Judging from this video, someone has a crush that is not going to end well.
Enjoy!
Tag Archives: Lisa Marie Bowman
Late Night Retro Television Reviews: Monsters 1.10 “Pillow Talk”
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Wednesdays, I will be reviewing Monsters, which aired in syndication from 1988 to 1991. The entire show is streaming on Tubi.
Tonight, a bed demands to be fed.
Episode 1.10 “Pillow Talk”
(Dir by David Odell, originally aired on December 24th, 1988)
Miles Magnus (John Diehl) is one of the most successful horror authors in the world, writing best seller after best seller. All of his books seem to involve a “master” who forces other people to do something terrible. This episode opens with Miles bringing home his date, Barbara (Ruth de Sosa), and immediately taking her to his bedroom.
Barbara is impressed, especially with the fact that Miles keeps all of his books in his bedroom. Miles is more interested in pointing out his rather large bed. Miles tells her that, like Marcel Proust, he does all of his writing in bed. Barbara’s reaction indicates that she’s not sure exactly who Marcel Proust is. Despite the fact that Miles is kind of awkward and geeky, it’s not long before Barbara has stripped down to her underwear, rolled around on the bed, and invited Miles to join her.
Then the bed eats her.
Seriously. The mattress opens up like a mouth and two rather phallic tentacles wrap around Barbara and pull her into the gaping hole. All that’s left behind are her high heels because, apparently, the bed does not like shoes.
It turns out that Miles has been using the old trick of writing about what you know. Miles does have a master and it’s his bed. Of course, the bed itself is possessed by a creature that Miles describes as being the last of “the Great Old Ones.” So, Miles’s bed is possessed by Cthulhu?
The next night, Miles brings home another woman. Vicki (Mary Woronov) is a writer herself. She writes romance novels and she tells Miles that she feels as if they are kindred spirits because her novels also often feature a master/servant relationship. Miles tries to maneuver Vicki over to the bed but, instead, Vicki finds Miles’s diary and leaves with it.
Vicki later calls Miles and tells him that she hasn’t been able to put down his diary, which she apparently believes to be a rough draft of his newest novel. She invites him over to her apartment so they can discuss it. Mostly wanting to get back his diary so his secrets are not revealed, Miles goes over to Vicki’s place. Vicki says that she thinks they should collaborate on a new novel and more. After checking to make sure that Vicki’s bed is not alive, Miles agrees.
Ha! The joke’s on Miles. Vicki’s bed may not eat people but her refrigerator does! When Miles gets a beer, he’s dragged into the refrigerator by a familiar set of tentacles and only his shoes are left behind. Cthulhu really does not like footwear!
This was an enjoyable piece of Lovecraftian-style whimsy, with John Diehl giving an effectively jittery performance and Mary Woronov stealing the entire episode with her more cool and icy turn as the femme fatale, Vicki. Just as being confined to bed gave Proust the time to perfect his talent, having to feed his bed has made Miles into both a successful author and a mental wreck. More than just being a show about a bed that eats people, this is also a story about the isolation of being an artist. In order to keep his talent and inspiration from fading, Miles has to literally destroy every human relationship that he has. He can blame it on Cthulhu all the he wants but, in the end, Miles is the one who made his bed and must now sleep in it.
Film Review: Cop (dir by James B. Harris)
First released in 1988, Cop stars James Woods as Lloyd Hopkins, a homicide detective who does not …. wait for it …. GO BY THE BOOK!
Actually, has there ever been a movie about a homicide detective who always made sure to go by the book? I’m sure there has been but I really can’t think of any off the top of my head. Whenever a homicide detective shows up as the main character of a movie, you can be sure that he’s going to drink too much, carouse too much, and get yelled at by his superiors. If the movie involves a serial killer, you can be sure that the detective and the killer are going to be mirror images of each other, two renegades who have found differing ways to work out their issues with the world.
As much as we talk about the cliché of the cop who does it his way, would we really want to see a movie about a cop who plays by the rules? I mean, most people dread having to deal with cops. It’s not just that cops usually bring bad news. It’s also that dealing with a cop means having to spend a lot of time while they slowly and methodically go through all of their procedures. There have been so many times that I’ve been pulled over speeding and I’ve just wanted to yell, “Just write the ticket!” Most people agree that we need some sort of police force, regardless of what the Defund folks say. But most people also hate following the rules, especially when those rules feel rather arbitrary. That’s the appeal of the renegade cop. The renegade cop fills a purpose in society but, at the same time, he dislikes dealing with all of the usual cop nonsense as much as the rest of us.
As for Lloyd Hopkins, he’s hyperactive, jittery, sleazy, and a terrible father and husband. He cheats on his wife. He tells his daughter all about the gory details of his job. (His daughter, it should be noted, seems to enjoy hearing them.) He obsesses on the crimes that he investigates and he pursues murderers with a fanaticism that suggests that Lloyd knows that he’s just one bad life choice away from becoming one of them himself. (And, indeed, Lloyd kills quite a few people over the course of Cop, even allowing one person to get into another room and get a shotgun just so Lloyd will have an excuse to shoot him.) Lloyd is someone who is dangerous to know but, at the same time, he’s also probably the only person who can stop the killer who is seemingly committing random murders in Los Angeles.
The plot is typical of films about obsessive detectives pursuing faceless killers but Cop stands out due to the director of James B. Harris and the lead performance of James Woods. Harris creates an atmosphere of continual unease, one in which the viewers gets the feeling that anyone could become the killer’s next victim at any moment. James Woods, meanwhile, plays Lloyd as being a live wire, someone who simply cannot stop thinking and talking because he knows that the minute he does, he’s going to have to take a serious look at the wreck of his life and his own less-than-stable behavior. Lloyd may be a self-destructive bastard but he’s a compelling self-destructive bastard and, in this film’s version of Los Angeles, he’s about as close as one can get to avenging angel. The film is full of good actors, like Charles Durning, Lesley Ann Warren, and Raymond J. Barry, but it is ultimately James Woods’s show. Lloyd gets the film’s final line and it’s a killer but it works because, by the time he utters it, the viewer feels as if they have gotten to know Lloyd.
Cop is based on Blood on the Moon, a novel by James Ellroy. I have not read that novel so I don’t know how closely Cop sticks to Ellroy’s original plot. Nor do I know how James Ellroy felt about Cop, which was the first movie to be based on his work. That said, Ellroy’s writing and Harris’s film share a dark vision of humanity and a subversive sense of humor. Ellroy has often declared himself to be the world’s great crime novelist and, from what I’ve read of his work, I would tend to agree. Cop is certainly not the greatest crime movie ever made (nor is it the best film to ever be adapted from Ellroy’s writing) but it’s still pretty damn good.
Retro Television Reviews: The Love Boat 3.20 “Rent a Romeo/Matchmaker, Matchmaker/Y’ Gotta Have Heart”
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Wednesdays, I will be reviewing the original Love Boat, which aired on ABC from 1977 to 1986! The series can be streamed on Paramount Plus!
This week, the Pacific Princess continues to be a lawsuit waiting to happen.
Episode 3.20 “Rent a Romeo/Matchmaker, Matchmaker/Y’ Gotta Have Heart”
(Dir by Roger Duchowny, originally aired on January 26th, 1980)
It’s time for another cruise on the Love Boat and once again, Doc Bricker is trying to get laid.
As I’ve often said in the past, The Pacific Princess really was a floating HR nightmare and that’s especially clear in any episode that opens with Doc bragging about how his latest girlfriend is about to board the ship. This time, Doc is excited because he’s going to be joined by Sherry Holtham (Misty Rowe), who apparently took an acting class with Doc. Imagine Doc’s surprise when Sherry boards the ship with her sister, the insecure and recently dumped Carol (Vicki Lawrence)!
Doc desperately wants some alone time with Sherry but, in order for that to happen, he’s going to have to find someone to show Carol a good time. Gopher turns Doc down. The Captain turns Doc down. Fortunately, however, there is a legendary swinger on the boat. Rod Baylor (football star Joe Namath) is on the boat and he’s always looking for a good time! Gopher lies and tells Rod that Carol is notorious for being wild. Rod takes a shot….
