There’s a moment late in Camilla Hall’s Copwatch when a rare officer of color from the Ferguson Police Department engages a group of copwatchers, a term used for local, autonomous groups who document policing activity and potential wrongdoing on the side of the law. He’s careful to discuss policies he’s not a fan of while hearing them out. Copwatch isn’t a permanent solution — one would hope with the rise of body cameras and community-based policing it wouldn’t have to be — but there is still unanswered questions regarding police tactics and use of force that supervisors and chiefs remain unwilling to be transparent about for one reason or another. Or, as former NYPD Police Commissioner Bill Bratton used to say, “it looks awful, but it’s lawful.” The conversation that ends Copwatch is lively, even if the Copwatchers occasionally talk over themselves, which could be...
- 4/30/2017
- by John Fink
- The Film Stage
Dedicated to Michael Brown Jr., Whose Streets? is an alarming and vital documentary chronicling the grassroots formation of Black Lives Matter as well as efforts in Ferguson. A narrow document of time and place, it allows the story to unfold as it did on a local level — in a clutter of confusion, tweets, and amateur video as the Ferguson Police Department show up with guns and tanks to what starts as a peaceful protest.
Director Sabaah Folayan and co-director Damon Davis stay on the story longer than others. While Craig Atkinson’s sloppy Do Not Resist spends time on the ground in Ferguson, collecting evocative images of violence before exploring police tactics nationwide, these directors do justice to protestors who feel slighted by CNN, Fox and MSNBC. A recurring theme in the film is “we have to live here,” as the police do nothing to restore any kind of peace,...
Director Sabaah Folayan and co-director Damon Davis stay on the story longer than others. While Craig Atkinson’s sloppy Do Not Resist spends time on the ground in Ferguson, collecting evocative images of violence before exploring police tactics nationwide, these directors do justice to protestors who feel slighted by CNN, Fox and MSNBC. A recurring theme in the film is “we have to live here,” as the police do nothing to restore any kind of peace,...
- 1/21/2017
- by John Fink
- The Film Stage
Awards season keeps ticking right along, but tonight’s Cinema Eye Honors promised at least a tiny respite from narrative-based filmmaking, as the New York City-set ceremony is all about honoring the best in the year’s documentary filmmaking.
Big winners included Kirsten Johnson’s “Cameraperson,” which picked up Outstanding Achievement in Nonfiction Feature Filmmaking, along with editing and cinematography wins. Right behind it was Ezra Edelman’s “O.J.: Made in America,” which earned Edelman a directing win, along with a production win for Edelman and Caroline Waterlow. Best TV offering went to “Making a Murderer.”
Nominations were lead by Raoul Peck’s “I Am Not Your Negro” and “O.J.: Made in America,” which each pulled in five nominations apiece, though Johnson’s “Cameraperson” and Gianfranco Rosi’s “Fire at Sea” aren’t far behind, with four nominations each. Both Peck and Rosi’s features ultimately walked away without an award.
Big winners included Kirsten Johnson’s “Cameraperson,” which picked up Outstanding Achievement in Nonfiction Feature Filmmaking, along with editing and cinematography wins. Right behind it was Ezra Edelman’s “O.J.: Made in America,” which earned Edelman a directing win, along with a production win for Edelman and Caroline Waterlow. Best TV offering went to “Making a Murderer.”
Nominations were lead by Raoul Peck’s “I Am Not Your Negro” and “O.J.: Made in America,” which each pulled in five nominations apiece, though Johnson’s “Cameraperson” and Gianfranco Rosi’s “Fire at Sea” aren’t far behind, with four nominations each. Both Peck and Rosi’s features ultimately walked away without an award.
- 1/12/2017
- by Kate Erbland
- Indiewire
Netflix plans to release 60 original programs in 2017, and along the way, it expects to spend $6 million. How does the streaming video platform keep its acquisition budget lean and efficient, even as it massively increases the amount of content it distributes? With AI, apparently.
A recent report from Business Insider details ultimately-doomed negotiations between documentary filmmaker Craig Atkinson and Netflix. Among other points, Atkinson shares a conversation between his lawyer Jody Simon and a Netflix lawyer, the latter of whom told Simon Netflix had used an algorithm to determine how much it should pay for Atkinson’s film.
