“I don’t care if I don’t win competition. I just don’t have time to think about that. If I did, I would become furious. So I’d drop the whole thing completely and just accept everything I’m given. I remember once watching a Godard movie and afterward I was in a bar next to the theater with Agnes Varda, eating and drinking wine because Agnes was starving. Godard walked by us without giving us any attention and Agnes called him out, ‘Hey, Jean-Luc Godard doesn’t even say hello to me?’ So he turned around and said in a slightly sarcastic, slightly comical way ‘You expect to be decorated (like Legion d’honneur) eh?’, as if wanting any acknowledgment was a sin. Varda said, ‘Look Jean-Luc, I’d accept everything I’m given.’ And from then on, I think, ‘Yes this is true: it’s better to accept everything you are given and try not to contest.’ It’s a waste of time.”—Claire Denis (via iwanttobelikearollingstone)
Best Feature 12 Years a Slave, All Is Lost, Francis Ha, Inside Llewyn Davis, Nebraska
Best Director Shane Carruth, Upstream Color; J.C. Chandor; All Is Lost; Steve McQueen, 12 Years a Slave; Jeff Nichols, Mud; Alexander Payne, Nebraska
Best Screenplay Woody Allen, Blue Jasmine; Julie Delpy, Ethan Hawke & Richard Linklater Before Midnight; Nicole Holofcener Enough Said; Scott Neustadter & Michael H. Weber, The Spectacular Now; John Ridley, 12 Years a Slave
Best First Feature Blue Caprice, Director/Producer: Alexandre Moors; Producers: Kim Jackson, Brian O’Carroll, Isen Robbins, Will Rowbotham, Ron Simons, Aimee Schoof, Stephen Tedeschi; Concussion, Director: Stacie Passon, Producer: Rose Troche; Fruitvale Station, Director: Ryan Coogler; Producers: Nina Yang Bongiovi, Forest Whitaker; Una Noche, Director/Producer: Lucy Mulloy, Producers: Sandy Pérez Aguila, Maite Artieda, Daniel Mulloy, Yunior Santiago; Wadjda, Director: Haifaa Al Mansour, Producers: Gerhard Meixner, Roman Paul
Best First Screenplay Lake Bell, In A World; Joseph Gordon-Levitt, Don Jon; Bob Nelson, Nebraska; Jill Soloway, Afternoon Delight; Michael Starrbury, The Inevitable Defeat of Mister and Pete
John Cassavetes Award (best feature made for under $500,000) Computer Chess, Writer/Director: Andrew Bujalski, Producers: Houston King & Alex Lipschultz; Crystal Fairy, Writer/Director: Sebastiàn Silva, Producers: Juan de Dios Larraín & Pablo Larraín; Museum Hours, Writer/Director: Jem Cohen, Producers: Paolo Calamita & Gabriele Kranzelbinder; Pit Stop, Writer/Director: Yen Tan, Writer: David Lowery, Producers: Jonathan Duffy, James M. Johnston,Eric Steele, Kelly Williams; This is Martin Bonner, Writer/Director: Chad Hartigan, Producer: Cherie Saulter
Best Female Lead Cate Blanchett, Blue Jasmine; Julie Delpy, Before Midnight; Gaby Hoffmann, Crystal Fairy; Brie Larson, Short Term 12; Shailene Woodley, The Spectacular Now
Best Male Lead Bruce Dern, Nebraska; Chiwetel Ejiofor, 12 Years a Slave; Oscar Isaac, Inside Llewyn Davis; Michael B. Jordan, Fruitvale Station; Matthew McConaughey, Dallas Buyers Club; Robert Redford, All Is Lost
Best Supporting Female Melonie Diaz, Fruitvale Station; Sally Hawkins, Blue Jasmine; Lupita Nyong’o, 12 Years a Slave; Yolonda Ross, Go For Sisters; June Squibb, Nebraska
Best Supporting Male Michael Fassbender, 12 Years a Slave; Will Forte, Nebraska; James Gandolfini, Enough Said; Jared Leto, Dallas Buyers Club; Keith Stanfield, Short Term 12
Best Cinematography Sean Bobbitt, 12 Years a Slave; Benoit Debie, Spring Breakers; Bruno Delbonnel, Inside Llewyn Davis; Frank G. DeMarco, All Is Lost; Matthias Grunsky, Computer Chess
Best Editing Shane Carruth & David Lowery, Upstream Color; Jem Cohen & Marc Vives, Museum Hours; Jennifer Lame, Frances Ha; Cindy Lee, Una Noche; Nat Sanders, Short Term 12
Best Documentary 20 Feet From Stardom, Director/Producer: Morgan Neville, Producers: Gil Friesen & Caitrin Rogers; After Tiller, Directors/Producers: Martha Shane & Lana Wilson; Gideon’s Army, Director/Producer: Dawn Porter, Producer: Julie Goldman; The Act of Killing, Director/Producer: Joshua Oppenheimer, Producers: Joram Ten Brink, Christine Cynn, Anne Köhncke, Signe Byrge Sørensen, Michael Uwemedimo, The Square, Director: Jehane Noujaim, Producer: Karim Amer
Best International Film A Touch of Sin, (China), Director: Jia Zhang-Ke; Blue is the Warmest Color, (France), Director: Abdellatif Kechiche; Gloria, (Chile), Director: Sebastián Lelio; The Great Beauty, (Italy), Director: Paolo Sorrentino; The Hunt, (Denmark), Director: Thomas Vinterberg
17th Annual Piaget Producers Award Toby Halbrooks & James M. Johnston, Jacob Jaffke, Andrea Roa, Frederick Thornton
20th Annual Someone To Watch Award My Sister’s Quinceañera, Director: Aaron Douglas Johnston; Newlyweeds, Director: Shaka King; The Foxy Merkins, Director: Madeline Olnek
19th Annual Stella Artois Truer Than Fiction Award Kalyanee Mam, A River Changes Course; Jason Osder, Let the Fire Burn; Stephanie Spray & Pacho Velez, Manakamana
Robert Altman Award Mud, Director: Jeff Nichols, Casting Director: Francine Maisler, Ensemble Cast: Joe Don Baker, Jacob Lofland, Matthew McConaughey, Ray McKinnon, Sarah Paulson, Michael Shannon, Sam Shepard, Tye Sheridan, Paul Sparks, Bonnie Sturdivant, Reese Witherspoon
this means my dvd screeners will be arriving soon…yesss….yesssss
So glad you got to experience the Antoine Doinel saga. What's your favorite of the bunch? I alternate between The 400 Blows and Bed & Board.
Bed & Board is definitely my favorite—joyous and melancholy at the same time. Should have been the end of the series. Love in the Run is fine, but pretty pointless as an final chapter in the Doinel saga. Even Truffaut recognized it as a mistake. Too often a mere clip show than a fully realized film.
I was surprised by my ambivalence towards The 400 Blows. I think because I had seen most of its powerful, iconic scenes in other places—documentaries, retrospectives, etc—a lot of the joy of discovery was diminishes. The fin shot, for example, was just sort of meh bc I knew what was coming. I guess I can understand the power it had in 1959, but its revelatory impact just wasn’t there for me.
It might be sacrilege to say, but I prefer Leaud more in Truffaut’s non-Doinel films & in the films of Godard.