Best Film : Three Times (Hou Hsiao-hsien/Taiwan)
Special Prize : Me and You and Everybody We Know (Miranda July/USA)
Best Mise-en-scène : Caché (Michael Haneke/France)
Other Contenders:
- L'Enfant (Luc & Jean-Pierre Dardenne/Belgium)
- The Sun (Alexandr Sokurov/Russia)
- The Wayward Cloud (Tsai Ming-liang/Taiwan)
- Manderlay (Lars Von Trier/Denmark)
Best Screenwriting : Cristi Puiu & Razvan Radulescu for The Death of Mr. Lazarescu (Cristi Puiu/Romania)
Other Contenders:
- Miranda July for Me and You and Everybody We Know (Miranda July/USA)
- Jérôme Bonnell for Les Yeux Clairs (Jérôme Bonnell/France)
- Michael Haneke for Caché (Michael Haneke/France)
- Lars Von Trier for Manderlay (Lars Von Trier/Denmark)
Best Character : Hirohito in The Sun (Alexandr Sokurov/Russia)
Other Contenders:
- Theresa Chan in Be With Me (Eric Khoo/Singapour)
- Christine Jesperson in Me and You and Everybody We Know (Miranda July/USA)
- Timothy Treadwell in Grizzly Man (Werner Herzog/USA)
- François Dervieux in Les Amants Réguliers (Philippe Garrel/France)
Best Performance : Nathalie Boutefeu in Les Yeux Clairs (Jérôme Bonnell/France)
Other Contenders:
- Miranda July in Me and You and Everybody We Know (Miranda July/USA)
- Qi Shu in Three Times (Hou Hsiao-hsien/Taiwan)
- Issei Ogata in The Sun (Alexandr Sokurov/Russia)
- Michel Bouquet in Le Promeneur du Champs de Mars (Robert Guédiguian/France)
- ensemble in The Death of Mr. Lazarescu (Cristi Puiu/Romania)
Best Camerawork : Pin Bing Lee for Three Times (Hou Hsiao-hsien/Taiwan)
Other Contenders:
- Aleksandr Sokurov for The Sun (Alexandr Sokurov/Russia)
- Diego Martínez Vignatti for Battle in Heaven (Carlos Reygadas/Mexico)
- Céline Bozon for A travers la forêt (Jean-Paul Civeyrac/France)
- Harris Savides for Last Days (Gus Van Sant/USA)
Best Image : William Lubtchansky for Les Amants Réguliers (Philippe Garrel/France)
Other Contenders:
- Channa Deshapriya for The Forsaken Land (Vimukthi Jayasundara/Sri-Lanka)
- Adrian Tan for Be With Me (Eric Khoo/Singapour)
- Sharunas Bartas for Seven Invisible Men (Sharunas Bartas/Lithuania)
- Ryszard Lenczewski for My Summer of Love (Pawel Pavlikovsky/UK)
Best Inspiration : Me and You and Everybody We Know (Miranda July/USA)
Other Contenders:
- Three Times (Hou Hsiao-hsien/Taiwan)
- The Wayward Cloud (Tsai Ming-liang/Taiwan)
- Résfilm / Slitfilm (Sandor Kardos/Hungary)
- Wallace & Gromit : The Curse of the Wererabbit (Box/Park/UK)
Stronger Content : Le Malentendu Colonial (Jean-Marie Téno/Cameroon)
Other Contenders:
- Avenge but one of my two eyes (Avi Mograbi/Israel)
- Un Silenzio Particulare (Stefano Rulli/Italy)
- Manderlay (Lars Von Trier/Denmark)
- Profils Paysans: Le Quotidien (Raymond Depardon/France)
11 commentaires:
DISCLAIMER:
79 films from 2005 seen so far (including short films).
The change of "best film" from my last 2005 top10 is explained by the fact it was a favorite list, based on my affection for the film, and now these awards are based on artistic merit (less subjectively as far as possible)
Best Character is a subset of Screenwriting, but focuses on the development of a genuine and profound personality in the characterization of a written role.
Only one performance category, male & female fighting on equal level
Cinematography is split into 2 categories:
-Camerawork (dynamic composition)
-Image (overall visual aesthetics)
Content goes mainly to powerful documentaries because playwrights this year haven't been as deep. Most auteurs at festivals went for genre stereotypes anyway, unfortunately.
What do you think? What are your own prizes? Links to your awards are welcome.
Cool choices! For mise-en-scène, I'd probably give the edge to The Wayward Cloud only because there are three constructs in the film: reality, fantasy, porn film setting.
I didn't know about the new Bartas film, how is it? Does he have dialogue in this one, or is it like his earlier films?
I should have justified my choices with a little explanation...
I can't contradict you for The Wayward Cloud beacuse I greatly admire it, but my choice was to give the award to the most skillful, if not the most creative. Haneke's mastery control of every scene and of the whole film in a sophisticated articulation floored me, end to end, when I watched the film. Maybe his more experienced actors help too. Tsai's mise-en-scène is fantastic but slightly less rigorous or more formal, I don't know. Maybe I feel there is less room for chance in Haneke's scheme, so he deserves more credits for achieving it.
Bartas film premiered at Cannes 2005 I think. It's the first I saw, despite a retrospective of all his previous films organized in a theatre that I missed. Definitely not dialogue-driven, although there is a part of the film with a lot of characters at a dinner who drink and talk a lot, but not to the camera, like a background noise. Very weird ending, and a weak plot too, but the slow pace and the images are very nice.
That sounds in line with the Bartas films I've seen too, there are hallway conversations and such, but they just represent general interaction rather than needing to understand what they're saying in order to follow the plot. His films are maddeningly slow-paced (even slower than Tarr) to the point where the image feels less like a moving image than an abstraction. I haven't been able to figure out his motivation for this aesthetic.
It's an interesting treatment of the soundtrack actually, but not fully controlled to the best effect by Bartas. Tarr does it too. And yes the emulation of Tarr's style shows, not quite as powerful though.
This is an interesting slice of life of the post-soviet russian outback.
Seven Invisible Men trailers
Wow! Those trailers had more dialogue and action in them than in Corridor and Few of Us combined; those two are entirely without dialogue. :)
Really? So yes, there are a handful of dialogued scenes between characters but most of the time they don't reply or remain silent. Which one should I see?
Btw, what did you mean by 3 constructs in The Wayward Cloud? Don't you include porn into reality?
Oh you're right! At first, I was thinking that we never see the porn films as a "finished product", but we do when she watches them.
I guess I'd suggest Few of Us as a quintessential Bartas film, but I'd say Corridor is his most Tarr-like. I wasn't as taken with House or Three Days, so I don't suggest seeing those unless you're a completist. ;)
(I don't want to intrude on the conversation... but, great categories for an Awards list! I especially like Treadwell being nominated for "Best Character".)
Corridor is not playing, I'll try to catch the other one.
Well the porn movie is real since Lee Kang-Sheng is one and only character. But screen existence of the video they shoot is more complicate you're right (see part 2 of my review).
Hi Pacze Moj, you're welcome to join and say whatever you want, it's open debate here (even negative criticism!)
Thanks for the good words.
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