….and gets turned down because he came on too strong. Gopher suggests that Rod open up to her about his insecurities. Rod doesn’t have any insecurities but he lies to Carol and tells her that he’s actually very shy and reserved. Carol is sympathetic and gives Rod her therapist’s card.
I guess the important thing here is that Sherry and Doc got to spend some time together. They even get to wear matching red kimonos! At the end of the cruise, Doc says a cheerful goodbye to Sherry but Rod is stuck with Carol and he looks absolutely miserable about it so …. wow, that was kind of a mean-spirited story, to be honest.
Speaking of sex, Sarah Conkle (Brett Somers) refuses to have sex with her husband, Harvey (Phil Harris), because she’s worried he’ll have another heart attack and die. In fact, she spends almost the entire cruise telling Harvey not to do anything because she doesn’t think he’s healthy enough. Finally, Harvey takes two bottle of champagne down to the cabin and he and Sarah not only have sex (off-screen, of course) but Harvey lives! Sarah is so impressed that she lets Harvey carry their suitcases off the boat. I’m going to guess that Harvey probably died a few days later.
Finally, young Jimmy Hopkins (Mark James) boards the ship with his amicably divorced parents, Evelyn (Ja’net DuBois) and Andrew (Cleavon Little). Jimmy hopes that he can bring his parents back together (awwww!) and Vicki decides to help Jimmy come up with a plan. That plan is to basically lie to every single man on the ship about Evelyn being married to a scary football player so that they’ll all stay away from her. Jimmy also helps out by telling one of Evelyn’s suitors that he can’t wait for him to be his new stepfather. (That guy is never seen again.) Eventually, Evelyn and Andrew tell Jimmy that, though their marriage didn’t work, they will always love each other and that they will always be a part of his life. Awwwww!
This was a mixed bag of an episode. The storyline about Jimmy and his parents was sweet (even if it did involve a lot of lying) and featured good performances from DuBois and Little. The storyline about the old couple was, if you’ll forgive the expression, dead in the water. As for the Namath/Lawrence/Rowe storyline, it was pretty silly. To be honest, any story that features Doc successfully seducing someone while wearing his red kimono is pretty silly. Vicki Lawrence’s character didn’t go to do much, other than cry and complain. Joe Namath, while hardly an actor of great range, had a goofy likability to him. This episode was a breezy way to pass the time, even if it’s not one of the more memorable episodes of the series.
The National Board of Review Honors Killers Of The Flower Moon
The National Board of Review, which is one the major Oscar precursors (though perhaps not as major as it once was), has announced its picks for the best of 2023!
Here are the winners:
Best Film — Killers of the Flower Moon
Best Director — Martin Scorsese, Killers of the Flower Moon
Best Actor — Paul Giamatti, The Holdovers
Best Actress — Lily Gladstone, Killers of the Flower Moon
Best Supporting Actor — Mark Ruffalo, Poor Things
Best Supporting Actress — Da’Vine Joy Randolph, The Holdovers
NBR Icon Award — Bradley Cooper
Best Original Screenplay — The Holdovers
Best Adapted Screenplay — Poor Things
Breakthrough Performance — Teyana Taylor, A Thousand and One
Best Directorial Debut — Celine Song, Past Lives
Best Animated Feature — Spider-Man: Across the Spider-Verse
Best International Film — Anatomy of a Fall
Best Documentary — Still: A Michael J. Fox Movie
Best Ensemble — The Iron Claw
Outstanding Achievement in Stunt Artistry — John Wick 4
Outstanding Cinematography — Rodrigo Prieto for Barbie & Killers of the Flower Moon
Top 10 Films of 2023:
Barbie
The Boy and the Heron
Ferrari
The Holdovers
The Iron Claw
Killers of the Flower Moon
Maestro
Oppenheimer
Past Lives
Poor Things
Top 5 International Films:
La Chimera
Fallen Leaves
The Teachers’ Lounge
Totem
The Zone of Interest
Top Five Documentaries:
20 Days in Mariupol
32 Sounds
The Eternal Memory
The Pigeon Tunnel
A Still Small Voice
Top Ten Independent Films of 2023
All Dirt Roads Taste of Salt
All Of Us Strangers
BlackBerry
Earth Mama
Flora and Son
The Persian Version
Scrapper
Showing Up
Theater Camp
A Thousand and One
4 Shots From 4 Films: Special Sergio Corbucci Edition
4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!
Today, we honor the birth and the legacy of the great Italian director, Sergio Corbucci! It’s time for….
4 Shots From 4 Sergio Corbucci Films
Django (1966, dir by Sergio Corbucci, DP: Enzo Barboni)
The Hellbenders (1967, dir by Sergio Corbucci, DP: Enzo Barboni)
The Mercenary (1968, dir by Sergio Corbucci, DP: Alejandro Ulloa)
The Great Silence (1968, dir by Sergio Corbucci, DP: Silvano Ippoliti)
Music Video of the Day: Sand by Dove Cameron (2023, dir by Anastasia Delmark)
How do you deal with a broken heart? Well, however you do it, I hope it’s in a way that is safer than playing piano atop of a volcano. I mean, it’s a powerful image and all but it’s just not safe! No man is worth falling into a volcano or being reduced to dust. Thousands of people in Pompeii agreed with me on this, right before they were encased in dust and lava.
It’ll be okay, Dove!
Enjoy!
Last Night Retro Television Reviews: Baywatch Nights 1.4 “Deadly Vision”
Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Tuesdays, I will be reviewing Baywatch Nights, an detective show that ran in Syndication from 1995 to 1997. The entire show is currently streaming on Youtube!
Tonight, Mitch reveals a new talent!
Episode 1.4 “Deadly Vision”
(Dir by Paul Lynch, originally aired on October 21st, 1995)
The highlight of this week’s episode is an extended sequence in which Mitch (David Hasselhoff) goes undercover. He’s trying to protect his friend Destiny (Lisa Stahl) from a serial killer. Because Destiny spends her days doing Tarot card readings in Malibu, Mitch decides that the best way to keep an eye on her is to dress up like a mime and perform for the crowds.
The crowds love Mitch, which leads me to wonder if maybe Mitch has some sort of previous mime experience. I mean, either Mitch has had some professional training or pretending to be in a box is the easiest thing in the world to master because Mitch pulls it off like a pro.
At one point, Mitch poses with a cardboard cut-out of Bill Clinton.
Mitch does quite a bit as a mime. He gets locked in an invisible box. He juggles invisible balls. He sings a silent song. He even chases down and catches a thief. What Mitch does not do is catch the serial killer. The serial killer, who is probably not a fan of mimes, does not show up. In fact, one could argue that Mitch doesn’t really accomplish any thing of particular importance while pretending to be a mime but the whole sequence pretty much epitomizes everything that makes Baywatch Nights so much fun. David Hasselhoff as a mime? It makes no sense but it’s fun! A random cardboard cut-out of Bill Clinton? It makes no sense but it’s fun! Baywatch Nights is a fun show, precisely because it is so shamelessly silly.
Of course, Destiny is not having as much fun as Mitch is. Destiny is continually having vision of people with whom she is casually acquainted being murdered. Mitch and Garner (Gregory Alan Williams) have no problem believing that Destiny is having visions of the killer attacking people. Ryan (Angie Harmon) is a bit more skeptical and I was happy about that, just because I’m also pretty skeptical about people who say that they can see the future. It’s nice to have a character to whom I can relate on this show. Mitch, Ryan and Garner think that the killer might be a con artist and a gigolo who they’re already investigating. However, the show reveals early on that Destiny is being stalked by a crazed painter named Burt (Carl Weintraub). Burt is obsessed with Destiny and he doesn’t like it when Destiny talks to other people, whether she’s telling their fortune or helping them investigate a crime.
In the end, the killer is thwarted and Destiny’s life is saved. Hopefully, Mitch will continue to pursue his career as a mime because he’s got the talent! I mean, you can’t lifeguard forever, right?