Atkinson entered into conversations with Netflix shortly before his documentary Do Not Resist premiered at the 2016 Tribeca Film Festival. As he tells it, the streaming platform’s lawyer acted as if the figure generated by Netflix’s algorithm was immutable. "During the course of the conversation our lawyer had with the Netflix lawyer,...
A recent report from Business Insider details ultimately-doomed negotiations between documentary filmmaker Craig Atkinson and Netflix. Among other points, Atkinson shares a conversation between his lawyer Jody Simon and a Netflix lawyer, the latter of whom told Simon Netflix had used an algorithm to determine how much it should pay for Atkinson’s film.
Atkinson entered into conversations with Netflix shortly before his documentary Do Not Resist premiered at the 2016 Tribeca Film Festival. As he tells it, the streaming platform’s lawyer acted as if the figure generated by Netflix’s algorithm was immutable. "During the course of the conversation our lawyer had with the Netflix lawyer,...
- 12/26/2016
- by Sam Gutelle
- Tubefilter.com
The nominees for the 10th annual Cinema Eye Honors have been announced, with “I Am Not Your Negro” and “Oj: Made in America” both receiving five each. They’re followed in short order by “Cameraperson” and “Fire at Sea,” which along with “Weiner” are all in contention for the top prize. A total of 37 features and five shorts will be in contention at the upcoming ceremony, which “Hoop Dreams” director Steve James will host from the Museum of the Moving Image on January 11. Here’s the full list of nominees:
Outstanding Achievement in Nonfiction Feature Filmmaking
“Cameraperson” (Kirsten Johnson)
“Fire at Sea” (Gianfranco Rosi)
“I Am Not Your Negro” (Raoul Peck)
“Oj: Made in America” (Ezra Edelman)
“Weiner” (Josh Kriegman and Elyse Steinberg)
Outstanding Achievement in Direction
Kirsten Johnson, “Cameraperson”
Gianfranco Rosi, “Fire at Sea”
Raoul Peck, “I Am Not Your Negro”
Robert Greene, “Kate Plays Christine”
Ezra Edelman, “Oj:...
Outstanding Achievement in Nonfiction Feature Filmmaking
“Cameraperson” (Kirsten Johnson)
“Fire at Sea” (Gianfranco Rosi)
“I Am Not Your Negro” (Raoul Peck)
“Oj: Made in America” (Ezra Edelman)
“Weiner” (Josh Kriegman and Elyse Steinberg)
Outstanding Achievement in Direction
Kirsten Johnson, “Cameraperson”
Gianfranco Rosi, “Fire at Sea”
Raoul Peck, “I Am Not Your Negro”
Robert Greene, “Kate Plays Christine”
Ezra Edelman, “Oj:...
- 11/2/2016
- by Michael Nordine
- Indiewire
It’s almost like war has started in our own backyard.
With the current division between Black Lives Matter protests and law enforcement, director Craig Atkinson looks into the current state of policing in America with Do Not Resist.
The film opens with the actual on-the-scene footage of the violent protests in Ferguson, Missouri, in which the law enforcement uses complex training and heavy equipment to quell the unrest. The film observes the current and future directions of law enforcement using high-tech surveillance monitoring technology, military-grade equipment, terrorist conference training and even following a Swat raiding a home to execute a warrant.
Lrm had a phone interview last week to discuss current events and law enforcement technologies with director Craig Atkinson from his documentary Do Not Resist. We’ve covered various topics of law enforcement, his experience in the middle of the Ferguson riots and the future of policing.
Do Not Resist...
With the current division between Black Lives Matter protests and law enforcement, director Craig Atkinson looks into the current state of policing in America with Do Not Resist.
The film opens with the actual on-the-scene footage of the violent protests in Ferguson, Missouri, in which the law enforcement uses complex training and heavy equipment to quell the unrest. The film observes the current and future directions of law enforcement using high-tech surveillance monitoring technology, military-grade equipment, terrorist conference training and even following a Swat raiding a home to execute a warrant.
Lrm had a phone interview last week to discuss current events and law enforcement technologies with director Craig Atkinson from his documentary Do Not Resist. We’ve covered various topics of law enforcement, his experience in the middle of the Ferguson riots and the future of policing.
Do Not Resist...
