Los Angeles Critics (Social Network vs. Carlos)

The Los Angeles Film Critics Association, now in their 35th year, hosted a battle between Carlos the Jackal and Mark Zuckerberg the punk. genius. billionaire. The Social Network co-founder won. But not without some concessions... including a tie.

Picture: The Social Network
[Runner up: Carlos]
Director: (tie) Olivier Assayas for Carlos and David Fincher for The Social Network
Actress: Kim Hye-Ja in Mother
[Runner up: Jennifer Lawrence in Winter's Bone]
Actor: Colin Firth in The King's Speech
[Runner up: Edgar Ramirez in Carlos]

Supporting Actress: Jacki Weaver in Animal Kingdom *check out this acceptance speech*
[Runner up: Olivia Williams in Ghost Writer]
Supporting Actor Neils Arestrup in A Prophet
[Runner up: Geoffrey Rush in The King's Speech]
Screenplay Aaron Sorkin for The Social Network
[Runner up: The King's Speech]
Cinematography Matthew Libatique for Black Swan
[Runner up: Roger Deakins for True Grit]
Music (tie) The Social Network and Alexandre Desplat The Ghost Writer
Production Design Guy Dyas for Inception
[runner up: The King's Speech]
Documentary Last Train Home
[Runner up: Exit Through the Gift Shop]
Experimental Jean Luc Godard's Film SocialismeForeign Film Carlos (France)
[Runner up: Mother (South Korea)]
Animated Film Toy Story 3
[Runner up: The Illusionist]
New Generation Lena Dunham for Tiny Furniture
Legacy of Cinema Award Serge Bromberg, Henri-Georges Clouzot's Inferno, and the F.W. Murnau Foundation and Fernando Pena for the restoration of MetropolisCareer Achievement Paul Mazursky


The win for Jacki Weaver is good news for that fine Australian film.  They did a good thing, sweetie. Though Animal Kingdom was the first or near-first screener out, it didn't necessarily have a strong "watch me" hook for Academy voters who hadn't been paying attention to Sundance buzz. I've said ever since January that if people watch this movie, she'll be nominated. Simple as that. But you have to get the voters to watch. This vote of confidence from Los Angelenos can't hurt.

I'm also thrilled for Last Train Home which is my choice for Best Documentary of the Year ...unless Prodigal Sons counts as this year... I get so confused. I'm totally horrified that it didn't make Oscar's finalist list. Unless of course it wasn't eligible for some reason. It's so tough to track with docs and shorts and whatnot, these eligibility requirements and windows.


Finally, it's good to see LAFCA staying true to their own impulses with all the foreign film love. This group tends to not be as beholden to Oscar frontrunners as many other critics groups are. That said, I'm still unsure about how I feel about Carlos winning film prizes. I know it was released theatrically but wasn't it made as a TV miniseries?

ONE FINAL IMPORTANT NOTE: South Korea's Mother & France's A Prophet, which both won awards today with Los Angeles critics, represent flip sides of the same Oscar coin. Both were submitted for Oscar consideration last year in the foreign film category but were not released in Los Angeles theaters in 2009 rendering them ineligible for other Oscar nominations that year. They both received theatrical releases in 2010, and because of Oscar rules on that matter, only Mother is now eligible for Oscar consideration (in all categories EXCEPT foreign film since it had its shot last year). A Prophet, having been nominated in its only eligible category last year, is not eligible for any further consideration. Make sense?
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Nathaniel's New York Film Festival: Coming Soon

The New York Film Festival starts officially on September 24th. Critics screenings have already begun but so far I've been in absentia. I have my reasons though the selection committee and certain cinephiles would surely scoff at them so they will go unnamed. This morning I picked up my credentials but opted to skip Carlos the Olivier Assayas film about Venezuelan revolutionary Ilich Ramirez Sanchez or "The Jackal" as he's infamously known in history and in the movies. I love Assayas (Summer Hours + demonlover = movie heaven plus rare artistic range!) but I can't do 5½ hour movies. I just can't!

That's one of the reasons people will scoff (oops. so much for unnamed). I've heard it's terrific but I know my limits. My back and ass know them, too. Hopefully I'll get a chance to see it in its piecemeal French miniseries form at some point. I love serialized drama as much as anyone but for me that's a television-specific experience and it should stay where it belongs.

While exiting the Walter Reade I spotted a "coming soon" poster for Desperately Seeking Susan.


It's not every day you see a "coming soon" poster for a movie that's 25 years old starring your favorite celebrity of all time. Director Susan Seidelman will speaking to the crowd at the screening (Sept 23rd -- get your tickets) and Rosanna Arquette and Aidan Quinn will also attend. If they blasted "Into the Groove" through the speakers and Madonna made a surprise appearance in her original costume I would die on the spot with a stupid grin on my face. What a way to go.

Susan is not part of the official festival (shame) though the fest usually does have a few retros. See, NYFF isn't exactly known for comedy if you know what I mean. They lean hard on Cannes lineups but only the dour subtitled selections. If NYFF goes "mainstream" it's usually for something gloomy, like say dead children a la Clint Eastwood's Changeling but not dead children a la Rachel Getting Married because that movie was too warm and humane! I'm partially joking since I love the NYFF but that 2008 selection committee decision will haunt me forever. They crazy. I shan't ever forgive them.

My point is this: in one particular NYFF year I sat through three films in a row from multiple countries starring voyeuristic barely verbal loners who stalked / killed women. I can't even talk about it! I just can't.

For 2010, I'm most excited for the following seven in roughly this order:

• Another Year -because it's a Mike Leigh film. That's all I need.
• Uncle Boonmee Who Can Recall His Past Lives -because it won the Palme D'Or and I found Apichatpong Weerathesakul's Tropical Malady so worthwhile in its enigmas.
• The Social Network -because people keep saying it's "a perfect 10".
• My Joy -because Nick loved it.
  
  
  
• Meek's Cutoff -because Michelle Williams and Kelly Reichardt's last collaboration Wendy & Lucy was so moving. I'm sometimes allergic to westerns, though, so we shall see.
• Poetry -because I still think about Lee Chang-dong's Secret Sunshine frequently and staying power is not properly rewarded at the cinema.
• Black Venus -because even though Guy Lodge didn't love it, it sounds fascinating.
  

I'll see other pictures too but those have made me the most curious.

And because Jonathan Glazer's Birth (2004) seems to be coming up frequently in discussions round here lately, you should probably know (should you be in NYC) that one of the special events this year is an evening with film scholar David Thomson (The New Biographical Dictionary of Film) in which he will screen and discuss this wonderful and misunderstood picture.
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