32 Sounds, the innovative documentary that explores the power of sonic experience, pulled off a shocker at the Cinema Eye Honors Friday night, winning Outstanding Nonfiction Feature over Still: A Michael J. Fox Movie and other prominent nominees.
The film directed by Sam Green won two other awards: Outstanding Sound Design, recognizing the work of Mark Mangini, and Outstanding Original Score, which went to composer J.D. Samson.
32 Sounds is one of 15 documentaries shortlisted for the Academy Awards, along with Still, Four Daughters, The Eternal Memory, and 20 Days in Mariupol, all of which took home prizes at the Cinema Eye Honors.
‘Four Daughters’
Outstanding Direction resulted in a tie between two filmmakers, Kaouther Ben Hania of Four Daughters, and Maite Alberdi, director of The Eternal Memory. Alberdi’s film explores the love story of two of Chile’s most prominent figures in the arts and media, Paulina Urrutia and Augusto Góngora,...
The film directed by Sam Green won two other awards: Outstanding Sound Design, recognizing the work of Mark Mangini, and Outstanding Original Score, which went to composer J.D. Samson.
32 Sounds is one of 15 documentaries shortlisted for the Academy Awards, along with Still, Four Daughters, The Eternal Memory, and 20 Days in Mariupol, all of which took home prizes at the Cinema Eye Honors.
‘Four Daughters’
Outstanding Direction resulted in a tie between two filmmakers, Kaouther Ben Hania of Four Daughters, and Maite Alberdi, director of The Eternal Memory. Alberdi’s film explores the love story of two of Chile’s most prominent figures in the arts and media, Paulina Urrutia and Augusto Góngora,...
- 1/13/2024
- by Matthew Carey
- Deadline Film + TV
The Cinema Eye Honors announced the winners for its documentary films and series competition Friday in Manhattan, with “32 Sounds” taking the honor for outstanding nonfiction feature. Maite Alberdi won outstanding direction for “The Eternal Memory” together with Kaouther Ben Hania for “Four Daughters,” while “Paul T. Goldman” won outstanding nonfiction series.
See all the winners below:
—Outstanding Nonfiction Feature
32 Sounds
Directed by Sam Green
Produced by Josh Penn and Thomas O. Kriegsmann
—Outstanding Direction
Maite Alberdi
The Eternal Memory
Kaouther Ben Hania
Four Daughters
—Outstanding Editing
Michael Harte
Still: A Michael J. Fox Movie
—Outstanding Production
Mstyslav Chernov, Michelle Mizner, Raney Aronson Rath, Derl McCrudden and Vasilisa Stepanenko
20 Days in Mariupol
—Outstanding Cinematography
Ants Tammik
Smoke Sauna Sisterhood
—Outstanding Original Score
Jd Samson
32 Sounds
—Outstanding Sound Design
Mark Mangini
32 Sounds
—Outstanding Visual Design
Thomas Curtis and Sean Pierce
Going to Mars: The Nikki Giovanni Project
—Outstanding Debut
Kokomo...
See all the winners below:
—Outstanding Nonfiction Feature
32 Sounds
Directed by Sam Green
Produced by Josh Penn and Thomas O. Kriegsmann
—Outstanding Direction
Maite Alberdi
The Eternal Memory
Kaouther Ben Hania
Four Daughters
—Outstanding Editing
Michael Harte
Still: A Michael J. Fox Movie
—Outstanding Production
Mstyslav Chernov, Michelle Mizner, Raney Aronson Rath, Derl McCrudden and Vasilisa Stepanenko
20 Days in Mariupol
—Outstanding Cinematography
Ants Tammik
Smoke Sauna Sisterhood
—Outstanding Original Score
Jd Samson
32 Sounds
—Outstanding Sound Design
Mark Mangini
32 Sounds
—Outstanding Visual Design
Thomas Curtis and Sean Pierce
Going to Mars: The Nikki Giovanni Project
—Outstanding Debut
Kokomo...
- 1/13/2024
- by Jazz Tangcay, Caroline Brew, Jaden Thompson and Diego Ramos Bechara
- Variety Film + TV
“Kokomo City,” D. Smith’s documentary about four trans Black women in New York and Georgia, led all films in nominations for the 17th annual Cinema Eye Honors, the New York-based awards designed to spotlight all facets of nonfiction filmmaking.
The film received six nominations, including Outstanding Nonfiction Feature and Outstanding Direction. Mstyslav Chernov’s “20 Days in Mariupol,” Maite Alberdi’s “The Eternal Memory” and Sam Green’s “32 Sounds” followed with five nominations each.
In the Outstanding Nonfiction Feature category, “Kokomo City,” “The Eternal Memory,” “20 Days in Mariupol” and “32 Sounds” were joined by “Four Daughters,” “Going to Mars: The Nikki Giovanni Project” and “Still: A Michael J. Fox Movie.”
Matthew Heineman’s “American Symphony” received nominations for Outstanding Production and Outstanding Score, making Heineman the third-most-nominated filmmaker in Cinema Eye history. With 12 nominations overall, he now trails Steve James and Laura Poitras by one.
While many...
The film received six nominations, including Outstanding Nonfiction Feature and Outstanding Direction. Mstyslav Chernov’s “20 Days in Mariupol,” Maite Alberdi’s “The Eternal Memory” and Sam Green’s “32 Sounds” followed with five nominations each.
In the Outstanding Nonfiction Feature category, “Kokomo City,” “The Eternal Memory,” “20 Days in Mariupol” and “32 Sounds” were joined by “Four Daughters,” “Going to Mars: The Nikki Giovanni Project” and “Still: A Michael J. Fox Movie.”
Matthew Heineman’s “American Symphony” received nominations for Outstanding Production and Outstanding Score, making Heineman the third-most-nominated filmmaker in Cinema Eye history. With 12 nominations overall, he now trails Steve James and Laura Poitras by one.
While many...
- 11/16/2023
- by Steve Pond
- The Wrap
This review was written for the festival screening of "North Country".
TORONTO -- "North County" is an occasionally inspired but much more often didactic story of a woman mineworker, who initiates a class-action sexual harassment lawsuit against a Minnesota mining company. The issue of sexual politics so dominates the story that it's a relief when an emotional showdown involves family rather than workplace issues. Not so surprisingly, these are the movie's best scenes.
Audiences sometimes do respond to issues-oriented movies. When Sally Field held up that strike sign in "Norma Rae", she even won an Oscar. But the issue of sexual harassment in an iron mine may be a tough sell. Whether the movie wins over any hearts and minds, boxoffice may be modest.
"North Country" is the first American film by director Niki Caro, whose "Whale Rider" became New Zealand's most financially successful movie. This is a thoroughly competent and polished work. But one might have hoped she would tackle something a little more artistically daring than Michael Seitzman's predictable fictitious adaptation of of Clara Bingham and Lura Leedy Gansler's "Class Action: The Landmark Case that Changed Sexual Harassment Law." Despite the presence of movie stars such as Charlize Theron, Frances McDormand, Woody Harrelson and Sissy Spacek, the movie feels like an accomplished telefilm.
The world in which the movie takes place is portrayed -- and not without cause -- as one in which men are abusive and women silent victims. This begins right away when Josey Aimes (Theron) escapes a violent husband with her two youngsters. Then she returns to her Northern Minnesota hometown to a glowering father Hank (Richard Jenkins), whom she will never please in a million years. Bars are no escape either as guys make clumsy passes or sneering remarks.
When her old friend Glory (McDormand) suggests she come work with her and a few other women at the mines, Josey immediately seizes the opportunity to bring home enough money to get a house for her and the kids. Glory does warn her about the male miners' rough treatment of women, but she shrugs this off.
Things go from bad to worse. First it's foul language and sex toys in lunch pails. This escalates to sexual come-ons, feces on walls and finally an attack by Bobby Sharp (Jeremy Renner), a guy she used to make out with in school. The only nice guy in sight is Glory's husband, Kyle (Sean Bean). But he's permanently sidelined by a mining accident.
OK, another nice guy does turn up, this being local hockey hero, Bill White (Harrelson). He has returned from New York where, it is implied, the big city and law school have civilized all that North Country redneck behavior. When Josey has finally had enough harassment, it is to Bill she goes to file her lawsuit.
A courtroom scene begins the movie and intermittently Caro and Seitzman cut back to the hearing, making the film one giant flashback. Gradually, the hearing takes over to become the story's focus. Here the corporate boys prove the worst chauvinists of all, playing rougher with Josey than any of her male co-workers would.
But unless you're a lawyer or political activist, the best scenes involve parents and children. Specifically, these concern Josey and her troubled relationship with her dad, and Josey's teenage son, who grows increasingly embarrassed and angry over his mother's notoriety.
Hank, never happy with what he believes are his daughter's loose morals, is humiliated to see her take a job at his very workplace. Meanwhile, the trial causes Josey's son Sammy (Thomas Curtis) to learn the truth about his birth and the identity of his biological father. It devastates him.
These sequences bring out the best in the actors: Spacek as Josey's mom finds the courage to stand up to her husband; Jenkins finds the heart to re-evaluate his daughter; and Theron and Curtis find a ways to communicate.
The movie certainly doesn't look like a telefilm. Chris Menges' camera gives the iron mines a rugged masculinity that fits in nicely the film's political themes. Designer Richard Hoover captures the small company town atmosphere in superb location work and his set designs.
NORTH COUNTRY
Warner Bros.
Warner Bros. presents in association with Participant Productions a Nick Wechsler production
Credits:
Director: Niki Caro
Writer: Michael Seitzman
Based on the book by: Clara Bingham, Laura Leedy Gansler
Producer: Nick Wechsler
Executive producers: Helen Bartlett, Nana Greenwald, Doug Claybourne, Jeff Skoll
Director of photography: Chris Menges
Production designer: Richard Hoover
Costumes: Cindy Evans
Music: Gustavo Santaolalla
Editor: David Coulson
Cast:
Josey: Charlize Theron
Glory: Frances McDormand
Kyle: Sean Bean
Hank: Richard Jenkins
Bobby: Jeremy Renner
Sherry: Michelle Monaghan
Bill White: Woody Harrelson
Alice: Sissy Spacek
Sammy: Thomas Curtis
Running time -- 127 minutes
MPAA rating: R...
TORONTO -- "North County" is an occasionally inspired but much more often didactic story of a woman mineworker, who initiates a class-action sexual harassment lawsuit against a Minnesota mining company. The issue of sexual politics so dominates the story that it's a relief when an emotional showdown involves family rather than workplace issues. Not so surprisingly, these are the movie's best scenes.
Audiences sometimes do respond to issues-oriented movies. When Sally Field held up that strike sign in "Norma Rae", she even won an Oscar. But the issue of sexual harassment in an iron mine may be a tough sell. Whether the movie wins over any hearts and minds, boxoffice may be modest.
"North Country" is the first American film by director Niki Caro, whose "Whale Rider" became New Zealand's most financially successful movie. This is a thoroughly competent and polished work. But one might have hoped she would tackle something a little more artistically daring than Michael Seitzman's predictable fictitious adaptation of of Clara Bingham and Lura Leedy Gansler's "Class Action: The Landmark Case that Changed Sexual Harassment Law." Despite the presence of movie stars such as Charlize Theron, Frances McDormand, Woody Harrelson and Sissy Spacek, the movie feels like an accomplished telefilm.