- 10/18/2016
- by Gig Patta
- LRMonline.com
In his Oscar-winning documentary “Bowling for Columbine” (2002), Michael Moore confronts Charlton Heston and Kmart executives, Michigan militiamen and the producer of “Cops,” but his quixotic search is for the structure itself, the undercarriage of American violence. Though his starting point is the 1999 massacre at Colorado’s Columbine High School, in which two students murdered one teacher, 12 classmates, and injured 21 others, Moore spins a dense web of historical connections and geopolitical comparisons: A montage of American imperialism from the overthrow of Mohammed Mossedegh to the rise of Osama bin Laden, set to “What a Wonderful World”; interviews with ordinary Canadians baffled by the American obsession with crime. “Bowling for Columbine” is, in short, the filmmaker’s most chilling and prescient polemic, framing the United States’ gun epidemic as the logical consequence of our “culture of fear,” and its concomitant economy of terror.
Nearly 14 years on from Moore’s Oscar acceptance speech,...
Nearly 14 years on from Moore’s Oscar acceptance speech,...
- 10/5/2016
- by Matt Brennan
- Indiewire
“Do Not Resist” – the directorial debut of “Detropia” cinematographer Craig Atkinson – offers a stunning look at the current state of policing in America and a glimpse into its future. Opening with startling on-the-scene footage in Ferguson, Missouri, the film… Continue Reading →...
- 10/5/2016
- by shadowandact
- ShadowAndAct
There are four new documentaries that, while timed for Oscar votes, have a much bigger target audience: The American voters. These urgently topical films peel away decades of mythology, propaganda, and misinformation to reveal why so many people in this country are not only incarcerated in our thriving prison economy, but function inside prisons of misguided perception.
It’s easy to see why the New York Film Festival picked Ava DuVernay’s “13th” as its first-ever documentary opening-night film. In the year of Ferguson and Black Lives Matter, as fearful cops continue to gun down unarmed black men in the street, this must-see film will raise consciousness about how race affects the way we regard and behave toward the people around us. “13th” is a history of how white people have treated African-Americans since 1865 — when the 13th Amendment abolished slavery — and it roused the Lincoln Center crowd to multiple standing...
It’s easy to see why the New York Film Festival picked Ava DuVernay’s “13th” as its first-ever documentary opening-night film. In the year of Ferguson and Black Lives Matter, as fearful cops continue to gun down unarmed black men in the street, this must-see film will raise consciousness about how race affects the way we regard and behave toward the people around us. “13th” is a history of how white people have treated African-Americans since 1865 — when the 13th Amendment abolished slavery — and it roused the Lincoln Center crowd to multiple standing...
- 10/3/2016
- by Anne Thompson
- Thompson on Hollywood
There are four new documentaries that, while timed for Oscar votes, have a much bigger target audience: The American voters. These urgently topical films peel away decades of mythology, propaganda, and misinformation to reveal why so many people in this country are not only incarcerated in our thriving prison economy, but function inside prisons of misguided perception.
It’s easy to see why the New York Film Festival picked Ava DuVernay’s “13th” as its first-ever documentary opening-night film. In the year of Ferguson and Black Lives Matter, as fearful cops continue to gun down unarmed black men in the street, this must-see film will raise consciousness about how race affects the way we regard and behave toward the people around us. “13th” is a history of how white people have treated African-Americans since 1865 — when the 13th Amendment abolished slavery — and it roused the Lincoln Center crowd to multiple standing...
It’s easy to see why the New York Film Festival picked Ava DuVernay’s “13th” as its first-ever documentary opening-night film. In the year of Ferguson and Black Lives Matter, as fearful cops continue to gun down unarmed black men in the street, this must-see film will raise consciousness about how race affects the way we regard and behave toward the people around us. “13th” is a history of how white people have treated African-Americans since 1865 — when the 13th Amendment abolished slavery — and it roused the Lincoln Center crowd to multiple standing...
- 10/3/2016
- by Anne Thompson
- Indiewire
Fall has arrived. Two new limited releases opened at the $20,000 per theater level that used to be a regular feature for New York/Los Angeles initial platform releases.
“Denial” (Bleecker Street) and “American Honey” (A24) – both from relatively new distributors who show an ability to navigate the arthouse market’s tough shoals – are the highest in this traditional release model in the two months since Roadside Attractions’ “Indignation.”
That’s a long stretch. Some distributors have chosen wider initial city play, such as Lionsgate/CBS Films’ niche leader “Hell or High Water.” But numerous films have fallen short, and neither of these new releases was an automatic sell. So these are encouraging results.
Going a bit wider, unusual for a subtitled film, Music Box’s “A Man Called Ove” sought immediate positive audience reaction to give Sweden’s Oscar submission a chance to thrive going forward.
Two recent festival doc debuts,...
“Denial” (Bleecker Street) and “American Honey” (A24) – both from relatively new distributors who show an ability to navigate the arthouse market’s tough shoals – are the highest in this traditional release model in the two months since Roadside Attractions’ “Indignation.”
That’s a long stretch. Some distributors have chosen wider initial city play, such as Lionsgate/CBS Films’ niche leader “Hell or High Water.” But numerous films have fallen short, and neither of these new releases was an automatic sell. So these are encouraging results.
Going a bit wider, unusual for a subtitled film, Music Box’s “A Man Called Ove” sought immediate positive audience reaction to give Sweden’s Oscar submission a chance to thrive going forward.
Two recent festival doc debuts,...
- 10/2/2016
- by Tom Brueggemann
- Indiewire
About a half hour into Craig Atkinson’s police militarization doc, “Do Not Resist,” we’re witness to a Swat raid conducted in South Carolina’s Richland County. The particulars of this operation revolve around a drug bust, and demand preparations that include, but are not limited to, jamming a team of big tough men into a big tough truck armed with big tough guns. If you didn’t know better, you’d think they were about to head into a warzone, though in the spirit of charity, it’s possible that that the men each think that’s exactly where they’re heading: into the breach, into danger, into a pure combat scenario that will test their mettle and maybe give them a chance to go nuts with of the many totally badass firearms they’re packing.
Continue reading Documentary ‘Do Not Resist’ Is A Potent Look At The...
Continue reading Documentary ‘Do Not Resist’ Is A Potent Look At The...
- 9/30/2016
- by Andrew Crump
- The Playlist
Craig Atkinson’s documentary about police militarization in America asks an important question: how did we get here?
Craig Atkinson’s documentary about police militarization, Do Not Resist, is filled with unsettling scenes like the one where a Swat team destroys a family’s home during a drug raid that nets small amounts of loose marijuana. But the most disturbing scene transpires during the relative placidity of a seminar when a hugely successful lecturer tells a room full of police officers: “We are at war and you are the frontline.
“What do you fight violence with? Superior violence. Righteous violence. Violence is your tool … You are men and women of violence.”
Continue reading...
Craig Atkinson’s documentary about police militarization, Do Not Resist, is filled with unsettling scenes like the one where a Swat team destroys a family’s home during a drug raid that nets small amounts of loose marijuana. But the most disturbing scene transpires during the relative placidity of a seminar when a hugely successful lecturer tells a room full of police officers: “We are at war and you are the frontline.
“What do you fight violence with? Superior violence. Righteous violence. Violence is your tool … You are men and women of violence.”
Continue reading...
- 9/30/2016
- by Stuart Miller
- The Guardian - Film News
Welcome back to the Weekend Warrior, your weekly look at the new movies hitting theaters this weekend, as well as other cool events and things to check out.
This Past Weekend:
While the new movies reigned at the box office this past weekend, both Antoine Fuqua’s The Magnificent Seven (Sony) and the animated Storks (Warner Bros.) didn’t fare nearly as well as our projections, both falling short by about $10 million. The Magnificent Seven, starring Denzel Washington and Chris Pratt, fared decently with $34.7million, which is about the average for Washington’s films, but the fourth highest opening for a Western after last year’s The Revenant, the animated Rango, and Cowboys and Aliens. Storks’ $21.3 million opening wasn’t great compared to other animated September releases with Sony still holding the September opening record with Hotel Transylvania 2, but it should continue to do well with no other animated movies opening for another month.
This Past Weekend:
While the new movies reigned at the box office this past weekend, both Antoine Fuqua’s The Magnificent Seven (Sony) and the animated Storks (Warner Bros.) didn’t fare nearly as well as our projections, both falling short by about $10 million. The Magnificent Seven, starring Denzel Washington and Chris Pratt, fared decently with $34.7million, which is about the average for Washington’s films, but the fourth highest opening for a Western after last year’s The Revenant, the animated Rango, and Cowboys and Aliens. Storks’ $21.3 million opening wasn’t great compared to other animated September releases with Sony still holding the September opening record with Hotel Transylvania 2, but it should continue to do well with no other animated movies opening for another month.
- 9/28/2016
- by Edward Douglas
- LRMonline.com
While best documentary conversations start to take shape in January at the Sundance Film Festival, making the transition from rapturous festival play to awards-season contender is a harrowing road. A documentary must be truly extraordinary to make the final Oscar five.
