By Ray Pride Pride@moviecitynews.com

Nashville Film Fest Announces Winners

NASHVILLE FILM FESTIVAL ANNOUNCES FEATURE FILM AWARDS FOR 2016 NASHVILLE FILM FESTIVAL

Top Prizes Go to Magallanes, SEED: The Untold Story, The Seer: A Portrait of Wendell Berry, Transpecos, Syl Johnson: Any Way the Wind Blows, The Lure, Josephine

Honorable mentions include 
Free in Deed, The Bandit, The Fits, Colin Hay – Waiting for My Real Life, Curtain

Nashville, TN – Nashville Film Festival announced the prizes in feature filmmaking at the 2016 Nashville Film Festival, with top awards going toMagallanes, SEED: The Untold Story, The Seer: A Portrait of Wendell Berry, Transpecos, Syl Johnson: Any Way the Wind Blows, The Lureand Josephine. 

Several winning films will return for encore screenings on Saturday April 23 at Regal Green Hills Cinema in Nashville, TN at the Nashville Film Festival.

The ceremony is the culimation of the 2016 festival, which represented 58 films selected for competition out of over 1,200 submissions.
Narrative Feature

For telling a contemporary story about the abuse of power, the struggle for gender equality, the price of silence and the grace of redemption, theBridgestone Grand Jury Prize for Best Narrative Feature was presented to, Magallanes, directed by Salvador del Solar.

Honorable Mention: Free in Deed, directed by Jake Mahaffy

Special Jury Prize – Actor: David Harewood in Free in Deed
Special Jury Prize – Actress: Dorka Gryllus in Demimonde
Special Jury Prize for Acting Ensemble: Magallanes
Special Jury Prize for Screenplay: Eva Neymann for Song of Songs
Special Jury Prize for Music: The Lure

Documentary Feature

For illuminating the beauty of our connection to the land the Documentary Competition Grand Jury Prize was presented to, SEED: The Untold Story, directed by Taggart Siegel and Jon Betz.

Grand Jury Prize (tie): The Seer: A Portrait of Wendell Berry, directed by Laura Dunn

Honorable Mention: The Bandit, directed by Jesse Moss

Special Jury Prize for Badass Filmmaking: Hooligan Sparrow, directed by Nanfu Wang

New Director Feature

For its complex characters, use of landscape and the intensity of its ethical conflicts, the New Directors Grand Jury Prize was presented to,Transpecos, directed by Greg Kwedar.

Honorable Mention: The Fits, directed by Anna Rose Holmer

Special Jury Prize – Actor: Gabriel Luna in Transpecos
Special Jury Prize – Actress: Brogan Ellis and Lauren McQueen in The Violators
Special Jury Prize for Production Design: The Arbalest

Gibson Music Films/Music City Feature

For chronicling the rise, fall and renaissance of an R&B artist entrepreneur who never quit the hustle and finally got the recognition he deserved, the Gibson Music Films/Music City Grand Jury Prize was presented to,  Syl Johnson: Any Way the Wind Blows, directed by Rob Hatch-Miller.

Honorable Mention: Colin Hay – Waiting for My Real Life, directed by Nate Gowtham and Aaron Faulls

Special Jury Prize for Best Underdog Story: Sidemen: Long Road to Glory, directed by Scott Rosenbaum

Graveyard Shift Feature

For being everything from a cutting edge musical, to an emotionally faithful Hans Christian Anderson adaptation that would delight Fosse and Fassbinder equally, the Graveyard Shift Grand Jury Prize was presented to The Lure, directed by Agnieszka Smoczynska.

Honorable Mention: Curtain, directed by Jaron Henrie-McCrea

Special Jury Prize – Actor: Adrian Tofei in Be My Cat: A Film for Anne
Special Jury Prize – Actress: Marta Mazurek in The Lure
Special Jury Prize for Originality and Exceptional Editing: Curtain, directed by Jaron Henrie-McCrea

Tennessee First Feature

For presenting a concise, powerful portrayal of a woman in her last-ditch efforts to find her husband in the bleak final days of war, featuring incredible performances and production values, the Tennessee First Grand Jury Prizewas presented to, Josephine, directed by Rory Feek

Best Original Song

Winner: “Drive It Like You Stole It,” from Sing Street.

Sponsored Awards

Nashville Area Hispanic Chamber of Commerce Award: Magallanes, directed by Salvador del Solar
Lipscomb Prize of the Ecumenical Jury:
Best LGBT Film: Hunky Dory, directed by Michael Curtis Johnson
Steven Goldmann Visionary Award: The Lure, directed by Agnieszka Smoczynska

Southwest Airlines Audience Awards Winners
Special Presentations: Sing Street, directed by John Carney
Bridgestone Narrative Competition: (three way tie) Demimonde, directed by Attila Szász, Hunky Dory, directed by Michael Curtis Johnson andMagallanes, directed by Salvador del Solar
New Directors Competition: Transpecos, directed by Greg Kwedar
Gibson Music Films/Music City: Colin Hay – Waiting for My Real Life, directed by Nate Gowtham and Aaron Faulls
Tennessee First: Josephine, directed by Rory Feek
Tennessee Horizon Audience Awards for Best Short:
First Place: The Saurus, directed by Drew Maynard
Second Place: The Unbeliever, directed by Will M. Holland
Third Place: Three Finger, directed by Paul D. Hart and Everyday Yeti, directed by Motke Dapp
Fifth Place: The Van, directed by John McAmis

Comments are closed.

Quote Unquotesee all »

What’s up with your people mover shot, where it seems like people are kind of floating along?
Oh, my signature shot? That’s just a new way for people to move! It’s really become my Alfred Hitchcock cameo. I did not invent that shot, but Ernest and I did it on the set of Mo Better Blues, when Shorty had to walk [through the park], and I thought, “Let’s try it.” But after that, we tried to have a reason for it. For example, that wonderful sequence in Malcolm X where you hear the great song, “A Change Is Gonna Come.” The final scene is like that, Malcolm floating along to his destiny. In 25th Hour, after Philip Seymour Hoffman has kissed Anna Paquin, we did a shot like that, and it shows his state of mind. In Inside Man, after Denzel thinks he’s witnessed the murder of a hostage, we did the floating shot there.

So you just like the way it looks?
Yeah!
~ Spike Lee To Matt Zoller Seitz

“I never accepted the term contrarian. I think that’s offensive, frankly. And my response to that is: if I’m a contrarian, what are other reviewers? What I strive to do is be a good critic, not somebody who simply accepts the product put in front of me. I guess it scares people to think that they don’t have any originality; that they don’t have the capacity to think for themselves.

“There’s a line a lot of reviewers use that I don’t like at all. They say ‘accept the film on its own terms.’ What that really means is, ‘accept the film as it is advertised.’ That’s got nothing to do with criticism. Nothing to do with having a response as a film watcher. A thinking person has to analyze what’s on screen, not simply rubber-stamp it or kowtow to marketing.”m

“To me, everything does have a political component and I think it’s an interesting way to look at art. It’s one way that makes film reviewing, I think, a politically relevant form of journalism. We do live in a political world, and we bring our political sense to the movies with us – unless you’re the kind of person who goes to the movies and shuts off the outside world. I’m not that kind of person.”
~ Armond White to Luke Buckmaster