Retro Television Reviews: Fantasy Island 4.3 “The Skater’s Edge/Concerto of Death/The Last Great Race”
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Tuesdays, I will be reviewing the original Fantasy Island, which ran on ABC from 1977 to 1986. Almost the entire show is currently streaming is on Youtube, Daily Motion, and a few other sites.
This week, Fantasy Island loses a fantasy. Read on to find out the details and remember, “Smiles, everyone! Smiles!”
Episode 4.3 “The Skater’s Edge/Concerto of Death/The Last Great Race”
(Dir by Cliff Bole and Vince Edwards, originally aired on November 8th, 1980)
When this episode originally aired, it was a special two-hour episode of Fantasy Island, one that featured three fantasies as opposed to the usual two.
In Skater’s Edge, Charlie Johnson (Charlene Tilton) is a farm girl from Missouri who dreams of being a world class figure skater. She comes to the Island to compete in the Fantasy Island Skating Competition. Mr. Roarke gives Charlie a pair of magic skates that he claims belonged to figure skater Sonja Henie. As long as Charlie is wearing the skates, she is the greatest skater in the world. She takes the competition by storm and she also wins the heart of coach Mike O’Brien (Dack Rambo). Unfortunately, in doing so, Charlie upsets Mike’s protégé, Laura Henderson (Peggy Fleming). Laura steals Charlie’s skates but, after Mr. Roarke talks to her about the importance of friendship and fair play, Laura returns the skates to Charlie. Charlie gets a perfect score from the judges but, even more importantly, she learns a lesson in humility and she’s happy when Laura is named the winner of the competition. Laura has the Fantasy Island championship but Charlie has got Mike.
In Concerto of Death, Dennis Cole plays Jeremy Hale, who comes to the island with his wife (Mary Ann Mobley). Jeremy’s brother was a talented concert pianist who was murdered. Jeremy wants to play as well as his brother but he also wants to solve his murder. Roarke gives Jeremy an emerald ring that glows a deep green when Jeremy plays his piano. Roarke warns Jeremy that his brother’s ghost might try to possess him and seek violent revenge against those who he blames for his death. The scenes involving Jeremy being possessed feature Jeremy being suffused by a green glow and yes, it’s kind of silly but it’s still fun in the way that cheap special effects often are. Eventually, Jeremy realizes that his brother was killed by Carla Marco (Erin Gray) and it ends with the police taking away Carla and Jeremy’s guest cabin burning to the ground. That cabin burned down to the ground at least once per season.
Finally, in The Last Great Race, Dick Shawn and Juliet Mills play a couple who are divorcing. They go on a race with the winner getting the majority of their possessions.
You may notice that I don’t have much to say about The Last Great Race. This is because the Race fantasy was edited out of this episode when it went into syndication. Unfortunately, all of the versions that I’ve found of this episode online are of the syndicated version. So, I guess The Last Great Race is just going to be the lost fantasy of Fantasy Island.
It’s hard to judge this episode because, in the syndicated version, it’s very obvious that a lot has been removed. It makes things feel a bit disjointed with the scene transitions often coming abruptly. Charlie and Mike seem to fall in love in record time and Laura declaring herself to be Charlie’s friend seems odd because we haven’t really seen them interact before Laura steals her skates. Meanwhile, the story with Jeremy also feels rushed with the final confrontation between Jeremy and the murderer seeming to come out of nowhere.
That said, it’s kind of a fun episode. The skating scenes feature an obvious stunt double for Charlene Tilton and it’s hard not to be kind of charmed by how obvious it all is. (You can get dizzy as the scene cuts from close-ups of Tilton’s face and close-ups of the stunt double’s legs.) The supernatural story makes no sense but the silly special effects made me smile. The episode ends with Mr. Roarke causing snow to fall on Fantasy Island but, in typical Roarke fashion, he makes sure that it only falls on Tattoo. Roarke has a good laugh while Tattoo screams in terror. Seriously, those two hate each other so much.
Here Are The 2023 Nominations of The Film Independent Spirit Awards
The nominations of the Independent Spirit Awards were announced today. While the Spirits are definitely an Oscar precursor, it’s important to remember that some of the year’s big contenders — Oppenheimer, Maestro, Rustin, Nyad, Barbie, Killers Of The Flower Moon – -are not eligible for the Spirits.
Of the film nominated for Best Feature, May December, Past Lives, and American Fiction seem to be the most likely to also show up when the Oscar nominations are announced next year.
Here are the nominees! The winners will be announced on February 25th, 2024!
BEST FEATURE (Award given to the producer)
All of Us Strangers – Producers: Graham Broadbent, Pete Czernin, Sarah Harvey
American Fiction – Producers: Cord Jefferson, Jermaine Johnson, Nikos Karamigios, Ben LeClair
May December – Producers: Jessica Elbaum, Will Ferrell, Grant S. Johnson, Pamela Koffler, Tyler W. Konney, Sophie Mas, Natalie Portman, Christine Vachon
Passages – Producers: Michel Merkt, Saïd Ben Saïd
Past Lives – Producers: David Hinojosa, Pamela Koffler, Christine Vachon
We Grown Now – Producers: Minhal Baig, Joe Pirro
BEST FIRST FEATURE (Award given to director and producer)
All Dirt Roads Taste of Salt – Director: Raven Jackson, Producers: Maria Altamirano, Mark Ceryak, Barry Jenkins, Adele Romanski
Chronicles of a Wandering Saint – Director: Tomás Gómez Bustillo, Producers: Gewan Brown, Amanda Freedman
Earth Mama – Director/Producer: Savanah Leaf, Producers: Sam Bisbee, Shirley O’Connor, Medb Riordan, Cody Ryder
A Thousand and One – Director: A.V. Rockwell, Producers: Julia Lebedev, Rishi Rajani, Eddie Vaisman, Lena Waithe, Brad Weston
Upon Entry – Directors: Alejandro Rojas, Juan Sebastián Vásquez, Producers: Sergio Adrià, Carlos Juárez, Alba Sotorra, Carles Torras, Xosé Zapata
JOHN CASSAVETES AWARD – Given to the best feature made for under $1,000,000 (Award given to the writer, director and producer)
The Artifice Girl – Director/Writer: Franklin Ritch, Producers: Aaron B. Koontz, Ashleigh Snead
Cadejo Blanco – Director/Writer/Producer: Justin Lerner, Producers: Mauricio Escobar, Ryan Friedkin, Jack Patrick Hurley
Fremont – Director/Writer: Babak Jalali, Writer: Carolina Cavalli, Producers: Rachael Fung, Chris Martin, Marjaneh Moghimi, George Rush, Sudnya Shroff, Laura Wagner
Rotting in the Sun – Director/Writer: Sebastián Silva, Writer: Pedro Peirano, Producer: Jacob Wasserman
The Unknown Country – Director/Writer/Producer: Morrisa Maltz, Writer: Lily Gladstone, Writers/Producers: Lainey Bearkiller Shangreaux, Vanara Taing, Producers: Katherine Harper, Laura Heberton, Tommy Heitkamp
BEST DIRECTOR
Andrew Haigh – All of Us Strangers
Todd Haynes – May December
William Oldroyd – Eileen
Ira Sachs – Passages
Celine Song – Past Lives
BEST SCREENPLAY
David Hemingson – The Holdovers
Cord Jefferson – American Fiction
Laura Moss & Brendan J. O’Brien – Birth/Rebirth
Emma Seligman & Rachel Sennott – Bottoms
Celine Song – Past Lives
BEST FIRST SCREENPLAY
Samy Burch; Story by Samy Burch & Alex Mechanik – May December
Noah Galvin, Molly Gordon, Nick Lieberman & Ben Platt – Theater Camp
Tomás Gómez Bustillo – Chronicles of a Wandering Saint
Laurel Parmet – The Starling Girl
Alejandro Rojas & Juan Sebastián Vásquez – Upon Entry
BEST LEAD PERFORMANCE
Jessica Chastain – Memory
Greta Lee – Past Lives
Trace Lysette – Monica
Natalie Portman – May December
Judy Reyes – Birth/Rebirth
Franz Rogowski – Passages
Andrew Scott – All of Us Strangers
Teyana Taylor – A Thousand and One
Jeffrey Wright – American Fiction
Teo Yoo – Past Lives
BEST SUPPORTING PERFORMANCE
Erika Alexander – American Fiction
Sterling K. Brown – American Fiction
Noah Galvin – Theater Camp
Anne Hathaway – Eileen
Glenn Howerton – BlackBerry
Marin Ireland – Eileen
Charles Melton – May December
Da’Vine Joy Randolph – The Holdovers
Catalina Saavedra – Rotting in the Sun
Ben Whishaw – Passages
BEST BREAKTHROUGH PERFORMANCE
Marshawn Lynch – Bottoms
Atibon Nazaire – Mountains
Tia Nomore – Earth Mama
Dominic Sessa – The Holdovers
Anaita Wali Zada – Fremont
BEST CINEMATOGRAPHY
Katelin Arizmendi – Monica
Eigil Bryld – The Holdovers
Jomo Fray – All Dirt Roads Taste of Salt
Pablo Lozano – Chronicles of a Wandering Saint
Pat Scola – We Grown Now
BEST EDITING
Santiago Cendejas, Gabriel Díaz, Sofía Subercaseaux – Rotting in the Sun
Stephanie Filo – We Grown Now
Daniel Garber – How to Blow Up a Pipeline
Jon Philpot – Theater Camp
Emanuele Tiziani – Upon Entry
ROBERT ALTMAN AWARD – Given to one film’s director, casting director and ensemble cast
Showing Up
Director: Kelly Reichardt
Casting Director: Gayle Keller
Ensemble Cast: André Benjamin, Hong Chau, Judd Hirsch, Heather Lawless, James Le Gros, John Magaro, Matt Malloy, Amanda Plummer, Maryann Plunkett, Denzel Rodriguez, Michelle Williams
BEST DOCUMENTARY (Award given to the director and producer)
Bye Bye Tiberias – Director: Lina Soualem, Producer: Jean-Marie Nizan
Four Daughters – Director: Kaouther Ben Hania, Producer: Nadim Cheikhrouha
Going to Mars: The Nikki Giovanni Project – Directors/Producers: Joe Brewster, Michèle Stephenson, Producer: Tommy Oliver
Kokomo City – Director: D. Smith, Producers: Bill Butler, Harris Doran
The Mother of All Lies – Director/Producer: Asmae El Moudir
BEST INTERNATIONAL FILM (Award given to the director)
Anatomy of a Fall (France) – Director: Justine Triet
Godland (Denmark/Iceland) – Director: Hlynur Pálmason
Mami Wata (Nigeria) – Director: C.J. ‘Fiery’ Obasi
Tótem (Mexico) – Director: Lila Avilés
The Zone of Interest (United Kingdom, Poland, USA) – Director: Jonathan Glazer
PRODUCERS AWARD
Presented by Bulleit Frontier Whiskey – The Producers Award, now in its 27th year, honors emerging producers who, despite highly limited resources, demonstrate the creativity, tenacity and vision required to produce quality independent films.
Rachael Fung
Graham Swon
Monique Walton
SOMEONE TO WATCH AWARD
The Someone to Watch Award, now in its 30th year, recognizes a talented filmmaker of singular vision who has not yet received appropriate recognition.
Joanna Arnow – Director of The Feeling That the Time for Doing Something Has Passed
Laura Moss – Director of Birth/Rebirth
Monica Sorelle – Director of Mountains
TRUER THAN FICTION AWARD
The Truer Than Fiction Award, now in its 29th year, is presented to an emerging director of non-fiction features who has not yet received significant recognition.
Set Hernandez – Director of unseen
Jesse Short Bull, Laura Tomaselli – Director of Lakota Nation vs. United States
Sierra Urich – Director of Joonam
BEST NEW NON-SCRIPTED OR DOCUMENTARY SERIES (Award given to the Creator, Executive Producer, Co-Executive Producer)
Deadlocked: How America Shaped the Supreme Court
Executive Producers: Vinnie Malhotra, Aaron Saidman, Eli Holzman, Dawn Porter
Dear Mama
Executive Producers: Lasse Järvi, Quincy ‘QD3’ Jones III, Staci Robinson, Nelson George, Charles D. King, Peter Nelson, Adel ‘Future’ Nur, Jamal Joseph, Ted Skillman, Allen Hughes, Steve Berman, Marc Cimino, Jody Gerson, John Janick, Nicholas Ferrall, Nigel Sinclair
Murder in Big Horn
Executive Producers: Matthew Galkin, Vinnie Malhotra
Co-Executive Producers: Lisa Kalikow, Joshua Levine
Stolen Youth: Inside the Cult at Sarah Lawrence
Executive Producers: Mindy Goldberg, Dan Cogan, Liz Garbus, Jon Bardin, Zach Heinzerling, Krista Parris, Daniel Barban Levin, Felicia Rosario
Co-Executive Producer: Julie Gaither
Wrestlers
Executive Producers: Greg Whiteley, Ryan O’Dowd
Co-Executive Producers: Alejandro Melendez, Adam Leibowitz
BEST NEW SCRIPTED SERIES (Award given to the Creator, Executive Producer, Co-Executive Producer)
Beef
Creator/Executive Producer: Lee Sung Jin
Executive Producers: Steven Yeun, Ali Wong, Jake Schreier, Ravi Nandan, Alli Reich
Co-Executive Producers: Alice Ju, Carrie Kemper
Dreaming Whilst Black
Creator/Executive Producer: Adjani Salmon
Creators: Maximilian Evans, Natasha Jatania, Laura Seixas
Executive Producers: Tanya Qureshi, Dhanny Joshi, Bal Samra, Thomas Stogdon
I’m a Virgo
Creator/Executive Producer: Boots Riley
Executive Producers: Tze Chun, Michael Ellenberg, Lindsey Springer, Jharrel Jerome, Rebecca Rivo
Co-Executive Producers: Marcus Gardley, Carver Karaszewski
Jury Duty
Creators/Executive Producers: Lee Eisenberg, Gene Stupnitsky
Executive Producers: David Bernad, Ruben Fleischer, Nicholas Hatton, Cody Heller, Todd Schulman, Jake Szymanski, Andrew Weinberg
Slip
Creator/Executive Producer: Zoe Lister-Jones
Executive Producers: Ro Donnelly, Dakota Johnson, Katie O’Connell Marsh, David Fortier, Ivan Schneeberg
BEST LEAD PERFORMANCE IN A NEW SCRIPTED SERIES
Emma Corrin – A Murder at the End of the World
Dominique Fishback – Swarm
Betty Gilpin – Mrs. Davis
Jharrel Jerome – I’m a Virgo
Zoe Lister-Jones – Slip
Bel Powley – A Small Light
Bella Ramsey – The Last of Us
Ramón Rodríguez – Will Trent
Ali Wong – Beef
Steven Yeun – Beef
BEST SUPPORTING PERFORMANCE IN A NEW SCRIPTED SERIES
Murray Bartlett – The Last of Us
Billie Eilish – Swarm
Jack Farthing – Rain Dogs
Nick Offerman – The Last of Us
Adina Porter – The Changeling
Lewis Pullman – Lessons in Chemistry
Benny Safdie – The Curse
Luke Tennie – Shrinking
Olivia Washington – I’m a Virgo
Jessica Williams – Shrinking
BEST BREAKTHROUGH PERFORMANCE IN A NEW SCRIPTED SERIES
Clark Backo – The Changeling
Aria Mia Loberti – All the Light We Cannot See
Adjani Salmon – Dreaming Whilst Black
Keivonn Montreal Woodard – The Last of Us
Kara Young – I’m a Virgo
BEST ENSEMBLE CAST IN A NEW SCRIPTED SERIES
Jury Duty
Ensemble Cast: Alan Barinholtz, Susan Berger, Cassandra Blair, David Brown, Kirk Fox, Ross Kimball, Pramode Kumar, Trisha LaFache, Mekki Leeper, James Marsden, Edy Modica, Kerry O’Neill, Rashida Olayiwola, Whitney Rice, Maria Russell, Ishmel Sahid, Ben Seaward, Ron Song, Evan Williams
Through the Shattered Lens 