The number of Sundance docs with awards potential is breathtaking: Breaking out of Sundance 2016 were U.S. Grand Jury Prize winner “Weiner” (IFC), an entertaining portrait of a politician brought down by his weakness for sexting, which turned into a summer hit; U.S. Documentary Directing Award winner “Life, Animated” (The Orchard), a moving portrait of an autistic child who grows up with Disney movies; and HBO’s Audience Award winner “Jim: The James Foley Story.”
Scoring great reviews were Ezra Edelman’s five-part movie “O.J.: Made in America” (Espn), an exhaustive examination of O.J. Simpson and race relations in Los Angeles from the ’60s through the Trial of...
The number of Sundance docs with awards potential is breathtaking: Breaking out of Sundance 2016 were U.S. Grand Jury Prize winner “Weiner” (IFC), an entertaining portrait of a politician brought down by his weakness for sexting, which turned into a summer hit; U.S. Documentary Directing Award winner “Life, Animated” (The Orchard), a moving portrait of an autistic child who grows up with Disney movies; and HBO’s Audience Award winner “Jim: The James Foley Story.”
Scoring great reviews were Ezra Edelman’s five-part movie “O.J.: Made in America” (Espn), an exhaustive examination of O.J. Simpson and race relations in Los Angeles from the ’60s through the Trial of...
- 9/23/2016
- by Anne Thompson
- Thompson on Hollywood
While best documentary conversations start to take shape in January at the Sundance Film Festival, making the transition from rapturous festival play to awards-season contender is a harrowing road. A documentary must be truly extraordinary to make the final Oscar five.
The number of Sundance docs with awards potential is breathtaking: Breaking out of Sundance 2016 were U.S. Grand Jury Prize winner “Weiner” (IFC), an entertaining portrait of a politician brought down by his weakness for sexting, which turned into a summer hit; U.S. Documentary Directing Award winner “Life, Animated” (The Orchard), a moving portrait of an autistic child who grows up with Disney movies; and HBO’s Audience Award winner “Jim: The James Foley Story.”
Scoring great reviews were Ezra Edelman’s five-part movie “O.J.: Made in America” (Espn), an exhaustive examination of O.J. Simpson and race relations in Los Angeles from the ’60s through the Trial of...
The number of Sundance docs with awards potential is breathtaking: Breaking out of Sundance 2016 were U.S. Grand Jury Prize winner “Weiner” (IFC), an entertaining portrait of a politician brought down by his weakness for sexting, which turned into a summer hit; U.S. Documentary Directing Award winner “Life, Animated” (The Orchard), a moving portrait of an autistic child who grows up with Disney movies; and HBO’s Audience Award winner “Jim: The James Foley Story.”
Scoring great reviews were Ezra Edelman’s five-part movie “O.J.: Made in America” (Espn), an exhaustive examination of O.J. Simpson and race relations in Los Angeles from the ’60s through the Trial of...
- 9/23/2016
- by Anne Thompson
- Indiewire
"We are at war - and you are the front-line troops in this war." Vanish Films has released an official trailer for the "chilling" documentary Do Not Resist, a powerful look at the current state of policing in America. Directed by cinematographer Craig Atkinson, this doc begins on the streets of Ferguson, Missouri and progresses through a number of different situations and key moments in history. It also includes views from both sides of the battle – the public and the police – with a Swat ride-along and police training seminar profiled. This is obviously a very major topic in America at this time in history, and it's fascinating to see this kind of documentary arriving right in the thick of it, when there is no real solution to any problems just yet. This is a fantastic trailer - it let's all the footage speak for itself without trying to explain too much else.
- 8/19/2016
- by Alex Billington
- firstshowing.net
“Do Not Resist” is the 2016 Tribeca Film Festival best documentary award-winner that reveals a rare and surprising look into the increasingly disturbing realities of American police culture.
Directed by Craig Atkinson, the film hopes to change perspectives on police militarization by showing protests in Ferguson to disagreements on Capitol Hill and dissecting the current state of policing in America. After premiering at Tribeca to rave reviews, the doc is now arriving to theaters courtesy of Vanish Films.
