I became a voter for the Film Independent Spirit Awards (the “indie Oscars”) for the first time this year. Initially, it was out of curiosity when I learned that I could become a voter. My wife and I watch the show every year as a sort of undercard event to the Oscar party we throw the following night. Also, it’s often R-rated, break from the norm sensibilities make it a refreshing change of pace ceremony to help put a cap on the conclusion of the 3-month long movie marathon award season.
After being approved for voting, and after seeking out some of the nominees I had missed and/or not heard of, I suddenly took my voting rather seriously. If there was a film in a category I could not find or see, I got upset. On the converse, when “Mademoiselle Chambon” or “The Exploding Girl” became available on Netflix Instant Watch, I put them to the top of my list. Still, I failed in seeing everything largely due to time, lack of availability, and attrition. Confident that I had seen enough to complete my ballot, I logged in, eFiled my choices, and thought I would offer my choices and rationale behind why I chose what I chose, prior to the indie world’s biggest night. The choices were rather tough.
Votes and thoughts after the cut…
BEST CINEMATOGRAPHY
- Black Swan
- Greenberg
- Never Let Me Go
- Tiny Furniture
- Winter’s Bone
“Never Let Me Go” is a beautiful film to watch and “Winter’s Bone”‘s scenic landscape shots of the Ozarks and the perilous hills and valleys that protagonist Ree Dolly travels through help punctuate the film’s uneasy atmosphere. “Greenberg” and “Tiny Furniture” being nominated here is slightly confusing as the work seemed rather unremarkable.
Why “Black Swan”?: This was an easy selection for me. “Winter’s Bone” would earn my vote in any year that did not feature groundbreaking and Oscar-worthy work by Matthew Libatique for “Black Swan”. Libatique and director Darren Aronofsky created a nightmarish landscape for ballerina Nina Sayers to comfortably descend into madness. The shots are disorienting, the tricks and subtle camera movements pull us into dark and intimidating situations and the work is flawless in my estimation.
BEST FOREIGN FILM
- Kisses (Ireland)
- Mademoiselle Chambon (France)
- Of Gods And Men (France)
- The King’s Speech (United Kingdom)
- Uncle Boonmee Who Can Recall His Past Lives (Thailand)
“Kisses” is a gritty and thought-provoking Irish film about two teenage runaways who try to survive on the streets of Dublin. Engrossing and interesting, the film works well in part, but succumbs to heavy-handed speechiness and conveniently perilous plot points. “Mademoiselle Chambon” is a slow-boiling but sweet natured tale of two grown adults who fall in love. The problem? He is falling out of love with his wife, stuck on bedrest following an accident, and she is his son’s teacher. “…Chambon” is delicate and quiet and handles the “What-Could-Be and What-Might-Have-Been” card rather well, with surprising resonance. “Of Gods And Men” is a highly controversial French film about 8 Trappist monks who see their peaceful existence and connections with Muslim villagers threatened by the advance of fundamental Islamists into their communities. Many expected the film to land a Best Foreign Language Film nomination with the Academy and were stunned by its being snubbed. “Uncle Boonmee…” was another unexpected snub by the Academy, but the film appears to be a mindbending Thai version of “Big Fish”, where a dying Uncle tells fantastical tales about his past lives. I am intrigued, but other than featurettes and a few extended scenes I have watched, cannot comment any further.
Why “The King’s Speech”? Falling well below the $20 million budget requirements to secure eligibility for the nomination process, I was stunned to find this as the film’s only nomination, until I learned that the British-made film was only eligible in this category. The film is magnificent and well on its way to numerous Oscar trophies, including a likely Best Picture victory. Although I suspect the Spirit Award voters may reject selecting it for more hipster selections, for my vote, this was an easy selection.
BEST DOCUMENTARY
- Exit Through The Gift Shop
- Marwencol
- Sweetgrass
- Restrepo
- Thunder Soul
This was agony choosing between two films I greatly love and admire. “Exit Through The Gift Shop”, real or hot, hoax or truth, is a revelation. Performance artist/street artist Banksy earned a spot on my 15 Great Performances list for his expert craftsmanship in making a film about the vibrant and underground street art movement, and then subtly questioning and mocking its very popularity. I have massive appreciation for the film and would have placed it #11 on my list of the year’s best films. “Sweetgrass” is a film that didn’t connect with me much, but documents shepherds taking sheep through the treacherous hills of the Beartooth Mountains in Montana. A labor of love for the husband-and-wife directorial team, I may have watched it too late in the night to “get it” completely. “Marwencol” carries a rare 100% Tomatometer through Rotten Tomatoes and tells a fascinating story about a man who creates this alternate world known as “Marwencol” in the years following a terrible and severe beating has left him partially handicapped and brain damaged. I found a featurette on Mark Hogancamp, the subject of the film, and friends who saw the film praised it extensively. “Thunder Soul” tells the story of a jazz teacher, now in his 90′s, who has many of his former high school students, come back and pay him a tribute. I didn’t see the film.
Why “Restrepo”?: At the end of the day, and despite my love for Banksy and the entire “…Gift Shop” project, “Restrepo” made my Top 10 list and I could not vote against it. This is an extraordinary film that is devastating in its power, extraordinary in its access, and heartbreaking in its honesty. I have never seen anything quite like it and the film has stuck with me for months.
BEST SUPPORTING MALE
- John Hawkes – Winter’s Bone
- Samuel L. Jackson – Mother And Child
- Bill Murray – Get Low
- John Ortiz – Jack Goes Boating
- Mark Ruffalo – The Kids Are All Right
An intriguing lineup, two and perhaps three of these nominees were really special, while I felt two were fine but forgettable once the movie ended. Samuel L. Jackson gives a good performance as a lawyer emotionally falling for the woman he is having an affair with. John Ortiz and Daphne Ruben Vega play a married couple on the brink and share some heated exchanges which give “Jack Goes Boating” a bit of a pulse. Bill Murray is great in an understated turn as an undertaker eager to grant Robert Duvall’s dying wishes in “Get Low”. For me however, far and away, the work of John Hawkes and Mark Ruffalo are moving and engaging turns. Hawkes is nothing less than unsettling and rather frightening as the uncle who knows a lot about his brother’s disappearance in “Winter’s Bone”. The irony of his character being known as “Teardrop” is a richly realized one.
Why Mark Ruffalo?: Can it just be his time? His work in “The Kids Are All Right” is at or near the top in a career of tremendous performances. His character, Paul, the sperm donor to the two teenage children of a lesbian couple, is careless, carefree, and completely oblivious to the damage he causes to their relationship. Ruffalo masterfully finds the balance between sympathetic and loathsome and when events lead to its emotional breaking point, he never seems to get it. But we do. We see what’s happening and that we want to slap Ruffalo on the back of the head, chew him out and yell at him, and then meet up with him for a beer later, says everything about his genuine and heartfelt performance.
BEST SUPPORTING FEMALE
- Ashley Bell – The Last Exorcism
- Dale Dickey – Winter’s Bone
- Allison Janney – Life During Wartime
- Daphne Ruben Vega – Jack Goes Boating
- Naomi Watts- Mother and Child
Honestly, not my favorite category, but I voted as I saw 4 of the 5 performances. Ashley Bell gives an impressive performance in “The Last Exorcism”. Her physicality and ability to leap back and forth in personality and intensity was a sight to behold, even if the film falls disastrously apart in the final minutes. Daphne Ruben Vega is fine as a wife in a troubled marriage and she and co-star John Ortiz each landed nominations. Naomi Watts, a favorite actress of mine, is pretty great in “Mother and Child”, as an emotionally conflicted woman who has an affair with Samuel L. Jackson’s character and struggles with other mother/daughter issues. I did not see “Life During Wartime”. Largely I recalled this list as being unimpressive when I would have easily nominated Mila Kunis and/or Barbara Hershey (“Black Swan”), Julianne Moore (“The Kids Are All Right”), Dianne Wiest (“Rabbit Hole”), Sissy Spacek (“Get Low”) or even Kerry Washington, alongside Naomi Watts, in “Mother and Child”.
Why Dale Dickey?: This was rather easy also. “Winter’s Bone” is a stunning film and Dale Dickey’s performance as Merab resurfaces again and again as Ree tries to find her missing father. Like so many of the characters in “Winter’s Bone”, people know more than they are letting on and Merab, in her own unfiltered and untrained way, attempts to steer Ree out of danger and through a dangerous adventure. She is tough, blunt, and ruthless, but finds herself somewhat unexpectedly wanting to lend a hand. The acting in “Winter’s Bone” is top notch and authentic and real. In a competitive field, it is unfortunate that Dickey couldn’t track with Oscar voters.
BEST MALE LEAD
- Ronald Bronstein – Daddy Longlegs
- Aaron Eckhart – Rabbit Hole
- James Franco – 127 Hours
- John C. Reilly – Cyrus
- Ben Stiller- Greenberg
As I continue to kick myself over not having seen “Rabbit Hole”, I have to believe that Aaron Eckhart‘s work in “Rabbit Hole” is not as good as James Franco’s work. More on that statement below. Eckhart received huge critical acclaim for his turn as the husband to Nicole Kidman’s character as they grieve the sudden loss of their child. Ronald Bronstein is reprehensibly watchable in the curious “Daddy Longlegs”. As a single dad who claims to covet his time with his two young children, only to leave them at home, use them for his own gain, and even drug them with sleeping pills so they stay out of his way, Bronstein is pretty unforgettable in an average film. I loved John C. Reilly in “Cyrus”, and the film made my Top 10 of 2010 list. Reilly remains one of the most gifted comedic actors and his nomination here is well deserved. Kudos to Ben Stiller for tackling an unlikable and aggravating character in “Greenberg”. The film didn’t move me one way or the other, even though I know it wanted to. Stiller does a good job as an out-of-control immature man who in his early 40′s has not one clue about human interaction or relationships.
Why James Franco?: With all due respect to those competing with Franco for the Oscar for Best Actor (even you Mr. Firth) and the fellow nominees in this category, James Franco simply gave the finest male acting performance of the year. Those that know me know about my love for “127 Hours” and Franco’s career-defining performance is one I will never forget. In fact, that entire film is one I will never forget. So Franco was the easiest selection of all – I made it in a mouse click’s space of time.
BEST FEMALE LEAD
- Annette Bening – The Kids Are All Right
- Greta Gerwig – Greenberg
- Nicole Kidman – Rabbit Hole
- Jennifer Lawrence – Winter’s Bone
- Natalie Portman – Black Swan
- Michelle Williams – Blue Valentine
I am not entirely sure that this is as cut and dry as many think. While I do not think the Oscar for Best Actress will be awarded to anyone not named Portman or Bening, the Spirit Award could easily go to Lawrence or Williams, or perhaps even Gerwig, an indie movie superstar. Annette Bening, I feel, gave the performance of her career in “The Kids Are All Right” and I would be fine for her to win this and/or the Academy Award. She was my choice until a little ballerina came along and rocked everyone’s world. Greta Gerwig is the reason to sit through “Greenberg” and she gives the perfect amount of vulnerable, clumsy emotion that Ben Stiller needs to tear down and smash into pieces. Jennifer Lawrence gives an exemplary breakthrough as Ree in “Winter’s Bone”, and I feel that her character is one of the finest written female characters I have seen in years. She may always be Ree Dolly to me. Michelle Williams is the most underrated actress working today, but “Blue Valentine” just missed across the board with all the major awards groups. She leaves everything on the screen in the film, as does co-star Ryan Gosling. She might win, but I fear the film cuts everyone too close.
Why Natalie Portman?: You are kidding right. Did you see “Black Swan”? Natalie Portman gave, without question, the best performance of 2010. Always on edge, descending into madness, and yet balancing the influences of an oppressive mother, an unconventional and harassing ballet director, and a newfound and confusing obsession over a fellow dancer, while trying to prove her worth as the coveted lead in “Swan Lake”, Portman transforms into another human being on screen. The acting is honest and frightening, the physicality is already legendary, and Portman is worthy of every award available for her work here.