The world in which the movie takes place is portrayed -- and not without cause -- as one in which men are abusive and women silent victims. This begins right away when Josey Aimes (Theron) escapes a violent husband with her two youngsters. Then she returns to her Northern Minnesota hometown to a glowering father Hank (Richard Jenkins), whom she will never please in a million years. Bars are no escape either as guys make clumsy passes or sneering remarks.
When her old friend Glory (McDormand) suggests she come work with her and a few other women at the mines, Josey immediately seizes the opportunity to bring home enough money to get a house for her and the kids. Glory does warn her about the male miners' rough treatment of women, but she shrugs this off.
Things go from bad to worse. First it's foul language and sex toys in lunch pails. This escalates to sexual come-ons, feces on walls and finally an attack by Bobby Sharp (Jeremy Renner), a guy she used to make out with in school. The only nice guy in sight is Glory's husband, Kyle (Sean Bean). But he's permanently sidelined by a mining accident.
OK, another nice guy does turn up, this being local hockey hero, Bill White (Harrelson). He has returned from New York where, it is implied, the big city and law school have civilized all that North Country redneck behavior. When Josey has finally had enough harassment, it is to Bill she goes to file her lawsuit.
A courtroom scene begins the movie and intermittently Caro and Seitzman cut back to the hearing, making the film one giant flashback. Gradually, the hearing takes over to become the story's focus. Here the corporate boys prove the worst chauvinists of all, playing rougher with Josey than any of her male co-workers would.
But unless you're a lawyer or political activist, the best scenes involve parents and children. Specifically, these concern Josey and her troubled relationship with her dad, and Josey's teenage son, who grows increasingly embarrassed and angry over his mother's notoriety.
Hank, never happy with what he believes are his daughter's loose morals, is humiliated to see her take a job at his very workplace. Meanwhile, the trial causes Josey's son Sammy (Thomas Curtis) to learn the truth about his birth and the identity of his biological father. It devastates him.
These sequences bring out the best in the actors: Spacek as Josey's mom finds the courage to stand up to her husband; Jenkins finds the heart to re-evaluate his daughter; and Theron and Curtis find a ways to communicate.
The movie certainly doesn't look like a telefilm. Chris Menges' camera gives the iron mines a rugged masculinity that fits in nicely the film's political themes. Designer Richard Hoover captures the small company town atmosphere in superb location work and his set designs.
NORTH COUNTRY
Warner Bros.
Warner Bros. presents in association with Participant Productions a Nick Wechsler production
Credits:
Director: Niki Caro
Writer: Michael Seitzman
Based on the book by: Clara Bingham, Laura Leedy Gansler
Producer: Nick Wechsler
Executive producers: Helen Bartlett, Nana Greenwald, Doug Claybourne, Jeff Skoll
Director of photography: Chris Menges
Production designer: Richard Hoover
Costumes: Cindy Evans
Music: Gustavo Santaolalla
Editor: David Coulson
Cast:
Josey: Charlize Theron
Glory: Frances McDormand
Kyle: Sean Bean
Hank: Richard Jenkins
Bobby: Jeremy Renner
Sherry: Michelle Monaghan
Bill White: Woody Harrelson
Alice: Sissy Spacek
Sammy: Thomas Curtis
Running time -- 127 minutes
MPAA rating: R...
- 11/1/2005
- The Hollywood Reporter - Movie News
TORONTO -- "North County" is an occasionally inspired but much more often didactic story of a woman mineworker, who initiates a class-action sexual harassment lawsuit against a Minnesota mining company. The issue of sexual politics so dominates the story that it's a relief when an emotional showdown involves family rather than workplace issues. Not so surprisingly, these are the movie's best scenes.
Audiences sometimes do respond to issues-oriented movies. When Sally Field held up that strike sign in "Norma Rae", she even won an Oscar. But the issue of sexual harassment in an iron mine may be a tough sell. Whether the movie wins over any hearts and minds, boxoffice may be modest.