Read More: Tribeca Review: Prize-Winning Documentary ‘Do Not Resist’ Will Change Your Perspective on Police Militarization
The new trailer for the Atkinson’s directorial debut captures emotional and brutal exchanges between officers and young men and women. In one scene a young Ferguson protestor and a policeman who know each other shout at one another; “I’ve known you a long time,” the uniformed man says, with the protestor responding, “And y’all still killin’ us.
Directed by Craig Atkinson, the film hopes to change perspectives on police militarization by showing protests in Ferguson to disagreements on Capitol Hill and dissecting the current state of policing in America. After premiering at Tribeca to rave reviews, the doc is now arriving to theaters courtesy of Vanish Films.
Read More: Tribeca Review: Prize-Winning Documentary ‘Do Not Resist’ Will Change Your Perspective on Police Militarization
The new trailer for the Atkinson’s directorial debut captures emotional and brutal exchanges between officers and young men and women. In one scene a young Ferguson protestor and a policeman who know each other shout at one another; “I’ve known you a long time,” the uniformed man says, with the protestor responding, “And y’all still killin’ us.
- 8/18/2016
- by Liz Calvario
- Indiewire
Additional award winners include a documentary about police culture, and a film set against the backdrop of the Israeli-Palestinian conflict
With the 2015 Tribeca film festival entering its final stretch, concluding over the weekend with the world premiere of The Bomb, an installation about today’s nuclear threat, the event gave out its awards on Thursday night.
The big winners were comedian Demetri Martin’s directorial debut Dean, Craig Atkinson’s documentary look at police culture Do Not Resist and Junction 48, a film set against the backdrop of the Israeli-Palestinian conflict. All three won the top awards in their respective categories, which each come with $20,000 in prizes.
Continue reading...
With the 2015 Tribeca film festival entering its final stretch, concluding over the weekend with the world premiere of The Bomb, an installation about today’s nuclear threat, the event gave out its awards on Thursday night.
The big winners were comedian Demetri Martin’s directorial debut Dean, Craig Atkinson’s documentary look at police culture Do Not Resist and Junction 48, a film set against the backdrop of the Israeli-Palestinian conflict. All three won the top awards in their respective categories, which each come with $20,000 in prizes.
Continue reading...
- 4/22/2016
- by Nigel M Smith
- The Guardian - Film News
Dean, Demetri Martin’s gently comic picture about a Brooklyn illustrator unable to move on with his life following the death of his mother, won the Founders Award for Best Narrative Feature today at the 15th Annual Tribeca Film Festival. Udi Aloni’s Junction 48 — a drama about a Palestinian rapper in the mixed-city of Lyd that won the Audience Prize at this year’s Berlin Festival — took home the Best International Narrative Feature Award, while Craig Atkinson’s Do Not Resist, about the increasing militarization of United States’ police forces, won the Best Feature in the World Documentary Competition. About Martin’s […]...
- 4/21/2016
- by Scott Macaulay
- Filmmaker Magazine - Blog
Demteri Martin’s “Dean” claimed the Best U.S. Narrative Feature prize at the 15th annual Tribeca Film Festival. At the awards ceremony in New York City on Thursday, Udi Aloni’s “Junction 48” took the prize for Best International Narrative Feature while Craig Atkinson’s “Do Not Resist” won the award for Best Documentary Feature. For the first time in the festival’s history, there were separate U.S. and international narrative competition categories. This year’s festival included 102 features, 74 short films and 38 immersive storytelling projects from 42 countries. Also Read: 'Elvis & Nixon' Tribeca Review: Michael Shannon and Kevin Spacey...
- 4/21/2016
- by Beatrice Verhoeven
- The Wrap
The 15th annual Tribeca Film Festival juried awards ceremony on Thursday evening rewarded a wide roster of selections as organisers honoured separate Us and international narrative competition categories for the first time.
In the Us Narrative Feature Competition, the Founders Award for Best Narrative Feature went to Dean (pictured) by Demteri Martin, who receives $20,000, sponsored by At&T, and the art award Waking Up In The Painted World by Stephen Hannock.
Best actress in a Us Narrative Feature Film went to Mackenzie Davis in Always Shine, while Dominic Rains of The Fixer earned the best actor award.
The best cinematography prize went to Michael Ragen for Kicks along with $50,000 in post-production services donated by Company 3. Screenplay honours and $2,500 sponsored by Freixenet Cava were awarded to Ingrid Jungermann for Women Who Kill.
In the International Narrative Feature Competition categories, Udi Aloni’s Junction 48 earned the best international narrative feature prize along with $20,000 sponsored by Netflix, and the...
In the Us Narrative Feature Competition, the Founders Award for Best Narrative Feature went to Dean (pictured) by Demteri Martin, who receives $20,000, sponsored by At&T, and the art award Waking Up In The Painted World by Stephen Hannock.
Best actress in a Us Narrative Feature Film went to Mackenzie Davis in Always Shine, while Dominic Rains of The Fixer earned the best actor award.
The best cinematography prize went to Michael Ragen for Kicks along with $50,000 in post-production services donated by Company 3. Screenplay honours and $2,500 sponsored by Freixenet Cava were awarded to Ingrid Jungermann for Women Who Kill.
In the International Narrative Feature Competition categories, Udi Aloni’s Junction 48 earned the best international narrative feature prize along with $20,000 sponsored by Netflix, and the...
- 4/21/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
A film that may lead to important conversation regarding where the ethical lines are drawn between advancing technology and the extent to which peaceful protest must be respected free of government intimidation, Do Not Resist attempts to present a fair inquiry of police’s use of force. The issue itself is fraught with conflict and, unfortunately, the interest of immediacy of the conversation seems to trump thorough journalism.
Director Craig Atkinson opens the film with a range of footage shot on-location in Ferguson, offering rare glimpses of humanity in policing — including two verbal standoffs between officers of color, one unidentified, the other Ron Johnson of the Missouri State Highway Patrol, who listens to and attempt to quell young men looking for answers in the violence. Ferguson, of course, is a tinderbox that requires careful analysis; watching Do Not Resist, I kept wishing Frederick Wiseman was on the ground observing both sides carefully.
Director Craig Atkinson opens the film with a range of footage shot on-location in Ferguson, offering rare glimpses of humanity in policing — including two verbal standoffs between officers of color, one unidentified, the other Ron Johnson of the Missouri State Highway Patrol, who listens to and attempt to quell young men looking for answers in the violence. Ferguson, of course, is a tinderbox that requires careful analysis; watching Do Not Resist, I kept wishing Frederick Wiseman was on the ground observing both sides carefully.
- 4/19/2016
- by John Fink
- The Film Stage
"The Imposter" and "Searching for Sugar Man" each received 5 nods from the Cinema Eye Honors for Nonfiction Filmmaking. 31 features and 5 shorts will vie for the best of the best in documentary filmmaking. Check out the full list of nominees below including the Audience Award and Heterodox Award.
Winners of the 6th Annual Cinema Eye Honors will be announced on January 9, 2013 as Cinema Eye returns for a third year to New York City.s Museum of the Moving Image in Astoria, Queens.
Outstanding Achievement in Nonfiction Feature Filmmaking
5 Broken Cameras
Directed by Emad Burnat and Guy Davidi
Produced by Christine Camdessus, Serge Gordey, Emad Burnat and Guy Davidi
Detropia
Directed by Heidi Ewing and Rachel Grady
Produced by Heidi Ewing, Rachel Grady and Craig Atkinson
The Imposter
Directed by Bart Layton
Produced by Dimitri Doganis
Marina Abramović The Artist is Present
Directed by Matthew Akers
Produced by Jeff Dupre and Maro Chermayeff...
Winners of the 6th Annual Cinema Eye Honors will be announced on January 9, 2013 as Cinema Eye returns for a third year to New York City.s Museum of the Moving Image in Astoria, Queens.
Outstanding Achievement in Nonfiction Feature Filmmaking
5 Broken Cameras
Directed by Emad Burnat and Guy Davidi
Produced by Christine Camdessus, Serge Gordey, Emad Burnat and Guy Davidi
Detropia
Directed by Heidi Ewing and Rachel Grady
Produced by Heidi Ewing, Rachel Grady and Craig Atkinson
The Imposter
Directed by Bart Layton
Produced by Dimitri Doganis
Marina Abramović The Artist is Present
Directed by Matthew Akers
Produced by Jeff Dupre and Maro Chermayeff...
- 12/11/2012
- by Manny
- Manny the Movie Guy
In the battle of the Andersons, it was Wes who beat P.T for Best Feature at the 2012 Gotham Awards. Moonrise Kingdom would go 1 for 2 as Lynn Shelton’s Your Sister’s Sister easily among the year’s the best, for its natural, on-screen chemistry was handsomely awarded the Best Ensemble Performance prize. Making it an almost all Sundance Film Festival takes Gotham kind of year, in the Best Film Not Playing at a Theater Near You it’s Terence Nance’s An Oversimplification of Her Beauty which gets an extra boost for theatrical play. Pic was produced by Andrew Corkin who is lining up Jim Mickle’s We Are What We Are for festival play next year.