BEST SCREENPLAY
- Stuart Blumberg & Lisa Cholodenko – The Kids Are All Right
- Debra Granik & Anne Rosellini – Winter’s Bone
- Nicole Holofcener – Please Give
- David Lindsay-Abaire – Rabbit Hole
- Todd Solondz – Life During Wartime
I almost did not vote here since I saw 3 of the 5 films. I trusted critics and friends with regard to “Life During Wartime” and I failed in seeing “Rabbit Hole”. “Please Give” is a fine ensemble that finds Nicole Holofcener again finding a narrative thread amongst several characters and cohesively keeping together a compelling story about struggles with a 91-year old family matriarch. Two of my favorite scripts remain and I applaud “The Kids Are All Right” for its boldness and bravery in tackling what it means to be a family in the 21st century. In many ways, I feel that “Kids” is a groundbreaking and memorable achievement.
Why “Winter’s Bone”?: That is a fair question. I really admire “Winter’s Bone” in a great many ways and I think I checked the box because I want it to be recognized this weekend. That is a rather lame excuse but what carried me over the top is how well written and real the words, the scenes, and the moments play out in the film. The writing of Ree Dolly, her decisions, her instinctual nature, is simply compelling.
BEST DIRECTOR
- Darren Aronofsky – Black Swan
- Danny Boyle – 127 Hours
- Lisa Cholodenko – The Kids Are All Right
- Debra Granik – Winter’s Bone
- John Cameron Mitchell – Rabbit Hole
A terrific lineup, and I can leverage my bets on “Rabbit Hole”, because I am a big fan of John Cameron Mitchell’s work. The remaining names all delivered fantastic films. Darren Aronofsky was breathtaking in taking us into Nina’s world. Lisa Cholodenko‘s passion project, which took her years to bring to the screen, was masterfully laid out and bravely told. Debra Granik‘s “Winter’s Bone” lives in the fear and trepidation of its supporting characters and soars on the bravery of the protagonist.
Why Danny Boyle? At the end of the day, I referred back to my year end Top 10 list and went with the film that ranked the highest of the nominees. When I saw “127 Hours”, I said that in a film resume which includes “Slumdog Millionaire” and “Trainspotting”, Boyle may have delivered his masterpiece. As stated above, “127 Hours” is a moving, affecting, extraordinary piece of cinema and tipping my hat to the final category, a film I wanted to support one last time.
BEST FEATURE
- Black Swan
- Greenberg
- The Kids Are All Right
- 127 Hours
- Winter’s Bone
4 of these films are tremendous, and admittedly, I am unclear as to why “Greenberg” made the cut. Again, sans Greta Gerwig’s performance and a few moments from Ben Stiller, the film simply didn’t register much with me. Thus, no vote. “Winter’s Bone” is the breakthrough indie, since its success with the Academy speaks volumes to how well it was received. “The Kids Are All Right” and “Black Swan” ranked #5 and #6 respectively in my Top 10 of 2010 and are two of the best stories told on screen in the past year. Powerhouse acting and profound screenplays make them so.
Why “127 Hours”?: It’s the best of the bunch in my view. A wonderfully accomplished bunch they are, but “127 Hours” is the anti-success here. People stayed away in fear of “the scene” and in turn, missed one of the more insular and emotional films of recent years. Top to bottom, Danny Boyle and co-writer Simon Beaufoy, rework Aron Ralston’s harrowing tale of survival, into a film rich in flashbacks, hallucinations, and triptych screenshots which place you squarely into the heart and mind of the carefree and fearless Ralston. The film does not simply make you wonder what you would do in the same situation, as Ralston’s story is to outrageous and remarkable to be relatable. However, Boyle makes it matter to the everyday person, because we see the fear, the arrogance, the scare, and the resolute way in which Ralston rationalizes that he may have reached his demise from one careless error he should have avoided. Less about the boulder pinning an arm and everything about the connections we make and disregard or take for granted, “127 Hours” is an incredible experience. And it got at least one vote.
OTHER CATEGORIES:
I opted out of voting in the Best First Feature and Best First Screenplay categories, as I simply did not see enough of the contending films to make a good judgment.
The John Cassavetes Award, given to the best feature made for less than $500,000, The Acura Someone To Watch Award (best new filmmaker), The Aveeno Truer Than Fiction Award (best new non-fiction filmmaker), and The Piaget Producers Award (best new producers utilizing limited means) were not open to Spirit Award voters.
Thoughts?!? Did I go to mainstream with my selections? Are the Spirit Awards too mainstream this year? Or did Oscar catch up with the independent film world more this year? Should be another fun show, even if my choices don’t match up!