"North Country" is the first American film by director Niki Caro, whose "Whale Rider" became New Zealand's most financially successful movie. This is a thoroughly competent and polished work. But one might have hoped she would tackle something a little more artistically daring than Michael Seitzman's predictable fictitious adaptation of of Clara Bingham and Lura Leedy Gansler's "Class Action: The Landmark Case that Changed Sexual Harassment Law." Despite the presence of movie stars such as Charlize Theron, Frances McDormand, Woody Harrelson and Sissy Spacek, the movie feels like an accomplished telefilm
The world in which the movie takes place is portrayed -- and not without cause -- as one in which men are abusive and women silent victims. This begins right away when Josey Aimes (Theron) escapes a violent husband with her two youngsters. Then she returns to her Northern Minnesota hometown to a glowering father Hank (Richard Jenkins), whom she will never please in a million years. Bars are no escape either as guys make clumsy passes or sneering remarks.
When her old friend Glory (McDormand) suggests she come work with her and a few other women at the mines, Josey immediately seizes the opportunity to bring home enough money to get a house for her and the kids. Glory does warn her about the male miners' rough treatment of women, but she shrugs this off.
Things go from bad to worse. First it's foul language and sex toys in lunch pails. This escalates to sexual come-ons, feces on walls and finally an attack by Bobby Sharp (Jeremy Renner), a guy she used to make out with in school. The only nice guy in sight is Glory's husband, Kyle (Sean Bean). But he's permanently sidelined by a mining accident.
OK, another nice guy does turn up, this being local hockey hero, Bill White (Harrelson). He has returned from New York where, it is implied, the big city and law school have civilized all that North Country redneck behavior. When Josey has finally had enough harassment, it is to Bill she goes to file her lawsuit.
A courtroom scene begins the movie and intermittently Caro and Seitzman cut back to the hearing, making the film one giant flashback. Gradually, the hearing takes over to become the story's focus. Here the corporate boys prove the worst chauvinists of all, playing rougher with Josey than any of her male co-workers would.
But unless you're a lawyer or political activist, the best scenes involve parents and children. Specifically, these concern Josey and her troubled relationship with her dad, and Josey's teenage son, who grows increasingly embarrassed and angry over his mother's notoriety.
Hank, never happy with what he believes are his daughter's loose morals, is humiliated to see her take a job at his very workplace. Meanwhile, the trial causes Josey's son Sammy (Thomas Curtis) to learn the truth about his birth and the identity of his biological father. It devastates him.
These sequences bring out the best in the actors: Spacek as Josey's mom finds the courage to stand up to her husband; Jenkins finds the heart to re-evaluate his daughter; and Theron and Curtis find a ways to communicate.
The movie certainly doesn't look like a telefilm. Chris Menges' camera gives the iron mines a rugged masculinity that fits in nicely the film's political themes. Designer Richard Hoover captures the small company town atmosphere in superb location work and his set designs.
NORTH COUNTRY
Warner Bros.
Warner Bros. presents in association with Participant Productions a Nick Wechsler production
Credits:
Director: Niki Caro
Writer: Michael Seitzman
Based on the book by: Clara Bingham, Laura Leedy Gansler
Producer: Nick Wechsler
Executive producers: Helen Bartlett, Nana Greenwald, Doug Claybourne, Jeff Skoll
Director of photography: Chris Menges
Production designer: Richard Hoover
Costumes: Cindy Evans
Music: Gustavo Santaolalla
Editor: David Coulson
Cast:
Josey: Charlize Theron
Glory: Frances McDormand
Kyle: Sean Bean
Hank: Richard Jenkins
Bobby: Jeremy Renner
Sherry: Michelle Monaghan
Bill White: Woody Harrelson
Alice: Sissy Spacek
Sammy: Thomas Curtis
Running time -- 127 minutes
MPAA rating: R...
Audiences sometimes do respond to issues-oriented movies. When Sally Field held up that strike sign in "Norma Rae", she even won an Oscar. But the issue of sexual harassment in an iron mine may be a tough sell. Whether the movie wins over any hearts and minds, boxoffice may be modest.
"North Country" is the first American film by director Niki Caro, whose "Whale Rider" became New Zealand's most financially successful movie. This is a thoroughly competent and polished work. But one might have hoped she would tackle something a little more artistically daring than Michael Seitzman's predictable fictitious adaptation of of Clara Bingham and Lura Leedy Gansler's "Class Action: The Landmark Case that Changed Sexual Harassment Law." Despite the presence of movie stars such as Charlize Theron, Frances McDormand, Woody Harrelson and Sissy Spacek, the movie feels like an accomplished telefilm
The world in which the movie takes place is portrayed -- and not without cause -- as one in which men are abusive and women silent victims. This begins right away when Josey Aimes (Theron) escapes a violent husband with her two youngsters. Then she returns to her Northern Minnesota hometown to a glowering father Hank (Richard Jenkins), whom she will never please in a million years. Bars are no escape either as guys make clumsy passes or sneering remarks.
When her old friend Glory (McDormand) suggests she come work with her and a few other women at the mines, Josey immediately seizes the opportunity to bring home enough money to get a house for her and the kids. Glory does warn her about the male miners' rough treatment of women, but she shrugs this off.
Things go from bad to worse. First it's foul language and sex toys in lunch pails. This escalates to sexual come-ons, feces on walls and finally an attack by Bobby Sharp (Jeremy Renner), a guy she used to make out with in school. The only nice guy in sight is Glory's husband, Kyle (Sean Bean). But he's permanently sidelined by a mining accident.
OK, another nice guy does turn up, this being local hockey hero, Bill White (Harrelson). He has returned from New York where, it is implied, the big city and law school have civilized all that North Country redneck behavior. When Josey has finally had enough harassment, it is to Bill she goes to file her lawsuit.
A courtroom scene begins the movie and intermittently Caro and Seitzman cut back to the hearing, making the film one giant flashback. Gradually, the hearing takes over to become the story's focus. Here the corporate boys prove the worst chauvinists of all, playing rougher with Josey than any of her male co-workers would.
But unless you're a lawyer or political activist, the best scenes involve parents and children. Specifically, these concern Josey and her troubled relationship with her dad, and Josey's teenage son, who grows increasingly embarrassed and angry over his mother's notoriety.
Hank, never happy with what he believes are his daughter's loose morals, is humiliated to see her take a job at his very workplace. Meanwhile, the trial causes Josey's son Sammy (Thomas Curtis) to learn the truth about his birth and the identity of his biological father. It devastates him.
These sequences bring out the best in the actors: Spacek as Josey's mom finds the courage to stand up to her husband; Jenkins finds the heart to re-evaluate his daughter; and Theron and Curtis find a ways to communicate.
The movie certainly doesn't look like a telefilm. Chris Menges' camera gives the iron mines a rugged masculinity that fits in nicely the film's political themes. Designer Richard Hoover captures the small company town atmosphere in superb location work and his set designs.
NORTH COUNTRY
Warner Bros.
Warner Bros. presents in association with Participant Productions a Nick Wechsler production
Credits:
Director: Niki Caro
Writer: Michael Seitzman
Based on the book by: Clara Bingham, Laura Leedy Gansler
Producer: Nick Wechsler
Executive producers: Helen Bartlett, Nana Greenwald, Doug Claybourne, Jeff Skoll
Director of photography: Chris Menges
Production designer: Richard Hoover
Costumes: Cindy Evans
Music: Gustavo Santaolalla
Editor: David Coulson
Cast:
Josey: Charlize Theron
Glory: Frances McDormand
Kyle: Sean Bean
Hank: Richard Jenkins
Bobby: Jeremy Renner
Sherry: Michelle Monaghan
Bill White: Woody Harrelson
Alice: Sissy Spacek
Sammy: Thomas Curtis
Running time -- 127 minutes
MPAA rating: R...
- 9/14/2005
- The Hollywood Reporter - Movie News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.