By Ray Pride Pride@moviecitynews.com

Indiana Film Journalists Vote

Indiana Film Journalists Association names “Moonlight” Best Film of 2016

 

“Moonlight” has been named the Best Film of 2016 by the Indiana Film Journalists Association (IFJA). The sensitive portrait of an African-American boy struggling as he grows to manhood in Miami and comes to grips with his sexuality, the drama won a total of three awards, also taking Best Adapted Screenplay by Barry Jenkins and Best Supporting Actor for Mahershala Ali.

 

“Hell or High Water,” the runner-up for best film, was also runner-up in two other categories: Best Original Screenplay by Taylor Sheridan and Best Supporting Actor for Jeff Bridges.

 

Besides the winner and runner-up for Best Film, eight other movies were named Finalists in that category, cumulatively representing Indiana film critics’ picks for the 10 best movies of 2016. (See full list below.) This is the eighth year of annual awards given out by the IFJA, a group of writers and broadcasters dedicated to promoting quality film criticism in the Hoosier State.

 

Damien Chazelle was named Best Director for “La La Land,” while Kenneth Lonergan won Best Original Screenplay for “Manchester by the Sea.”

 

Casey Affleck won Best Actor for “Manchester by the Sea.” Rebecca Hall earned Best Actress honors for “Christine.” Viola Davis won the Best Supporting Actress for her work in “Fences.” Alan Tudyk was honored for Best Vocal/Motion Capture Performance for “Rogue One: A Star Wars Story.”

 

“Kubo and the Two Strings” was named Best Animated Film, while “O.J.: Made in America” won Best Documentary and “The Handmaiden” earned honors as the Best Foreign Language Film. “The Lobster” won the Original Vision prize. Mica Levi won Best Musical Score for “Jackie.”

 

In a pair of new categories, “Everybody Wants Some!!” won for Best Ensemble Acting, and writer/director Robert Eggers was named Breakout of the Year for his work on “The Witch.”

 

The Hoosier Award, which recognizes a significant cinematic contribution by a person or persons with roots in Indiana, or a film that depicts Hoosier State locales and stories, went to Andrew Cohn for his documentary, “Night School.”

 

IFJA members issued this statement for the Hoosier Award: “Andrew Cohn cements his place as an important filmmaker by becoming the first two-time recipient of the Hoosier Award. (He previously shared the 2013 prize for another documentary set in Indiana, “Medora.”) His new film perceptively follows the journeys of three Indianapolis adults trying to obtain their high school diploma while at different stages in life, even as they juggle the challenges of poverty, crime and low expectations. Cohn is clearly dedicated to exploring the plight of everyday Hoosiers whose struggles are happening right before our eyes, but somehow out of sight.”

 

The following is a complete list of honored films:

 

Best Film

Winner: “Moonlight”

Runner-up: “Hell or High Water”

Other Finalists (listed alphabetically):

“American Honey”

“Arrival”

“Deadpool”

“Everybody Wants Some!!”

“La La Land”

“The Lobster”

“Manchester by the Sea”

“Sing Street”

 

Best Animated Feature

Winner: “Kubo and the Two Strings”

Runner-Up: “Sausage Party”

 

Best Foreign Language Film

Winner: “The Handmaiden”

Runner-Up: “A Man Called Ove”

 

Best Documentary

Winner: “O.J.: Made in America”

Runner-Up: “Weiner”

 

Best Original Screenplay

Winner: Kenneth Lonergan, “Manchester by the Sea”

Runner-up: Taylor Sheridan, “Hell or High Water”

 

Best Adapted Screenplay

Winner: Barry Jenkins, “Moonlight”

Runner-up: Eric Heisserer, “Arrival”

 

Best Director

Winner: Damien Chazelle, “La La Land”

Runner-up: Kenneth Lonergan, “Manchester by the Sea”

 

Best Actress

Winner: Rebecca Hall, “Christine”

Runner-up: Natalie Portman, “Jackie”

 

Best Supporting Actress

Winner: Viola Davis, “Fences”

Runner-up: Naomie Harris, “Moonlight”

 

Best Actor

Winner: Casey Affleck, “Manchester by the Sea”

Runner-up: Ethan Hawke, “Born to Be Blue”

Best Supporting Actor

Winner: Mahershala Ali, “Moonlight”

Runner-up: Jeff Bridges, “Hell or High Water”

 

Best Vocal/Motion Capture Performance

Winner: Alan Tudyk, “Rogue One: A Star Wars Story”

Runner-up: Nick Kroll, “Sausage Party”

 

Best Ensemble Acting

Winner: “Everybody Wants Some!!”

Runner-up: “Don’t Think Twice”

 

Best Musical Score

Winner: Mica Levi, “Jackie”

Runner-up: Justin Hurwitz, “La La Land”

 

Breakout of the Year

Winner: Robert Eggers, “The Witch”

Runner-up: Sasha Lane, “American Honey”

 

Original Vision Award

Winner: “The Lobster”

Runner-up: “Sausage Party”

 

The Hoosier Award

Winner: Andrew Cohn, “Night School”

(As a special award, no runner-up is declared in this category.)

 

About IFJA: The Indiana Film Journalists Association was established in February 2009. Members must reside in the Hoosier State and produce consistent, quality film criticism or commentary in any medium.

 

http://indianafilmjournalists.com

Leave a Reply

Quote Unquotesee all »

“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas