It’s The 2014 Independent Spirit Nominations!


46-frances-ha

The nominees for the 2014 Independent Spirit Awards were announced earlier today.  While the Spirit noms aren’t exactly the most accurate of Oscar precursors (and the rules of Indie Spirit Awards are pretty much specifically designed to honor the type of low-budget films that are often ignored by the Academy), more than a few of the Spirit nominees are usually remembered when the Oscar nominations are announced.

The winners will be announced, by Patton Oswalt, on March 1st.

Myself, I’m just happy to see Frances Ha and Upstream Color’s Shane Carruth nominated.

Best Feature:
“12 Years a Slave”
“All Is Lost”
“Frances Ha”
“Inside Llewyn Davis”
“Nebraska”

Best Director:
Shane Carruth, “Upstream Color”
J.C. Chandor, “All is Lost”
Steve McQueen, “12 Years a Slave”
Jeff Nichols, “Mud”
Alexander Payne, “Nebraska”

Best Screenplay:
Woody Allen, “Blue Jasmine”
Julie Delpy, Ethan Hawke and Richard Linklater, “Before Midnight”
Nicole Holofcener, “Enough Said”
Scott Neustadter & Michael H. Weber, “The Spectacular Now”
John Ridley, “12 Years a Slave”

Best Female Lead:
Cate Blanchett, “Blue Jasmine”
Julie Delpy, “Before Midnight”
Gaby Hoffman, “Crystal Fairy”
Brie Larson, “Short Term 12″
Shailene Woodley, “The Spectacular Now”

Best Male Lead:
Bruce Dern, “Nebraska”
Chiwetel Ejiofor, “12 Years a Slave”
Oscar Isaac, “Inside Llewyn Davis”
Michael B. Jordan, “Fruitvale Station”
Matthew McConaughey, “Dallas Buyers Club”
Robert Redford, “All Is Lost”

Best Supporting Female:
Melonie Diaz, “Fruitvale Station”
Sally Hawkins, “Blue Jasmine”
Lupita Nyong’o, “12 Years a Slave”
Yolonda Ross, “Go for Sisters”
June Squibb, “Nebraska”

Best Supporting Male:
Michael Fassbender, “12 Years a Slave”
Will Forte, “Nebraska”
James Gandolfini, “Enough Said”
Jared Leto, “Dallas Buyers Club”
Keith Stanfield, “Short Term 12”

Best First Feature:
“Blue Caprice”
“Concussion”
“Fruitvale Station”
“Una Noche”
“Wadjda”

Best First Screenplay:
“In a World,” Lake Bell
“Don Jon,” Joseph Gordon-Levitt
“Nebraska,” Bob Nelson
“Afternoon Delight,” Jill Soloway
“The Inevitable Defeat of Mister and Pete,” Michael Starrbury

John Cassavetes Award:
“Computer Chess”
“Crystal Fairy”
“Museum Hours”
“Pit Stop”
“This Is Martin Bonner”

Best Cinematography:
Sean Bobbit, “12 Years a Slave”
Benoit Debie, “Spring Breakers”
Bruno Delbonnel, “Inside Llewyn Davis”
Frank G. DeMarco, “All Is Lost”
Matthias Grunsky, “Computer Chess”

Best Editing:
Shane Carruth & David Lowery, “Upstream Color”
Jem Cohen & Marc Vives, “Museum Hours”
Jennifer Lame, “Frances Ha”
Cindy Lee, “Una Noche”
Nat Sanders, “Short Term 12”

Best Documentary:
“20 Feet From Stardom”
“After Tiller”
“Gideon’s Army”
“The Act of Killing”
“The Square”

Best International Film:
“A Touch of Sin”
“Blue Is the Warmest Color”
“Gloria”
“The Great Beauty”
“The Hunt”

Robert Altman Award (given to a film’s director, casting director and ensemble cast)
“Mud”

Piaget Producers Award:
Toby Halbrooks & James M. Johnston
Jacob Jaffke
Andrea Roa
Frederick Thornton

Someone to Watch Award:
“My Sister’s Quinceanera,” Aaron Douglas Johnston
“Newlyweeds,” Shake King
“The Foxy Merkins,” Madeline Olnek

Truer Than Fiction Award:
“A River Changes Course,” Kalvanee Mam
“Let the Fire Burn,” Jason Osder
“Manakamana,” Stephanie Spray & Pacho Velez

Is Upstream Color The Best Film of 2013?


(Minor Spoilers Ahead)

Is Upstream Color, the new film from Shane Carruth, the best film of 2013?

Realistically, it’s probably too early to say.  After all, it’s only April and there’s a lot of films waiting to be released.  However, it’s hard for me to imagine how a more thought-provoking, haunting, and occasionally frustrating film could be released this year.

Don’t get me wrong.  A lot of viewers aren’t going to embrace this low budget, independently made film.  Some will dismiss Upstream Color as being pretentious or they’ll incorrectly assume that the film is all about style over substance.  Even in this age of Tree of Life and Beasts of the Southern Wild, Upstream Color is not the type of film that’ll be embraced come Oscar time.

But no matter.  As of right now, Upstream Color is the best film of 2013.

Director Shane Carruth made his directorial debut in 2004 with Primer.  Made on a budget of $7,000 and filmed in my hometown of Dallas, Primer was a low-key but intriguing film about time travel.  It was a science fiction film that succeeded not through CGI but through an intelligent presentation of ideas.  I have to admit that I’ve watched Primer a handful of times and I still don’t quite understand everything that happens in the film.  However, that’s a huge part of the film’s appeal.

The same can be said of Upstream Color.

Playing out like a mash-up of David Cronenberg and Terrence Malick and told through a series of jump cuts, Upstream Color begins with Kris (Amy Seimitz), a successful young woman who is kidnapped by an enigmatic figure known as the Thief (Thiago Martins).  The Thief uses a drug made out of orchid larvae to hijack her mind.  Once she has given him all of her money, the Thief vanishes while the larva continues to grow in Kris’s body.

A mysterious man identified in the credits as The Sampler (played quite brilliantly by Andrew Sensenig) comes to Kris’s aid.  As Kris lies unconscious in a tent, The Sampler cuts the larva out of her body and then puts it into the body of a pig.  The pig is set loose in a pen with hundreds of other pigs who apparently carry larvae in their bodies.  Kris, meanwhile, wakes up the next morning in her car with no memory of why she’s covered in blood, why she’s lost her job, or why her bank account is now empty.

One jump cut later and suddenly, we see Kris riding a train through downtown Dallas.*   We’re not sure how much time has passed but we can see that Kris has changed.  With her hair cut short, Kris sits huddled in the back of the train.  Also on the train is Jeff (Shane Carruth).  Despite Kris’s efforts to be anonymous, Jeff notices her and eventually manages to strike up a conversation with her.

Kris finds herself oddly drawn towards Jeff, especially after he confesses to her that he once stole a lot of money from his employers and he’s not quite sure why he did it.  Not realizing that they’re both victims of the Thief, Jeff and Kris fall in love.  Fortunately, Carruth and Seimetz have a palpable chemistry.  You believe both of them as wounded souls and as lovers.  As a result, even as the film gets more and more surreal, you still care about these two characters and their relationship.

While Kris and Jeff fall in love and struggle to understand what happened to them in the past, the Sampler continues to appear throughout the film as a detached observer.  Sometimes, he’s recording the sounds of nature.  At other times, he’s looking over his pigs.  And then, sometimes, he’s just there.  For his first few appearances, the Sampler seems to be almost a benevolent figure but, halfway through the film, he performs one action that forces you to reconsider everything that you’ve previously seen him do.

Who is the Sampler and how is he connected to the Thief and Kris and Jeff?  This is one of the many questions that the film poses and, quite frankly, the answer is not easy to find.  Don’t get me wrong, the answer is there.  You just have to be willing to look for it.  Carruth, a former engineer, directs with an eye for the reoccurring patterns of nature. (For instance, the curve of the larva in Kris’s bloodstream is later replicated by the sight of Kris and Jeff curled up in each other’s arms.)  As opposed to the very verbal Primer, Upstream Color is a film almost totally told through image and, as a result, one has to be willing to be an observant viewer in order to learn the answers to the film’s questions.  The film’s final 15 minutes features no dialogue, just images scored to Carruth’s propulsive electronic score.  It’s a brave move on Carruth’s part and, even more importantly, it works brilliantly.

As you might guess from reading this review, Upstream Color is not an easy film to understand.  As a filmmaker, Carruth emphasizes the surreal and the obscure but, much like David Lynch, he comes up with images that are so haunting that you can’t look away even if you don’t fully understand what you’re seeing.  Upstream Color may, at times, be an obscure film but it’s compelling in its obscurity.  This is a film that is meant to be seen with four of your smartest friends.  This is a film that is meant to be debated and argued about.

In other words, it may very well be the best film of 2013.

——

*On a personal note, I do have to admit that I loved seeing how much of this movie was filmed at places that I either go to or drive by every single day.