By Ray Pride Pride@moviecitynews.com

Cinema Eye Honors Set Legacy Award; Heterodox Award Nominees

When We Were Kings to Receive 2018 Cinema Eye Legacy Award
Heterodox Nominees Announced: Films That Blur the Line Between Fiction & Documentary
December 6, 2017 | New York City NY – Cinema Eye today announced that Leon Gast’s When We Were Kings is the recipient of the 2018 Legacy Award, a recognition of classic nonfiction filmmaking that continues to inspire new generations of filmmakers and remains as relevant today as it was when it was first released.
“At a time when sports, race and political protest are swirling together in the news, it is the perfect moment to honor Leon Gast’s brilliant documentary about one of The Greatest figures in sports history, a man unafraid to speak out on race, war or politics, Muhammad Ali,” said filmmaker Marshall Curry, Cinema Eye Co-Chair.
Cinema Eye also announced the five films that have been nominated this year for its annual Heterodox Award, honoring films that actively blur the line between narrative fiction and documentary. The films nominated are:
●     The Florida Project | Directed by Sean Baker
●     Menashe | Directed by Joshua Z Weinstein
●     The Rider | Directed by Chloé Zhao
●     Stranger in Paradise | Directed by Guido Hendrikx
●     You Have No Idea How Much I Love You | Directed by Pawel Lozinski
This marks the eighth year for the Heterodox Award at Cinema Eye. Previous winners of the award are Matt Porterfield’s Putty Hill (2011), Mike Mills’ Beginners (2012), Jem Cohen’s Museum Hours (2013), Carlos Reygados’s Post Tenebras Lux (2014), Richard Linklater’s Boyhood (2015), Jafar Panahi’s Taxi (2016) and Michal Marczak’s All These Sleepless Nights (2017).
Sean Baker’s nomination for The Florida Project makes him the first filmmaker in Cinema Eye history to be nominated twice for the Heterodox Award. He was previously recognized for Tangerine in 2016. Guido Hendrikx’ Stranger in Paradise was also named last month as a nominee for the Cinema Eye Spotlight Award. It’s the first time that a film has been recognized in both categories.
With the announcement of this year’s Legacy Award recipient and Heterodox nominees, all of this year’s Cinema Eye nominated films and filmmakers have been revealed.
The Heterodox Award winner will be announced and the Legacy Award will be presented to director Leon Gast on Wednesday, January 10 at the annual Honors Lunch in Manhattan. There will be a screening of When We Were Kings, followed by a Q&A with Gast, that evening at the Museum of the Moving Image in Queens.
Ten finalists for the Heterodox Award were selected in voting by the Cinema Eye Honors Nominations Committee, made up of more than 25 international programmers who specialize in nonfiction film. The ten finalists were then viewed and five nominees were selected by a second round committee, composed of 8 nonfiction programmers and journalists. The second round included Eric Allen Hatch (Director of Programming, Maryland Film Festival), Anna Rose Holmer (The Fits), Eric Hynes (Associate Curator of Film, Museum of the Moving Image), Rachel Jacobson (Executive Director, Film Streams), Doug Jones (Executive Director, Images Cinema), Aliza Ma (Head of Programming, Metrograph), Rachael Rakes (Programmer at Large, Art of the Real) and Alison Willmore (Film Critic, Buzzfeed).
About Cinema Eye, Cinema Eye Week and the 2018 Cinema Eye Honors
Cinema Eye was founded in 2007 to recognize excellence in artistry and craft in nonfiction filmmaking. It was the first and remains the only international nonfiction award to recognize the whole creative team, presenting annual craft awards in directing, producing, cinematography, editing, composing and graphic design/animation. Cinema Eye presents and produces the annual Cinema Eye Week and Honors Ceremony.
The Honors Ceremony is the centerpiece of Cinema Eye Week, a multi-day, multi-city celebration that acknowledges the best work in nonfiction film through screenings and events. The final four days of Cinema Eye Week take place in New York City, where a series of celebratory events brought together many of the year’s most accomplished filmmakers. This year’s dates are January 8-11, with awards presented at the Museum of the Moving Image in Queens on Thursday, January 11th, 2018.
Nonfiction film nominations in 12 categories were announced last month in San Francisco at SFFILM Doc Stories. A full list of all 2018 nominees can be found on the Cinema Eye Honors website: www.cinemaeyehonors.com.
 Follow Cinema Eye on Twitter: twitter.com/cinemaeyehonors and on Facebook: facebook.com/CinemaEyeHonors

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch