By Ray Pride Pride@moviecitynews.com

New York Online Film Critics Bask In Moonlight

 


PICTURE
Moonlight

DIRECTOR
Barry Jenkins for Moonlight

ACTOR
Casey Affleck for Manchester by the Sea

ACTRESS
Isabelle Huppert for Elle
 
SUPPORTING ACTOR
Mahershala Ali for Moonlight
 
SUPPORTING ACTRESS
Viola Davis for Fences
 
SCREENPLAY
Barry Jenkins for Moonlight
 
BREAKTHROUGH PERFORMER
Ruth Negga for Loving

DEBUT DIRECTOR
Robert Eggers for The Witch

ENSEMBLE
Moonlight
 
DOCUMENTARY
13th
 
FOREIGN LANGUAGE
The Handmaiden
 
ANIMATED
Kubo and the Two Strings

CINEMATOGRAPHER
James Laxton for Moonlight
 
USE OF MUSIC
Justin Hurwitz (composer) for La La Land

TOP 12 FILMS (ALPHABETICAL)
Arrival
(Paramount)
Fences (Paramount)
Free State of Jones (STX Entertainment)
Hell or High Water (CBS Films)
I, Daniel Blake (IFC Films)
Jackie (Fox Searchlight)
La La Land (Lionsgate)
Loving (Focus Features)
Manchester by the Sea (Amazon/Roadside Attractions)
Moonlight (A24)
O.J.: Made in America (ESPN)
Toni Erdmann (Sony Pictures Classics)

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“All of the security, all of the waiters, all of the musicians … that’s 3,000 people!” The shopping required fifty tractor trailers. The are thirty gallons of cocktail sauce; 350 pounds of smoked salmon; 200 pounds of brussels sprouts, 250 pounds parmesan cheese; 3,600 eggs; 6,000 mini-brioche buns; five gallons of hot fudge; 20 pounds pickled ginger; 30 pounds edible gold dust; 7,000 miniature chocolate Oscars. There are 1,400 bottles of Piper-Heidsieck champagne and 2,200 bottles from Francis Ford Coppola’s winery. This will be served in and upon 13,000 glasses, 4,500 bamboo skewers, 4,800 ramekins and 6,000 cocktail forks.”
~ Wolfgang Puck Goes Oscar Dinner Shopping

“While these images seem to reveal all, they disclose nothing beneath the surface. All that we know is what we see onscreen and that Seberg’s face is delicate and lightly creased. She’s rarely shown smiling, although there are instances when she laughs emphatically, moments that feel uncomfortable and artificial, as if she were trying out an emotion she had forgotten. We know the texture of her skin; the patterns on the walls; the depth of field; the quality of the light; the contrast of the black-and-white film; the level of grain; the dowdiness of her clothes. She’s partial to granny dresses, or maybe they’re nightgowns, and when she stands in front of a window, the sunlight glows softly, creating a kind of ravishing halo effect: Saint Jean.”
~ Manohla Dargis On Philippe Garrel’s Les Hautes Solitudes