The heavy favorite in all categories combined was Beasts of the Southern Wild‘s Benh Zeitlin as Best Breakthrough Director and Audience award, while in the Breakthrough Actor category, it’s Emayatzy Corinealdi...
The heavy favorite in all categories combined was Beasts of the Southern Wild‘s Benh Zeitlin as Best Breakthrough Director and Audience award, while in the Breakthrough Actor category, it’s Emayatzy Corinealdi...
- 11/27/2012
- by Eric Lavallee
- IONCINEMA.com
Bernie, Middle of Nowhere, Moonrise Kingdom and Beasts of the Southern Wild each received a pair of nominations for the 22nd Gotham Independent Film Awards, but the big surprise has to be the Best Picture snub of Benh Zeitlin’s Sundance and Cannes winner. The jury of five favored Moonrise Kingdom, Bernie, Middle of Nowhere, The Loneliest Planet and The Master over other well-received truly indie titles such as Craig Zobel’s Compliance and James Ponsoldt’s Smashed. The awards will be handed out on November 26th.
Best Feature
Bernie
Richard Linklater, director; Richard Linklater, Ginger Sledge, Celine Rattray, Martin Shafer, Liz Glotzer, Matt Williams, David McFadzean, Judd Payne, Dete Meserve, producers (Millennium Entertainment)
The Loneliest Planet
Julia Loktev, director; Jay Van Hoy, Lars Knudsen, Helge Albers, Marie Therese Guirgis, producers (Sundance Selects)
The Master
Paul Thomas Anderson, director; Joanne Sellar, Daniel Lupi, Paul Thomas Anderson, Megan Ellison, producers (The...
Best Feature
Bernie
Richard Linklater, director; Richard Linklater, Ginger Sledge, Celine Rattray, Martin Shafer, Liz Glotzer, Matt Williams, David McFadzean, Judd Payne, Dete Meserve, producers (Millennium Entertainment)
The Loneliest Planet
Julia Loktev, director; Jay Van Hoy, Lars Knudsen, Helge Albers, Marie Therese Guirgis, producers (Sundance Selects)
The Master
Paul Thomas Anderson, director; Joanne Sellar, Daniel Lupi, Paul Thomas Anderson, Megan Ellison, producers (The...
- 10/18/2012
- by Eric Lavallee
- IONCINEMA.com
This morning, the Gotham Awards nominations were announced (indeed tweeted), and in a very competitive field, Benh Zeitlin’s Beasts of the Southern Wild, Richard Linklater’s Bernie, Ava DuVernay’s Middle of Nowhere and Wes Anderson’s Moonrise Kingdom lead the way, each earning two nominations.
Commenting on the nominations, IFP’s executive director Joana Vicente said, “From master film artists to richly talented newcomers, this year’s nominees comprise a diverse group of filmmakers and actors that defines the spectrum of independent film today. In addition to celebrating the work and the community, we also hope that the Gotham Award attention will encourage more audiences to explore the range of vibrant, entertaining, challenging, and innovative films represented here.”
As previously announced, this year the Gothams will honor actors Matt Damon and Marion Cotillard, director David O. Russell and Participant Media founder Jeff Skoll.
Below are the nominations in...
Commenting on the nominations, IFP’s executive director Joana Vicente said, “From master film artists to richly talented newcomers, this year’s nominees comprise a diverse group of filmmakers and actors that defines the spectrum of independent film today. In addition to celebrating the work and the community, we also hope that the Gotham Award attention will encourage more audiences to explore the range of vibrant, entertaining, challenging, and innovative films represented here.”
As previously announced, this year the Gothams will honor actors Matt Damon and Marion Cotillard, director David O. Russell and Participant Media founder Jeff Skoll.
Below are the nominations in...
- 10/18/2012
- by Nick Dawson
- Filmmaker Magazine - Blog
Beasts of the Southern Wild, Bernie, Middle of Nowhere, and Moonrise Kingdom Receive Two Nominations Each Best Feature Bernie The Loneliest Planet The Master Middle of Nowhere Moonrise Kingdom Best...
- 10/18/2012
- by Sasha Stone
- AwardsDaily.com
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