By MCN Editor editor@moviecitynews.com

15 DOCUMENTARY FEATURES ADVANCE IN 2011 OSCAR RACE

Beverly Hills, CA – The Academy of Motion Picture Arts and Sciences today announced that 15 films in the Documentary Feature category will advance in the voting process for the 84th Academy Awards®. One hundred twenty-four pictures had originally qualified in the category.

The 15 films are listed below in alphabetical order by title, with their production company:

“Battle for Brooklyn” (RUMER Inc.)
“Bill Cunningham New York” (First Thought Films)
“Buck” (Cedar Creek Productions)
“Hell and Back Again” (Roast Beef Productions Limited)
“If a Tree Falls: A Story of the Earth Liberation Front” (Marshall Curry Productions, LLC)
“Jane’s Journey” (NEOS Film GmbH & Co. KG)
“The Loving Story” (Augusta Films)
“Paradise Lost 3: Purgatory” (@radical.media)
“Pina” (Neue Road Movies GmbH)
“Project Nim” (Red Box Films)
“Semper Fi: Always Faithful” (Tied to the Tracks Films, Inc.)
“Sing Your Song” (S2BN Belafonte Productions, LLC)
“Undefeated” (Spitfire Pictures)
“Under Fire: Journalists in Combat” (JUF Pictures, Inc.)
“We Were Here” (Weissman Projects, LLC)

The Documentary Branch Screening Committee viewed all the eligible documentaries for the preliminary round of voting. Documentary Branch members will now select the five nominees from among the 15 titles on the shortlist.

The 84th Academy Awards nominations will be announced live on Tuesday, January 24, 2012, at 5:30 a.m. PT in the Academy’s Samuel Goldwyn Theater.

Academy Awards for outstanding film achievements of 2011 will be presented on Sunday, February 26, 2012, at the Kodak Theatre at Hollywood & Highland Center®, and televised live by the ABC Television Network. The Oscar presentation also will be televised live in more than 200 countries worldwide.

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ABOUT THE ACADEMY
The Academy of Motion Picture Arts and Sciences is the world’s preeminent movie-related organization, with a membership of more than 6,000 of the most accomplished men and women working in cinema. In addition to the annual Academy Awards – in which the members vote to select the nominees and winners – the Academy presents a diverse year-round slate of public programs, exhibitions and events; provides financial support to a wide range of other movie-related organizations and endeavors; acts as a neutral advocate in the advancement of motion picture technology; and, through its Margaret Herrick Library and Academy Film Archive, collects, preserves, restores and provides access to movies and items related to their history. Through these and other activities the Academy serves students, historians, the entertainment industry and people everywhere who love movies.

FOLLOW THE ACADEMY
www.oscars.org
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10 Responses to “15 DOCUMENTARY FEATURES ADVANCE IN 2011 OSCAR RACE”

  1. Barbara Koenen says:

    What about The Interrupters? Wow, that’s crazy!

  2. Ray Pride says:

    Embarrassment of riches or riches of embarrassment? As I headlined on the front page, “No Senna. No Tabloid. No Abyss. No Page One. And No Interrupters.”

  3. spassky says:

    nothing makes sense anymore.

  4. Beth Orchard says:

    I live in Chicago and not having the film the Interrupters nominated is a disgrace.

  5. Outraged Chicagoan says:

    First it was Hoop Dreams, then The Interrupters. Why does the Academy hate gritty slices of urban life? Hmm, I wonder?

  6. Danella Isaacs says:

    Good to see “We Were Here” making the cut.

  7. Joe Nagan says:

    What is with – The Interrupters – not being included, is Chicago still on the blacklist????

  8. ron says:

    No Interrupters?!!!

    I cannot believe this….

    THEY SHOULD BE ASHAMED OF THEMSELVES

  9. Ian says:

    wow. just unbelievable. No Interrupters? No Eddie Murphy? This year’s academy awards is a disaster.

  10. T.Holly says:

    Are you sure that’s not just an alphabetical list of titles to play on PBS’ Frontline series?

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé