghosh, for Writing With Fire / India (Directors and Producers: Rintu Thomas, Sushmit Ghosh) — In a cluttered news landscape dominated by men, emerges India’s only newspaper run by Dalit women. Armed with smartphones, Chief Reporter Meera and her journalists break traditions on the frontlines of India’s biggest issues and within the confines of their own homes, redefining what it means to be powerful.

The Audience Award: NEXT, Presented by Adobe was presented to: Marion Hill, for Ma Belle, My Beauty / U.S.A., France (Director and Screenwriter: Marion Hill, Producers: Ben Matheny, Kelsey Scult, Marion Hill) — A surprise reunion in southern France reignites passions and jealousies between two women who were formerly polyamorous lovers. Cast: Idella Johnson, Hannah Pepper, Lucien Guignard, Sivan Noam Shimon.

DIRECTING, SCREENWRITING & EDITING AWARDS
The Directing Award: U.S. Documentary was presented to: Natalia Almada, for Users / U.S.A., Mexico (Director: Natalia Almada, Producers: Elizabeth Lodge Stepp, Josh Penn) — A mother wonders, will my children love their perfect machines more than they love me, their imperfect mother? She switches on a smart-crib lulling her crying baby to sleep. This perfect mother is everywhere. She watches over us, takes care of us. We listen to her. We trust her.

The Directing Award: U.S. Dramatic was presented to: Siân Heder, for CODA / U.S.A. (Director and Screenwriter: Siân Heder, Producers: Philippe Rousselet, Fabrice Gianfermi, Patrick Wachsberger) — As a CODA – Child of Deaf Adults – Ruby is the only hearing person in her deaf family. When the family’s fishing business is threatened, Ruby finds herself torn between pursuing her love of music and her fear of abandoning her parents. Cast: Emilia Jones, Eugenio Derbez, Troy Kotsur, Ferdia Walsh-Peelo, Daniel Durant, and Marlee Matlin.

The Directing Award: World Cinema Documentary was presented to: Hogir Hirori, for Sabaya / Sweden (Director and Screenwriter: Hogir Hirori, Producers: Antonio Russo Merenda, Hogir Hirori) — With just a mobile phone and a gun, Mahmud, Ziyad and their group risk their lives trying to save Yazidi women and girls being held by ISIS as Sabaya (abducted sex slaves) in the most dangerous camp in the Middle East, Al-Hol in Syria.

The Directing Award: World Cinema Dramatic was presented to: Blerta Basholli, for Hive / Kosovo, Switzerland, Macedonia, Albania (Director and Screenwriter: Blerta Basholli, Producers: Yll Uka, Valon Bajgora, Agon Uka) — Fahrije’s husband has been missing since the war in Kosovo. She sets up her own small business to provide for her kids, but as she fights against a patriarchal society that does not support her, she faces a crucial decision: to wait for his return, or to continue to persevere. Cast: Yllka Gashi, Çun Lajçi, Aurita Agushi, Kumrije Hoxha, Adriana Matoshi, Kaona Sylejmani.

The Waldo Salt Screenwriting Award: U.S. Dramatic was presented to: Ari Katcher and Ryan Welch, for On the Count of Three / U.S.A. (Director: Jerrod Carmichael, Screenwriters: Ari Katcher, Ryan Welch, Producers: David Carrico, Adam Paulsen, Tom Werner, Jake Densen, Ari Katcher, Jimmy Price) — Two guns. Two best friends. And a pact to end their lives when the day is done. Cast: Jerrod Carmichael, Christopher Abbott, Tiffany Haddish, J.B. Smoove, Lavell Crawford, Henry Winkler.

The Jonathan Oppenheim Editing Award: U.S. Documentary was presented to: editors Kristina Motwani and Rebecca Adorno, for Homeroom / U.S.A. (Director: Peter Nicks, Producers: Peter Nicks, Sean Havey) — Following the class of 2020 at Oakland High School in a year marked by seismic change, exploring the emotional world of teenagers coming of age against the backdrop of a rapidly changing world.

SPECIAL JURY AWARDS
A U.S. Dramatic Special Jury Award for Ensemble Cast was presented to: the cast of CODA, for CODA / U.S.A. (Director and Screenwriter: Siân Heder, Producers: Philippe Rousselet, Fabrice Gianfermi, Patrick Wachsberger) — As a CODA – Child of Deaf Adults – Ruby is the only hearing person in her deaf family. When the family’s fishing business is threatened, Ruby finds herself torn between pursuing her love of music and her fear of abandoning her parents. Cast: Emilia Jones, Eugenio Derbez, Troy Kotsur, Ferdia Walsh-Peelo, Daniel Durant, and Marlee Matlin.

A U.S. Dramatic Special Jury Award for Best Actor was presented to: Clifton Collins Jr., for Jockey / U.S.A. (Director: Clint Bentley, Screenwriters: Clint Bentley, Greg Kwedar, Producers: Clint Bentley, Greg Kwedar, Nancy Schafer) — An aging jockey is determined to win one last championship, but his dream is complicated when a young rookie shows up claiming to be his son. Cast: Clifton Collins Jr., Molly Parker, Moises Arias.

A U.S. Documentary Special Jury Award: Emerging Filmmaker was presented to: Parker Hill and Isabel Bethencourt, for Cusp / U.S.A. (Directors: Parker Hill, Isabel Bethencourt, Producers: Zachary Luke Kislevitz, Parker Hill, Isabel Bethencourt) — In a Texas military town, three teenage girls confront the dark corners of adolescence at the end of a fever dream summer.

A U.S. Documentary Special Jury Award: Nonfiction Experimentation was presented to: Theo Anthony, for All Light, Everywhere / U.S.A. (Director: Theo Anthony, Producers: Riel Roch-Decter, Sebastian Pardo, Jonna McKone) — An exploration of the shared histories of cameras, weapons, policing and justice. As surveillance technologies become a fixture in everyday life, the film interrogates the complexity of an objective point of view, probing the biases inherent in both human perception and the lens.

A World Cinema Documentary Special Jury Award: Vérité Filmmaking was presented to: Camilla Nielsson, for President / Denmark, U.S.A., Norway (Director: Camilla Nielsson, Producers: Signe Byrge Sørensen, Joslyn Barnes) — Zimbabwe is at a crossroads. The leader of the opposition MDC party, Nelson Chamisa, challenges the old guard ZANU-PF led by Emmerson Mnangagwa, known as “The Crocodile.” The election tests both the ruling party and the opposition – how do they interpret principles of democracy in discourse and in practice?

A World Cinema Documentary Special Jury Award: Impact for Change was presented to: Rintu Thomas and Sushmit Ghosh, for Writing With Fire / India (Directors and Producers: Rintu Thomas, Sushmit Ghosh) — In a cluttered news landscape dominated by men, emerges India’s only newspaper run by Dalit women. Armed with smartphones, Chief Reporter Meera and her journalists break traditions on the frontlines of India’s biggest issues and within the confines of their own homes, redefining what it means to be powerful.

A World Cinema Dramatic Special Jury Award: Acting was presented to: Jesmark Scicluna, for Luzzu / Malta (Director and Screenwriter: Alex Camilleri, Producers: Rebecca Anastasi, Ramin Bahrani, Alex Camilleri, Oliver Mallia) — Jesmark, a struggling fisherman on the island of Malta, is forced to turn his back on generations of tradition and risk everything by entering the world of black market fishing to provide for his girlfriend and newborn baby. Cast: Jesmark Scicluna, Michela Farrugia, David Scicluna.

A World Cinema Dramatic Special Jury Award: Creative Vision was presented to: Baz Poonpiriya, for One for the Road / China, Hong Kong, Thailand (Director: Baz Poonpiriya, Screenwriters: Baz Poonpiriya, Nottapon Boonprakob, Puangsoi Aksornsawang, Producer: Wong Kar Wai) — Boss is a consummate ladies’ man, a free spirit and a bar owner in NYC. One day, he gets a surprise call from Aood, an estranged friend who has returned home to Thailand. Dying of cancer, Aood enlists Boss’ help to complete a bucket list – but both are hiding something. Cast: Tor Thanapob, Ice Natara, Violette Wautier, Aokbab Chutimon, Ploi Horwang, Noon Siraphun. World Premiere

NEXT INNOVATOR PRIZE PRESENTED BY ADOBE
The NEXT Innovator Prize presented by Adobe was presented to: Dash Shaw, for Cryptozoo / U.S.A. (Director and Screenwriter: Dash Shaw, Producers: Kyle Martin, Jane Samborski, Bill Way, Tyler Davidson) — As cryptozookeepers struggle to capture a Baku (a legendary dream-eating hybrid creature) they begin to wonder if they should display these rare beasts in the confines of a cryptozoo, or if these mythical creatures should remain hidden and unknown. Cast: Lake Bell, Michael Cera, Angeliki Papoulia, Zoe Kazan, Peter Stormare, Grace Zabriskie.

SHORT FILM AWARDS PRESENTED BY SOUTHWEST AIRLINES®
Jury prizes for short filmmaking were awarded at the same ceremony. The Short Film Grand Jury Prize was awarded to Lizard / United Kingdom (Director: Akinola Davies, Jr., Screenwriter: The Davies Brothers).

The Short Film Jury Award: U.S. Fiction was awarded to The Touch of the Master’s Hand / U.S.A. (Director and Screenwriter: Gregory Barnes.

The Short Film Jury Award: International Fiction was awarded to Bambirak / U.S.A., Germany (Director and Screenwriter: Zamarin Wahdat).

The Short Film Jury Award: Nonfiction was awarded to Don’t Go Tellin’ Your Momma / U.S.A., Germany, France, Italy (Directors and Screenwriters: Topaz Jones, rubberband.).

The Short Film Jury Award: Animation was awarded to Souvenir Souvenir / France (Director and Screenwriter: Bastien Dubois). A Short Film Special Jury Award for Acting was presented to Wiggle Room / U.S.A. (Directors and Screenwriters: Sam Guest, Julia Baylis).

A Short Film Special Jury Award for Screenwriting was awarded to The Criminals / France, Romania, Turkey (Director and Screenwriter: Serhat Karaaslan).

EARLIER SUNDANCE FILM FESTIVAL AWARDS
The 2021 Alfred P. Sloan Feature Film Prize, presented to an outstanding feature film about science or technology, was presented to Sons of Monarchs. The filmmakers received a $20,000 cash award from Sundance Institute with support from the Alfred P. Sloan Foundation.

The Sundance Institute | Amazon Studios Producers Award for Nonfiction went to Nicole Salazar, for Philly D.A.
The Sundance Institute | Amazon Studios Producers Award for Fiction went to Natalie Qasabian, for Run.
The Sundance Institute | Adobe Mentorship Award for Editing Nonfiction went to Juli Vizza, and the Sundance Institute | Adobe Mentorship Award for Editing Fiction went to Terilyn Shropshire.
The Sundance Institute | NHK Award went to Meryman Joobeur, for her film Motherhood.