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A$AP ROCKY | as Yung Felon | HIGHEST 2 LOWEST In addition to his supporting turn in Mary Bronstein’s If I Had Legs I’d Kick You, rapper A$AP Rocky emerged as an impressive acting talent, dominating his screen time in Spike Lee’s music industry thriller Highest 2 Lowest. As aspiring hip-hop star Yung Felon, Rocky finds his character squarely in the crosshairs of Denzel Washington’s aging music mogul David King. When an attempted kidnapping and ransom of King’s son leads to a case of mistaken identity and fractured friendships and emotions result from King’s decisions around how to respond to the request for $17.5 million and a Cartier bracelet, Lee brings his film to a powerful moment where King and Felon square off in a music studio, engaging in an impromptu confrontation/rap battle for the ages. Rocky more than holds his own opposite Washington and asserts himself with one of 2025’s most impressive movie moments. (Spike Lee): “Don’t sleep on A$AP. I’ve done five films with Denzel, and a lot of times when he’s in a scene with somebody, they just get overwhelmed. He’s one of the greatest living actors today, but A$AP wasn’t having that. Toe-to-toe, I mean, they were going at it.” - Late Night with Jimmy Fallon, July 31, 2025 (A$AP Rocky): “As a New Yorker, it was a dream come true to be between Denzel and Spike Lee. Their dynamic alone is just historical. So I’m honoured (sic) to be an honorary member of their legacy. (Lee) let me develop my character full throttle. They put me in the right environment that was familiar with a little nostalgia, and it allowed me to take the character to different places, and borrow stories from the people I was around growing up, and their circumstances. I appreciate that he was receptive to all my changes for my personal character.” - Perfect Magazine, October 29, 2025 Highest 2 Lowest is available for streaming on Apple TV+. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/a31fb8c9-7d41-4f82-a533-e0f96cac5e3a/Buckley+Hamnet.jpg Announcements - The Best Performances of 2025 2. JESSIE BUCKLEY | Agnes | HAMNET For a film indirectly focused on William Shakespeare’s dedication to creating art from traumatic loss, Hamnet does not work without the stunning, grounded performance from Jessie Buckley, who portrays the Bard’s wife, Agnes, as a woman of strength and resilience. When we first meet her, she is deeply connected to nature and soon thereafter she falls for William and raises their two children while William becomes enamored with writing and theater. When their son Hamnet falls ill, Buckley’s performance hits extraordinary depth, and power, delivering a range of emotional responses that takes your breath away. (Buckley): "She was the full story of what I understand a woman to be. And their capacity as women, and as mothers, and as lovers, and as people who have a language unto their own beside gigantic men of literature like Shakespeare. Having not been a mother at the time, and having not lost a child … I know love, I know great love. And I think like with anything and with any of the women that I play or in any of the roles and the worlds that I enter I'm just trying to get a little bit more human in what I understand of being alive." - BBC, January 2, 2026 (Director Chloé Zhao, on casting Buckley): “I’m never looking for the actor, I’m looking for the humanity underneath the acting. Fearlessness, and a lack of vanity, and a person willing to take off their mask. Plus, when I went to Jessie’s house, she has a kitchen just like Agnes.” - The Hollywood Reporter, December 15, 2025 Hamnet is currently playing in theaters. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/2bee42c6-2f16-4509-9808-d1f6d5209840/Byrne+If+I+Had+Legs.png Announcements - The Best Performances of 2025 3. ROSE BYRNE | Linda | IF I HAD LEGS I’D KICK YOU Rose Byrne’s talent is unmistakable, but the places she goes in Mary Bronstein’s If I Had Legs I’d Kick You is unlike anything we have seen from her previously. Brilliant comedic timing and an ability to cut people down with one dismissive line, Byrne’s performance as Linda is a searing, visceral response to a woman constantly being silenced, while facing insurmountable challenges as a mother of a child with a mysterious illness that requires a feeding tube and near round-the-clock care. As a therapist, Linda advises patients while seeking advice herself from a colleague, played by Conan O’Brien. Her unraveling is difficult and mesmerizing to watch, creating a sort of anti-hero that we root for, admire, am shocked by, and hope can find a way out of the expanding hole that she feels stuck in. (Byrne, on Mary Bronstein’s insistence on extreme close-ups for most of the film): “(The movie) stretched me, technically, to a place that I’ve never been before. It really has sort of changed me as an actor, because of that language with the camera and how I had to adjust and figure out what Mary needed. But really, more importantly, what she didn’t need in certain close-ups, because it was so, so, so, so close to my face.” - Backstage, December 12, 2025 (Bronstein on casting Rose Byrne): “Rose was actually always at the top of my list because she has this innate comedic understanding and ability and can understand how to play even the most subtle comedy beats that are in my script. And the tone of my script is really, and the film itself as it came out is really a tightrope. If you fall too much into the comedy, you can lose the serious themes. And then if you fall too over to the other side, it can’t sustain itself. It’s too dark. And so I needed somebody who could walk that tightrope, the very smallest of actresses. And then I also wanted somebody who people would look at when her face comes on the screen, would have a kindness towards just innately because that would allow me as a tool, to take the audience further. And Rose has all those things. And so I was lucky enough that she wanted to do it because it was a very big ask.” - AwardsWatch, November 6, 2025 If I Had Legs I’d Kick You is available for purchase on VOD. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/7068c7f5-d7c3-4f96-a66b-e103cb9a9087/Cast+of+Sentimental+Value.png Announcements - The Best Performances of 2025 4. THE CAST OF “SENTIMENTAL VALUE” | (From L-R): Elle Fanning (Rachel), Inga Ibsdotter Lilleaas (Agnes), Renate Reinsve (Nora), and Stellan Skarsgård (Gustav) Family dynamics are explored deeply in Joachim Trier’s drama Sentimental Value, exploring the complicated relationship between a movie director father and his two adult daughters. When patriarch Gustav decides to make a movie documenting his mother’s life during World War II, and offers it to his daughter Nora, she bristles and declines. American actress Rachel Kemp then steps in to portray the character, exploring and learning about Gustav’s strained connection to his daughters. This moving story explores the notion of art as a healing mechanism and digs into the tenuous relationships that can fray when one eschews responsibility for personal gain. Centered around a house that serves almost as a character in its own right, Trier and screenwriter Eskil Vogt explore the unspoken and suppressed emotions that build up over time. Trier’s film soars with an ensemble cast who draw us into a complicated world and allow us to explore our own relationships and family connections. (Director Joachim Trier): “I tried to be clear. I dared to be clear. We shot on 35mm, and the colors — if you use that as a metaphor — are more saturated, clear and well-balanced. It’s risky to balance colors on this level; it’s hard. That’s a metaphor for the emotions we wanted. I knew I had great actors; I’m very privileged. The challenge of the film for me was how do we let that clarity and honesty come through when the film talks about the opposite: Our avoidance, our family’s inability to speak, the roles we give each other unconsciously. So much of the movie is about things that are unclear. So how does one tell that story in a straightforward way?” - The Hollywood Reporter, September 9, 2025. (Reinsve, on exploring her character): “I really love the launch of the character in Sentimental Value because you see her core problem through this very comedic setup that is very physical. You also see all the emotional weight that she’s carrying, unable to process, unable to communicate with the people around her in her real life. And she runs away panicking… because to be a good performer, you have to access everything inside of you. Also, on the subconscious level, you kind of have to have a contact with that and let anything come up. And she physically tries to run away, but when in the end she’s pushed on stage, you can also see where she gets her force as an actor. And you also see the similarity with Gustav, her father, that they are kind of the same, that the only place they can be really sensitive and present with other people is on stage because he also lacks that ability in his life with his daughters.” - Deadline, December 7, 2025 Sentimental Value is available for purchase on VOD. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/3a7fa0b6-9c98-4886-972d-654da9e32f09/Chalamet+Marty+Supreme.png Announcements - The Best Performances of 2025 5. TIMOTHÉE CHALAMET | as Marty Mauser | MARTY SUPREME In what may not only the performance of the year, but a career-defining milestone for the just-turned 30-year-old Chalamet, Marty Supreme finds the gifted actor as narcissist - diabolical, hilarious, insufferable, and unrelenting in his push to achieve a dream he believes people think he will never see come to reality. That drive, that determination is embodied in a wild, careening 160-minute whirlwind of a film that sees Marty pursue his desires in becoming the most famous table tennis star in the world, while also rubbing up alongside mobsters, having affairs with a married Hollywood starlet (Gwyneth Paltrow), a married friend from his hometown (Odessa A’zion), and playing every angle he can to make himself famous. What Chalamet creates on screen is unforgettable - a manchild we love to hate (and kind of love), unable to get out of his own way, annoying and exhausting, but with a hustle unlike any other. (Chalamet): “The confidence in the character, that ebbs and flows … and certainly within the scope of the film, too, you see Marty doubt (himself). But he has no one believing in him. He’s his only supporter. He’s his only dreamer. Rachel, played beautifully, played wonderfully, by Odessa (A’zion), is in his corner. But otherwise, it’s him against the world, and that does something to a man, which is one of the lines in the movie. So, I could relate to that deeply, and I tried to bring that spirit to the movie.” - Forbes, December 16, 2025 (director Josh Safdie, on casting Chalamet): “This young man and his youth were going to be very important, too. You have very little knowledge of consequence when you’re young, because the world is so big and there are so many opportunities. I think youth is quite romantic and him chasing love, adoration is also a great grounding agent. They never were worried about it, and never asked me to dull the edges because they knew that was going to be an interesting thing for audiences. I don’t believe in anti-heroes. That’s the only way you can write a character like that.” - ScreenDaily, January 6, 2026 Marty Supreme is currently playing in theaters. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/072beeb4-6ec9-4228-b46a-d5afa3da1cf9/Coogler+Sinners.jpg Announcements - The Best Performances of 2025 6. RYAN COOGLER | as Writer, Director, and Producer | SINNERS Sinners defies categorization. If you haven’t seen it, buckle up: Yes, it’s a horror film where vampires descend on a group of unsuspecting people. It’s a gangster epic, as twin brothers run from mob ties and try to create a new life in Clarksdale, Mississippi in the 1930s. The movie is also a drama, where past tragedies are revisited and the desire to run from life’s obstacles becomes a complicated, but very real emotional response. Sinners is also a cultural essay on the history of Black culture - how influential it has been to mainstream culture, the ease with which others appropriate Black innovation and creativity and call it their own, and the ways with which Black contributions are marginalized, ignored, snuffed out, or ripped away from those who create it. Managing and navigating all of this feels daunting and impossible, but the incredible talents of Ryan Coogler makes Sinners a mesmerizing, one-of-a-kind viewing experience. Sure, it is bloody and does not skirt away from violence as a means with which people react to one another. But, there is a tenderness and respect that hangs around even the most shocking of moments. Coogler’s film, before it becomes a horror-adjacent survival story, builds around community. Twin brothers “Smoke” and “Stack,” played by a fantastic Michael B. Jordan have returned home to open a juke joint where they hastily arrange a celebration. In a day’s time, they bring community together and unbeknownst to them, a vampire named Remmick has arrived in town, looking for a way to be let in. Seeing it four times as of this writing, Sinners continues to amaze me and provide details I missed in previous viewings. This is cinema at its most alive and Coogler’s film is one we will be talking about for decades. (Coogler on the vision for the film): “I mean … to me, allegory, metaphor, all these things, I'm not going to tell you that they're not present in my work - right? - but I was not - in this case, with this project, I was not being conscious of it. You know, like, I was trying to - you know, I was trying to communicate a feeling through cinematic language. And the reality is, as I've gotten older in this business and in this craft, you know, I realized that if I can make something true, it's up to the viewer to draw those parallels. You take the thing, and you analyze it. And with - and in your analysis, you might project your own experiences, your own knowledge. You know what I'm saying? And you might draw certain parallels that weren't the parallels I always intend, you know?” (Why he chose vampires): “When the idea came to me for this movie, I thought about other supernatural creatures as the thing that they confront at the juke joint. I went down the line. You know, like, I thought about werewolves. I thought about zombies. You know, I thought about shape-shifters, which, in some Indigenous cultures, might be referred to as skinwalkers. I went through the whole Rolodex, you know, and I kept coming back to vampires because of everything that the vampire implies in public consciousness. Vampires are expected to be sexy, usually expected to be fashionable, usually expected to be knowledgeable, usually expected to be very powerful. It's not thought of as wrong if a vampire is converted to vampirism, but they maintain their human personality - you know, their human memories. It's a fascinating premise. If I'm trying to have a conversation about our common humanity … what better to contrast, you know? The other piece that the vampire evolved (to) is the Faustian deal. I was very interested in that.” Sinners is streaming on HBO Max, Amazon Prime Video, the Roku Channel and for purchase on VOD. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/41f5ec5f-6337-48f9-bef5-cd8cdfe04533/Edgerton+Train+Dreams.png Announcements - The Best Performances of 2025 7. JOEL EDGERTON | Robert Grainier | TRAIN DREAMS As a laborer in the Pacific Northwest, at the turn of the 20th century, Joel Edgerton moves from well-respected and recognizable character actor to a full-fledged leading man, carrying the somber, beautiful, and meditative Train Dreams into an immersive and memorable movie experience. Covering the span of 80 years in the life of Grainier, director Clint Bentley clearly trusts the veteran actor to hold our gaze and connect to his journey. We see Robert as a dedicated worker and family man, determined to make things better for those around him. Everything he does is in the best interests of his family. When tragedy strikes, Edgerton’s most powerful moments in the film are showing us how Robert seeks to find a reason to keep living, working, and maximizing what he can with the one life he has been given. In addition to being one of the most beautifully shot films of the year, Bentley’s detail-driven emphasis on placing the viewer in the time period of the film, and having Robert be our guide through simple and unforgiving moments, makes Edgerton’s performance even more haunting, authentic, and powerful. (Edgerton, on how a small film like this can exist within the Netflix platform): “An artist could make something in their bedroom with one or two instruments, and it can sit alongside the most highly produced, expensive album. Movies are the same because the one ingredient that a big or small budget movie can have that will make it resound is story and character, and those are cheap. They’re not easy to craft, but they’re the common thing between any story on film that’s successful. Train Dreams trades in a good story and good character in a way that it can still sit alongside movies that seem bigger and louder. The success of the film on a business level struck me at Sundance when Netflix became so deeply interested in taking it on and their plan for rolling it out and putting a lot of care and attention into a campaign. The thing about Netflix, it’s like plugging into a louder amplifier. But again, none of that would matter if it wasn’t for the fact that (writer/director) Clint (Bentley) had crafted something that was a good story with good character.” - Interview, December 18, 2025 Train Dreams is now available on Netflix. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/23a6eccb-771c-4fa5-a98f-1358f32dc330/Hawke+Blue+Moon.jpg Announcements - The Best Performances of 2025 8. ETHAN HAWKE | Lorenz Hart | BLUE MOON Perhaps it can be a cliche to say that “you’ve never seen (actor) quite like this!” - but I am not sure how else to describe the ferocity and anxious enthusiasm that Ethan Hawke brings to his portrayal of legendary Broadway lyricist Lorenz Hart. Working for a ninth time with director Richard Linklater, Hawke transforms into the diminutive firebrand, landing at a local watering hole ahead of his former composing partner Richard Rodgers, who is set to celebrate his new Broadway play, “Oklahoma!” written, for the first time, by someone other than Hart. Hawke talks a mile a minute, seemingly full of boundless energy and endless things to discuss. However, we soon see a fear within Hart - a slow, growing realization that perhaps his work will be supplanted by someone else. In this instance, Rodgers, played by Andrew Scott, tore the house down with his new production, collaborating with Oscar Hammerstein. Even as Hart acknowledges that its Rodgers’ best work, he clings to a hopeless crush on a young actor (Margaret Qualley), desperately tries to stay at the center of everyone’s conversation, and wrestles with the reality that the spotlight he has grown accustomed to, may be pivoting and shining on someone else. As the dialogue-heavy film goes on, Hawke becomes less of an annoyance and more of a desperately sympathetic figure. We study him. His small stature, increasingly raspy voice, and receding hairline provide the shell with which Hart seeks connection anywhere and everywhere he can find it. Hawke has arguably never been better and the awards buzz he is receiving is absolutely well earned and deserved. (Linklater, on who Lorenz Hart truly was): “People loved Larry Hart. You don’t hear bad things about him. The Mabel Mercer quote is getting one aspect of him: ‘He was the saddest man I ever knew.’ I’m sure she saw the exuberant side, too. He was sitting on this bedrock of forlorn sadness. His sexuality was against the law. He was such an unusual physical specimen. We came to the conclusion that he never had the adult relationship that he dreamed of. It was never his to have – a loving, supportive relationship. He didn’t have that, and yet he wrote about it. It’s tragic. But he’s so witty, so smart, so biting. That’s what gives those songs their heft forever. Even if you’ve had the best life, you remember the ones that got away. You remember the rejections and the sadness. Those stay with you emotionally. (Hawke, discussing Hart facing rejection from several individuals in the film): “That’s where the writing gets really excellent. It’s really complicated and messy, like real life. On a very simple level, yeah, this is a breakup film between Rodgers and Hart, but the pain of that breakup is so intense that he’s distracting himself with a new pain. He’s creating a pain that is lesser, so that it can be managed at all. There was something about it that just feels deeply human and strange to me.” ( Linklater): “We have this young co-ed, this Yale 20-year-old who has her own life. She has her own passions, her own dreams. It’s the only time Larry shuts up. He gives her a lot of space. He’s truly intrigued by this young woman. He’s infatuated. It’s fun to feel like what it must have felt like to be her in that moment.” (Hawke): It’s funny, structurally, as a film, that the biggest, most difficult scene I have in the movie is when he finally stops talking, and he’s forced to listen. That’s when he gets shattered.” - Dazed, December 2, 2025 Blue Moon is available for purchase on VOD. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/28b04a18-c9a3-4893-9fab-06b2d2d1496a/Indy+Good+Boy.png Announcements - The Best Performances of 2025 9. INDY | as Indy | GOOD BOY Yes, an animal has made the list of the Best Performances. And also yes, I wish Good Boy was a better overall movie. However, what cannot be denied is how Indy, a Nova Scotia Duck Trolling Retriever, has earned nearly a dozen awards, special citations, and recognition for his performance in Ben Leonberg’s debut film. Indy, as it turns out, is a really good boy, indeed. For Leonberg, his casting search was easy. Indy is his own dog. It might be the expressiveness. It might be his presence. Or the way the camera loves filming his loving, curious demeanor. Perhaps, better than some human actors, Indy might somehow understand precisely what his director needs and wants in each scene. No matter the “why” of it all, you simply cannot take your eyes off of him. The premise of a horror film, told from the standpoint of an observant dog, is clever. Then, when you find a dog like Indy, who can convey authentic fear and anxiety or seem genuine as he reacts to seeing ghostly apparitions, hearing strange noises, and peering into darkened hallways and corners, make no mistake … we must protect Indy at all costs. (Leonberg on Indy not dying in the movie): “Well, I knew I wasn’t going to kill the dog. I started with the idea that in the first act of every horror movie, there’s this dog who knows what’s going on before anybody else does. Usually, he ends up in pieces in front of the family at the break into Act Two. See: The Conjuring, any number of films. What if you just told the story of the dog who doesn’t end up dying but experiences the haunting? He’s the only one who really knows what’s going on thanks to his canine senses. How far could you push that?” (Leonberg, on challenges with Indy): “Pretty consistently, the things that seemed like they should have been hard were pretty easy, and the things that should have been easy were incredibly hard. This is part of the reason why all the sets were closed sets, because they needed to be as distraction-free as possible. We’d be so close to getting the shot. He’d walk in, you’d have the right eyeline, and then he’d be like, ‘Look, a butterfly.’ Mitigating little distractions was, if not the biggest challenge, a constant challenge.” Good Boy is available for streaming on AMC+, Shudder, Roku, Philo, and DirectTV Stream and available for purchase on VOD. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/2c5c20e2-98f3-454a-be49-11d0a816c260/Alabama+Solution+Jarecki+Newman.jpg Announcements - The Best Performances of 2025 10. ANDREW JARECKI and CHARLOTTE KAUFMAN | as Directors and Co-Writers | THE ALABAMA SOLUTION Other, more showier documentaries may have garnered a ton of attention, but one of the most powerful, haunting, and important films of 2025 is The Alabama Solution, a devastating look at the abuse, suffering, and, in some instances, murder which inmates experienced in Alabama’s state prison systems. Sympathies and empathy for inmates can vary for a variety of reasons, but since 2019, nearly 1,400 inmates have died or been killed while in state custody. Near the beginning of filming, one inmate - Stephen Davis - was found dead. Davis’ story serves as a centerpiece for the film, exploring how, despite an investigation and lawsuit by the U.S. Justice Department, the neglect, harm, and death of incarcerated individuals seemingly goes unpunished in Alabama’s prisons. Jarecki and Kaufman utilize cell phone footage shot secretly by inmates, documenting the awful conditions and treatment they experience. And even if you are someone with little empathy for the incarcerated in this country, you cannot help but become upset when you see instances of inmates abiding by the rules, trying to better themselves for a potential return home, and being abused or seeing their deaths covered up and elected officials and those in charge seemingly without any remorse, concern, or care over the conditions within the prison system. (Jarecki): “Because of the secrecy of prisons and because the public is sort of willing to drive by that little sign on the road that says, you know, ‘XYZ Correctional Facility’ and think, ‘Yeah, I don’t know what’s going on back there but it is probably all right,’ I think that the system actors very often just don’t go visit the prisons. They don’t ask the questions even though they’re in charge. You want people, and also I think it’s a non-partisan issue, when people get to the end of the film, they say, ‘Hey, that’s not what I meant when I said tough on crime.’ This is a whole other dimension. I just didn’t know what it meant when those guys went behind bars.” - IndieWire, November 12, 2025 (Kaufman): “When you’re taking on subject matter like this and people are giving you the responsibility for telling their stories, the stakes are really high. And I think Andrew and I both feel we thus have to be experts on the subject material; and not just in a solely story-driven away, but to really understand all the ins and outs. We have to speak to as many people as possible, take as much time as needed. It’s a sacred responsibility, especially when it’s a story that is being withheld from the public. In many ways we’re following a civil rights history of the (prison reform) movement that we don’t usually get to see. There was this tear in the fabric of secrecy that usually exists throughout prisons, and we got access to it. We didn’t want to rush the process because it has to be right, because the stakes are so high.” - Filmmaker, November 12, 2025 The Alabama Solution is currently streaming on HBO Max. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/e8a8aa8c-3e08-4d9a-9080-fcf1c616daf5/Kpop+Demon+Hunters+Directors.png Announcements - The Best Performances of 2025 - Make it stand out 11. MAGGIE KANG and CHRIS APPLEHANS | as Directors and Co-Writers | KPOP DEMON HUNTERS Find me a mainstream movie as ambitious as KPop Demon Hunters. It’s okay, you probably can’t. With the confident directing of Maggie Kang and Chris Applehans, this animated mixtape of a film blends science fiction, action, comedy, and musical elements into something that, in lesser hands, could have felt nonsensical and rudderless. Instead, KPop Demon Hunters feels purposeful and cohesive, delivering a story that embraces difference, celebrates heritage, and leans into the idea of “otherness” as a strength rather than a liability. Oh and also, our female protagonists HUNTR/X (pronounced Hun-Trix) slay a whole bunch of demons along the way. Kang, who developed the concept for the story, and Applehans never lose sight of the film’s big, beating heart beneath its pop culture wrapping. Themes of acceptance and inclusivity are woven organically into the story, and the film’s messages feel genuine and not on-the-nose. KPop Demon Hunters understands that identity can be deeply personal and expressive, and relays those notions exceptionally well, alongside stunning visuals, thrilling action, interesting characters, and one banger of a soundtrack. That soundtrack was everywhere in 2025. Going 9-times platinum around the world and topping album charts in 15 countries so far, KPop Demon Hunters could have Grammys and Oscars to celebrate by the spring of 2026. The cultural impact Kang and Applehans created cannot be ignored. “Golden” spend eight weeks at #1 on the Billboard Hot 100, and the soundtrack became the first in history to place four songs in the Top 10 at the same time. And regarding “Golden,” you know you have tried hitting that note. Maybe you were alone or in the car, certainly in the shower. But, you tried. And you’re not alone. By the end of summer, KPop Demon Hunters became the most watched Netflix film of all time. All in all, Kang and Applehans delivered one of 2025’s most memorable and improbable cinematic performances. (Kang): “I’ve always wanted to see an animated film set in Korean culture. As a Korean person who was born in Korea but grew up in North America, it’s been surreal but also incredible to see our culture just become… so cool? It’s cheesy but I think it’s true. Growing up everyone knew Chinese and Japanese culture well but Koreans were not even on the map. Now that we are, I feel so much pride and I just wanted to express this pride through a film that celebrated our culture, all aspects of it. So my biggest inspiration for this film is my culture.” - Geeks Out, July 16, 2025 (Applehans): “... Everybody wants unconditional love, you know. So I think the fact you have somebody chasing that in a flawed way and then finding the right way … whatever your particular inner demons or your shame, your powers are, that could take so many forms, but the journey is pretty accessible, I think. It reminds me when we were writing the last song, the breakthrough it was. Basically talking to the songwriters and saying, ‘This isn’t like a song about just a happy ending.’ Actually, it’s about continuing a kind of struggle. And like, you’re gonna carry pain with you forever. Like, it’s not like ooh, all done now. And I think there’s sort of an honesty about that that’s not a perfect tidy thing that people take with them rather than just being like, ‘Yay, we’re done here. Life is fixed.’” - AwardsWatch, October 8, 2025 KPop Demon Hunters is currently streaming on Netflix. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/e5c9a53a-a58a-43ae-aba9-1dc5136dc2f7/Madigan+Weapons.png Announcements - The Best Performances of 2025 12. AMY MADIGAN | as Aunt Gladys | WEAPONS Warner Bros. kept the marketing for Zach Cregger’s Weapons frustratingly vague. Rather than conventional trailers, we saw teasers and a viral social media campaign utilizing grainy, low-resolution footage of young children running out of their houses in the middle of the night, their arms held in a deeply unsettling position. Eerie, intriguing, and bizarre, those videos didn’t even come close to what was waiting for us. Nothing, and I mean nothing, properly prepared audiences for what Amy Madigan does as Aunt Gladys. Madigan’s performance is strange and unsettling at first. A bit funny and almost a novelty or stunt when you first see Aunt Gladys’ persona. However, there’s this charisma that pulls you in before you realize how unhinged Gladys happens to be and how inviting you have become in accepting her. A look lingers a beat too long. A reaction feels just slightly off. What begins as a strange curiosity turns into someone you genuinely dread seeing return. But you also love when she returns, because Madigan keeps you on edge. Though her makeup and hairstyling is severe and over-the-top, Madigan’s piercing, frightening performance is not because of her look. Rather, it is how in control and unpredictable she is. By the time Weapons reaches its final act, it’s impossible not to think about the all-time great villains. Alongside performances like Heath Ledger’s The Joker, Javier Bardem’s Anton Chigurh, Anthony Hopkins’s Hannibal Lecter, and Alan Rickman’s Hans Gruber, Madigan and Gladys feel like a new inductee in the Villain’s Hall of Fame. Intense, fascinating, dangerous, and iconic, Amy Madigan’s performance is something you will never forget. (Madigan): “Per the script, I’m the antagonist. I’m supposed to be the bad guy, but Gladys doesn’t think she is. Gladys is someone who’s doing exactly what she needs to do to survive. Her back is pushed against the wall. I think that she’s been doing this for a while. She comes to town, you see her doing okay, then you see her not doing well at all. She gets other people to do things for her, so she has a remove, in a way, from what the end result is and her actual participation. She’s very confident in what she’s doing. She has great follow-through. You know, it’s like the adage: A woman’s gotta do what she’s gotta do. And this woman does.” - Backstage, December 15, 2025 “Her back is against the wall. She was in desperate circumstances, and it was a heightened way to deal with something which I thought was rather unique. Yes, she is scary. She can turn on you, and you don’t want that to happen. But the movie is funny. Zach is smart because he melded those two things. But when she’s bad, she’s really bad.” - IndieWire, December 17, 2025 Weapons is streaming on HBO Max and Roku and available for purchase on VOD. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/881c6570-dd3c-4a89-aea8-0fdfe1ceab62/OBrien+Twinless.jpg Announcements - The Best Performances of 2025 13. DYLAN O’BRIEN | as Roman and Rocky | TWINLESS We have come a long, long way from The Maze Runner movies. Not that those are to be disparaged, but the Dylan O’Brien who broke out in those movies feels like a completely different individual than we see in James Sweeney’s shocking and yet, still endearing comedy/drama Twinless. O’Brien portrays twin brothers Roman and Rocky and Roman is mourning the recent death of his brother. Reeling, lost, and unable to manage his emotions, Roman joins a support group for people who have recently lost a twin. Roman stumbles upon a fellow support group attendee, Dennis (Sweeney), and the two become fast friends. Being gay, Dennis provides a window into Rocky’s world that Roman did not fully understand while he was alive. And for Dennis, he has never quite met someone as interesting and unique as Roman. This balancing act is brilliantly written and directed by Sweeney, a surefire movie-making talent to keep an eye on in years to come. However, O’Brien gives a career-best performance as a brother almost too proud to admit how fragile he is, yet looking to Dennis to not help him crack. He’s alone. Lonely. He needs a friend. And isn’t always the best at making and keeping them. It’s a stunning performance, densely layered, beautifully vulnerable, and someone who, somewhat like a puppy dog, simply wants to matter in a world he has never experienced without a twin brother by his side. (O’Brien on playing twins with completely different personalities): “They’re both different humans. They ultimately become surrounded by different people. One kind of stays at home. The other sort of expands beyond and experiences new and different environments. And it’s like the thing that I can most compare it to in my own experience growing up with friends in a small town. And then I was a kid who moved in seventh grade. So, even just on that, it’s not a big city or anything, but all of a sudden, you’re in a new environment. You’re enduring being surrounded by a whole new reset. You’re all of a sudden going from being comfortable to surviving, so you’re automatically implementing these sorts of adaptive instincts and things like that, and in a way that friends of yours who’ve grown up in the same town didn’t have to.” (On Sweeney giving him space in a highly emotional scene): “... You’re sort of learning what you need … in these moments ... I guess I’ve been through this enough to know that I wouldn’t necessarily know what was going to come out or how it was going to happen, but I knew how to approach it and get myself ready for that moment, and then to just let it go. It was kind of a really special moment for me in my career, to still, I don’t know, at age 33, to still have these moments of evolution as an actor. It’s nice. It feels good.” - The Playlist, August 26, 2025 Twinless is available for purchase on VOD and will be available for streaming on Hulu and Disney+ beginning January 16. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/92058ac9-346d-4ff1-a907-efbf6417e388/Palmer+SZA+One+of+Them+Days.png Announcements - The Best Performances of 2025 14. KEKE PALMER and SZA | as Dreux (Palmer) and Alyssa (SZA) | ONE OF THEM DAYS Movies released early in the year run the risk of being forgotten, and though it grossed $51 million at the box office, tripling its production budget, people seemed to forget about Laurence Lamont’s One of Them Days. As best friends Dreux and Alyssa, Palmer and SZA make a tremendous duo together, cutting one-liners at will, playing off of one another’s reactions in a genuine and authentic way and making the movie feel, at times, like these weren’t actors playing roles - just two best friends vibing, living their lives, and just existing in South Los Angeles. Though the premise is a familiar one: two friends, barely making enough to live or much less pay their rent on time, face eviction from their landlord if they don’t have money paid to him by 6:00 p.m. on the first of the month. Believing rent is paid, they learn that Alyssa’s boyfriend Keshawn (Joshua Neal) actually used the money for a personal matter. He’s also cheating on Alyssa, which sends both women into a spiral and a series of situations that threaten to change their lives forever. Light on its feet, Palmer and SZA make the film an absolute joy to watch. We look past the formulaic moments because they are clearly having a ball working together. SZA, a multi-platinum R&B superstar, makes her acting debut and is a natural alongside her veteran co-star. No matter how ridiculous this day gets for Dreux and Alyssa, we are convinced that they have each other’s backs. That friendship, that affection for one another is as pure and real as anything we saw on the big screen in 2025. Their comedic timing, humorous interactions, and effortless chemistry helped make One of Them Days a wonderful surprise of 2025. (Palmer, on her chemistry with SZA): “We were allowed to really improv and play around with lines and the crew encouraged it. A lot of the things that were chosen for the movie are things that we improvised. When we started working together for this film, that was when we got to spend more time with each other outside of just being peers in our industry. And the chemistry was immediately there. SZA was just so open and she’s a person that’s very hard not to love because she lays it all out there. We went all-in together and very much supported each other throughout the whole film.” - Stylist, February 2025 (Director Laurence Lamont on casting SZA): “We had so many people audition for the Alyssa role, and … the studio had the idea for SZA. I wondered how it would be because her and Keke were on [Saturday Night Live] together, so they already had a little bit of chemistry. It was just clear as day that she was Alyssa. Even on set sometimes I would say cut and try to go in and give notes and they would still be laughing and enjoying themselves. I'm like, ‘We shouldn't even cut the cameras.’ We might as well roll on all the behind-the-scenes stuff that they're doing because the bestie vibes were strong and their chemistry is one of a kind.” - The Fader, January 16, 2026 One of Them Days is streaming on Netflix and available for purchase on VOD. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/438cb7a3-a43c-4e73-af87-d25fde01caee/Panahi+Accident.png Announcements - The Best Performances of 2025 15. JAFAR PANAHI | as Writer, Director, and Producer | IT WAS JUST AN ACCIDENT A Jafar Panahi film feels like a minor miracle, and It Was Just an Accident is no exception. Perhaps his most accessible film for mainstream audiences, Panahi shot the film in secret, given his continued persecution and the Iranian government’s efforts to silence him for creating “propaganda against the system.” Suspenseful and emotional, Panahi’s film focuses on a group of former Iranian political prisoners who come together when one man believes he has found his former tormentor. As Vahid (Vahid Mobasseri), an auto mechanic, recognizes a distinctive trait from his captor, present in a man who comes to him for help, he is convinced that their paths have crossed. Reaching out to others, there is an initial belief, than uncertainty that they have found a man they called Eghbal (“Peg Leg”), since they were bound and blindfolded while in detainment. Panahi looks at revenge and retribution as a human emotion, but also explores the trauma and pain that can cripple someone as they grapple with the requisite fear, anger, and unresolved grief which accompanies those feelings. Panahi asks us to consider what justice looks like, and who has the right to enact it, leading his film to open up deeply thoughtful discussion around questions that do not offer simple or easy answers.To even discuss this is an act of protest and Panahi’s bravery in telling this story resonates as one of 2025’s most powerful cinematic moments. (Panahi): “Any film that’s made that doesn’t exactly fit what the government wants will run into the same problems. It’s like that famous saying: ‘You’re either with us or you’re against us.’ There’s nothing in between, so everyone has to find their own way. When I received a heavy prison sentence, I asked myself what I could do. You can find a thousand reasons not to succeed when creating a cinema. Anyone in my circumstances could probably think this would be the ultimate reason not to create. There was a time when my students would come to me, complain about the circumstances they were facing, and say that they could not make films as a result. But when my team and I made films such as “This Is Not A Film” or “Taxi,” students were not complaining anymore. They realized that there’s nothing that completely closes all the doors to creating. In suppressing authoritarian systems, 50% of the creativity comes from the director’s energy, while the other 50% is dedicated to finding a way to make the film.” - RogerEbert.com - October 15, 2025 It Was Just an Accident is now playing in theaters and available for purchase on VOD. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/b2bb744e-152f-4d07-b2f8-cb6b142aa821/Chan-wook+-+No+Other+Choice.png Announcements - The Best Performances of 2025 16. PARK CHAN-WOOK | as Writer, Director, Producer | NO OTHER CHOICE One of the reasons a number of international films have generated awards season buzz and the potential for numerous Oscar nominations this year is that they explore topical, real-world issues in a way that is fearless, bold, and welcoming of debate. Park Chan-wook’s extraordinary No Other Choice precisely locks in on the dire nature of the global economy, by focusing on one man’s desperation to find a solution - any solution - after unexpectedly losing his job. Park is a master storyteller who can blend genres with the ease of a Michelin cook. He has made films with extreme violence, labyrinthine mystery, and unflinching, sorrowful drama. Here, Park finds dark, bleak humor in his adaptation of the 2005 Costa-Gravas film The Ax. In this version of the story, an American corporation buys out the paper company where Man-su, a husband and father of two, works and is widely revered. After his unexpected termination, he takes odd jobs until an opportunity leads him down a road of contemplating what he is willing to do to eliminate the competition and re-establish his place within his family and in his career path. Everything clicks here. The performances are terrific, the pacing balances tension, suspense, and, again, this is one unexpectedly funny movie. Something of a satire, we may be laughing as we wonder what Man-su is capable of, but we are also wondering about the world in which this film exists. There is an unyielding pressure to provide and the pressure to mean something in this world that does not always fit with the expectation of being “successful.” That pressure can push people to their breaking point, and the irony of all of this is that there really isn’t anything all that funny about that realization. (Park): “The audience desperately wants to cheer him (Man-su) on and for him to find a job, but at other times, they realise that his choices are wrong. Those two feelings coexist, and the audience switches between them. That was the goal behind the making of this film.” - The Guardian, January 9, 2026 (On incorporating comedy into the film): “I would say that I always work with the same ingredients; I’ve just mixed them up differently for this recipe. I’ve always liked having dark humor in my stories, but with this film, the humor stands out much more. That was very important from the beginning. The book isn’t in-your-face comedic, but I thought that by exaggerating Man-su’s foolishness, I could deepen the message. I wanted to really highlight the tragic absurdity of his ideas and how he puts them into action. The solution to our problems can only be found by fighting the system. But very foolishly, before long, he’s targeting his fellow colleagues. This leads him to commit terribly immoral acts, all the while telling himself he has no other choice — that he’s doing it all for his family. It’s tragic, but there’s also such absurdity to it.” - The Hollywood Reporter, October 10, 2025 No Other Choice is now playing in theaters. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/8fa4f02e-268e-4d96-ba98-e0910fe7497e/Penn+-+OBAA.jpeg Announcements - The Best Performances of 2025 17. SEAN PENN | as Col. Steven J. Lockjaw | ONE BATTLE AFTER ANOTHER There are no shortage of amazing moments and performances in Paul Thomas Anderson’s One Battle After Another. The tenderness of Regina Hall. The ferociousness of Teyana Taylor. The thoughtful, calm demeanor of Benicio del Toro. The comedic unraveling of Leonardo DiCaprio. The wise-beyond-her-years breakout by Chase Infiniti. Any of them, and Paul Thomas Anderson, deserve a spot on this list. However, I would argue, nothing comes together in Anderson’s Thomas Pynchon adaptation without a terrific villain to shake up and destroy the world these characters exist in. Enter: Sean Penn. The two-time Oscar winner hardly needs more accolades. However, he taps into something unlike any character we have seen from him before, as the rugged, vicious, racist, dogged Col. Lockjaw - the human embodiment of a wind-up G.I. Joe toy, whose whole mission in life is to find DiCaprio and Infiniti’s characters and exact revenge for a humiliation he endures at the beginning of the film. One Battle After Another offers a harsh, frank analysis of our political opposition to one another, and Col. Lockjaw certainly rests on the far-right of our political discourse. However, he is as diabolical, dangerous and frightening as he is absurd, ridiculous and vain. Penn captures not only Lockjaw’s ability to present as a tough, unbreakable beast of a man, but also shows us a vulnerable, stunted manchild who is reduced to little else when his firepower gets taken away. Just when you think you’ve seen the depth and breadth of what Penn can do as an actor, he gives us an unforgettable, abhorrent character that is the glue that binds everything together in the extraordinary One Battle After Another. (Penn): “Eighteen years ago, when I did Milk, was the last time that I enjoyed the work. But you want to be participating in something that is of your current interest, and with people who are surprising. Because of Paul’s movie, I’m in a stage of liking acting. But I’ve always got carpentry to fall back on. And surfing. (On working with Paul Thomas Anderson a second time): “I thought I looked a bit bloated (in Licorice Pizza). It was a charming movie. Bradley Cooper makes me giggle in that film. And I started hearing that Paul was going to send me another script. When he finally sent it to me, I was traveling and I took it with me. Late at night, still dripping wet from a shower, I grabbed it just to taste the opening pages. I sat there naked, laughing and really excited because Paul is always in totally different worlds. I thought to myself, Okay, he’s going there!” - W Magazine, January 6, 2026 One Battle After Another is playing in theaters, streaming on HBO Max, and available for purchase on VOD. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/4d5f9dc5-4a26-474f-921b-c38e7b922ce1/Sangare+Souleymane.png Announcements - The Best Performances of 2025 18. ABOU SANGARÉ | as Souleymane | SOULEYMANE’S STORY Among the best films of 2025 that you missed is the pulsing, suspenseful Souleymane’s Story, a four-time Cesar Award winner (think the French Oscars) and a film with a 100% on Rotten Tomatoes and “Universal Acclaim” status on Metacritic. A quiet, urgent film from French director Boris Lojkine, we are embedded alongside our title character, a Guinean immigrant in Paris, who works as a meal service courier while waiting for his asylum application to be approved. Lojkine embeds us alongside Souleymane, beautifully played by Abou Sangaré in his acting debut, and brings us into his daily routine of working, hustling, and trying to survive from one day to the next. Sangaré’s warm demeanor makes Souleymane easy to root for, but increasingly, we see that his decisions often come with greater consequence. For example, we don’t really love Emmanuel, the man he works for, who forces his couriers to use his name for deliveries, allowing him to reap most of the profits he then peacemeals out to his delivery staff. Souleymane has to remain positive, smile and stay polite, as the people he encounters, mostly white, see him as beneath them - relegating him to a need to belong in a country that sees him as a lesser human being. At times, Souleymane’s Story has the look and feel of a documentary at times. Lojkine keeps us close with Souleymane as often as he can and we begin to see and understand him in ways no one else around him truly does. It’s a remarkable performance from a first-time actor that we need to see more from. (Sangaré): “When I see Souleymane sitting in the French Office for the Protection of Refugees and Stateless Persons, I put myself in his place, because I know what it’s like to wait for your (identification) papers here in France, to be in this situation – the stress, the anxiety … Like me, Souleymane finds himself in an environment that he doesn’t know.” - EuroNews, October 14, 2024 “You wouldn’t see a French person waking up early to collect rubbish. Someone needs to do these jobs. And the people who are willing aren’t asking for anything more than papers so that they can work. One of the goals of the film is to ask: what do we do with people that have spent years on French territory and haven’t been granted asylum? These are people without papers but who work every day and contribute to the good of the country.” - The Guardian, October 29, 2024 Souleymane’s Story is streaming on Roku and Kanopy, through your public library, and available to purchase on VOD. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/c8fc495e-8491-4918-b769-aada8c2d8d0c/Seyfried+Testament.png Announcements - The Best Performances of 2025 19. AMANDA SEYFRIED | as Ann Lee | THE TESTAMENT OF ANN LEE Mona Fastvold’s polarizing musical, The Testament of Ann Lee,will find wider audiences in January 2026, after its limited release and Oscar qualifying run in the fall of 2025. It’s ambitious and unique, a 140-minute film documenting how Ann Lee came to be known as a female Christ-like leader and founder of the Shaker movement in the 18th century. Told through percussive song, somber dialogue, and an increasingly analytical look at religious fervor and persecution, the performance by a fearless Amanda Seyfried anchors the entire film into an engrossing cinematic experience. Seyfried carries nearly the entire film, a Herculean task for the actor who sings and dances, while also giving us the complexities of a woman who comes through unthinkable tragedy to become the leader of a religious movement that preaches equality between men and women, but doesn’t exactly, in the end, make her the most sympathetic of individuals. It is a punishing performance, with Seyfried pushing her body and physicality to places we have never seen from her before. We can feel every movement, every note, and the pain and anguish that she tries to suppress to enlighten those who see her as strong, infallible, and powerful. Because the film is not going to play easy for audiences, The Testament of Ann Lee may lose some people with its odd approach at conveying a really interesting story. The songs, of which there are many, may not be catchy, radio-friendly chart-toppers, but they gain their voice and power from a committed Seyfried, who gives everything she has to the role. (Fastvold, on convincing Seyfried to make the film): “I felt like I was anti-selling her … It was more like, ‘This is my obsession. This is the wild thing that I want to dedicate years of my life to. I think it would be amazing if you would do that with me, but it also really has to be something that you have an appetite for.’ You can’t really sell someone on something like this.” - The Ankler, January 3, 2026 (Seyfried, on her previous experience with musicals helping her with this film): “In ‘Mamma Mia!,’ everything’s pre-recorded, so I’m not really singing so much as I am just, you know, lip-synching my own voice. With Ann Lee, it’s both. I’m in the studio, and I’m singing live, and it’s being mixed in post. I just realized, like, I don’t have to listen to myself anymore. I just have to sing from my gut. I just have to sing from my own lived experience. And that sounds different, and it feels different, and you breathe differently, so you become a different animal in a way. And whatever was created while I was singing from that place of my own truth and molding that together with Ann Lee’s truth… it was incredibly fulfilling and revolutionary for me.” - AV Club, January 9, 2026 The Testament of Ann Lee will return to theaters, beginning January 23. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/bc5d1d73-be57-40fb-b6bd-990138c5edb4/Victor+Sorry+Baby.png Announcements - The Best Performances of 2025 20. EVA VICTOR | as Agnes and as Writer, Director | SORRY, BABY Few films in 2025 were as vulnerable and honest as Sorry, Baby, the feature film debut of filmmaker and actor Eva Victor. Victor, who uses she/they pronouns, has drawn from their own personal experiences with sexual assault to create a powerful, potent, and observant exploration of how trauma does not define someone but is likewise not something that can ever be truly forgotten. Starring as Agnes, Victor plays a literary professor who endures a “really bad thing that happened” after visiting a doctorate study group professor at his home. Traumatized, Agnes confides in her best friend Lydie (Naomi Ackie) and struggles with panic attacks, depression, and the trust that comes in connecting with and engaging with people. Victor’s screenplay is brave and uncompromising, a film that not only understands life goes on after a traumatic event, but gives space for a person to unwind and process everything on their terms. Victor’s film may feel cynical at times, but also exhibits tremendous restraint. They create a film that says everything without saying everything and forces the viewers to react and understand and process the impact of what Agnes endures in a deeply personal way. Sorry, Baby is a small film, in terms of its $1.5 million production budget, but it speaks volumes. The film is honest, touching, maddening, and real - a film of profound power and remarkable insight into our ability to withstand whatever comes our way. (Victor): “I don't really know how to write a straight drama. I think this kind of experience is so surreal and bizarre, and so many things do become really funny. The world just becomes sort of a place that feels so absurd. Some of the laughter happens, I think, because we're just watching two best friends have an amazing time together, and that's just joyful. And then some of the humor is more Agnes, sort of fish out of water, trying to make sense of this world and feeling awkward in it. And there's some comedy in the weirdness of that. And then also, I think, in a more heightened way, the film points a finger in moments at people who are in power, who are being either cruel or just careless. I tried to create a film that I feel like I needed, and I couldn't find a film that didn't freak me out to watch. I wanted us to not know what she went through until she decides to tell us. I also wanted the film to believe her words. Because we never get to be behind the door in real life. We hear about people's experiences, and it feels like we only really know about what happens behind closed doors in movies. And in real life, we hear people talk about what they went through, and I wanted the film to not question her words. I wanted the film to just believe her. And that's not even a question in the film of whether it happened or not.” - NPR Morning Edition, July 23, 2025 Sorry, Baby is now streaming on HBO Max and Roku and available for purchase on VOD. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1768174939161-VRAM41EKSKQLJILZLUIT/Performances+-+Black+Bag.jpg Announcements - The Best Performances of 2025 - THE CAST OF "BLACK BAG" | Marisa Abela (Clarissa), Cate Blanchett (Kathryn), Pierce Brosnan (Arthur), Tom Burke (Freddie), Michael Fassbender (George), Naomie Harris (Zoe), Regé-Jean Page (James) https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1768175162273-SPW6D8JI34LFAJ0N6CAI/Performances%2B-%2BChernov.jpg Announcements - The Best Performances of 2025 - Mstyslav Chernov | 2000 Meters to Andriivka https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1768175667827-CXEEW1TAH9KFT019QHC1/Performances+-+Cruise2.png Announcements - The Best Performances of 2025 - Tom Cruise | Mission: Impossible - The Final Reckoning https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1768174940839-N962NWU9ZKDVWJRV2M44/Performances+-+Ferreira+Leguizamo.jpg Announcements - The Best Performances of 2025 - Barbie Ferreira, John Leguizamo | Bob Trevino Likes It https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1768174942762-0OHA1P1UXPL9M3C5FAHI/Performances+-+Gandbhir.jpg Announcements - The Best Performances of 2025 - Geeta Gandbhir | The Perfect Neighbor https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1768175667141-6TLTBGJRMSNM8NAMM77L/Performances+-+Grande2.png Announcements - The Best Performances of 2025 - Ariana Grande | Wicked: For Good https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1768175671553-RHBFGGTM1UAZIJKBZOSH/Performances+-+Infiniti2.png Announcements - The Best Performances of 2025 - Chase Infiniti | One Battle After Another https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1768174945993-M2G91A8JQ3ADXV0F5GXF/Performances+-+Lawrence.jpg Announcements - The Best Performances of 2025 - Jennifer Lawrence | Die My Love https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1768175745508-IG5CMH3BIMHWDMSAVE3M/Performances%2B-%2BLund.jpg Announcements - The Best Performances of 2025 - Carson Lund | Eephus https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1768177122676-8PUSYCWN2C3RXSKVKAFJ/Performances%2B-%2BNeeson.png Announcements - The Best Performances of 2025 - Liam Neeson | The Naked Gun https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1768175919904-EA8SLG2OM0EGW6YIDZXV/Performances+-+OConnor2.png Announcements - The Best Performances of 2025 - Josh O'Connor | Wake Up Dead Man: A Knives Out Mystery https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1768174955258-E10OAGOXEU3N8QCL2CWI/Performances+-+Stone+Plemons.png Announcements - The Best Performances of 2025 - Emma Stone, Jesse Plemons | Bugonia https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1768176162038-DYQ6X86HWU74UTMCF8RJ/Performances+-+Taylor2.png Announcements - The Best Performances of 2025 - Kelsey Taylor | To Kill A Wolf https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1768174961263-PKX3C5GZZOZCMGC3G0GT/Performances+-+Thompson.png Announcements - The Best Performances of 2025 - Tessa Thompson | Hedda https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1768174956903-1DYI8QYJ0XLRWDAMZCM0/Performances+-+Watts+Bing.jpg Announcements - The Best Performances of 2025 - Naomi Watts, Bing | The Friend https://www.shouldiseeit.net/announcements/2025/sinners-ties-seattle-film-critics-nominations-record-with-one-battle-after-another-close-behind monthly 0.5 2025-12-05 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/e825ff3f-1d32-4382-ada1-e892c9ff5fe6/SFCS25_Noms_W_1.jpg Announcements - “Sinners” ties Seattle Film Critics nominations record with “One Battle After Another” close behind. - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.shouldiseeit.net/announcements/2025/sfcs-announces-2025-pnw-award-nominees monthly 0.5 2025-10-08 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/bb26e770-1411-40ec-92c5-ced40bfc8aed/SFCS25_PNW_Posters.jpg Announcements - SFCS Announces 2025 PNW Award Nominees - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.shouldiseeit.net/announcements/2025/best-performances-of-2024 monthly 0.5 2025-01-02 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/e05990b5-1078-4a32-a6cd-0ffdacfc4d2d/2024.jpg Announcements - The Best Performances of 2024 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/db4bb4fd-0941-4e67-a5c2-8c17ef931662/no-other-land.jpeg Announcements - The Best Performances of 2024 1. YUVAL ABRAHAM, BASEL ADRA, HAMDAN BALLAL, and RACHEL SZOR | as Directors | NO OTHER LAND Finally landing theatrical distribution after a year of sitting in limbo, No Other Land is a devastating documentary that focuses on two close friends (one Israeli and one Palestinian) who navigate the complexities of the conflict in Gaza. The first-time filmmakers (two from Israel, two from Palestine) bravely document how Basel and Yuval come together to try and seek common understanding and peace between their two distinctive countries. While the film advocates fiercely for peace, the dynamics and disparities between the two friends not only speaks to the oppression Basel encounters and the freedom Yuval experiences, but it brings forth visuals and images and shared emotions largely missed and overlooked by the nightly news and daily headlines, begging the question as to why the international community, and specifically the United States, has not done more to broker a peace deal. Shot over five years, and ending just after the October 7, 2023, attacks by Hamas on Israel, No Other Land is undeniably powerful filmmaking. (Basel Adra): “It's a very dark moment because I always thought that when the people would see what's happening in the videos that we - I risk my life and other Palestinians risk their lives to film, it would change something. I mean, what happened in Gaza in the last year, I never, ever in my life imagined that we'd live to a day to see these massacres happening, and there's still the international community power backing Israel, giving it weapons. I mean, this is, like, shocking. So I don't have an answer if I believe or I don't believe in the power of the camera.” (Yuval Abraham): “I think there are people with power who can stop this from going on. And I'm saying this is an Israeli. I think it's shameful that the U.S. has not taken any action to stop the onslaught. Like, we, as young activists who dream of a better future for both of our people, are seeing that dream being crushed by politicians who hold power and are not taking any action. And me and Basel and many others, you know, with the limited abilities that we have and the limited power that we have will continue to try to make a change. And this is why we made this film.” - NPR Morning Edition, November 21, 2024 No Other Land will see a limited theatrical release on January 31, 2025. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/4fec61a6-7849-4518-9928-5f30e870dfac/last-showgirl.jpg Announcements - The Best Performances of 2024 2. PAMELA ANDERSON | Shelly Gardner | THE LAST SHOWGIRL A career-defining performance few, if any, may have seen coming, Pamela Anderson finally gets the chance to prove her naysayers wrong in her portrayal of Shelly, a Vegas showgirl faced with the sudden reality that her 30-year show is abruptly closing. Anderson wrings everything she can out of the screenplay, establishing Shelly as someone who can take care of others better than she can take of herself and those closest to her. While many have compared Anderson’s performance to that of Mickey Rourke’s in “The Wrestler,” the actor finally has an opportunity to dig deep and deliver a dramatic performance she knew she was capable of. She creates a raw, unvarnished, and very real emotional and undeniable connection to the film’s audience. (Gia Coppola, director): “Obviously, there were similarities with Pamela and Shelly’s character traits. She seems so much a woman that was turning her frown upside down and making lemonade out of lemons, and that’s so much of what that character does. It was this bubbly, bright spirit sometimes, in a way, to protect themselves. I saw that with Pamela, and although there were similarities because she wanted to express herself as an actress, I think that there was enough of a difference that it was going to feel exciting to her as a role and not just as this documentary approach.” - Deadline Hollywood, November 14, 2024 The Last Showgirl expands into wide theatrical release, beginning January 8, 2025 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/9db5ed10-fcfc-44f5-943f-067c82d740ef/ghostlight.png Announcements - The Best Performances of 2024 3. THE CAST OF “GHOSTLIGHT” | Keith Kupferer (Dan), Katherine Mallen Kupferer (Daisy), and Tara Mallen (Sharon) One of the most moving films of 2024 is the underseen drama “Ghostlight,” observing a family recovering from trauma and exploring the places they, and we, individually go to find salvation and acceptance. Starring Keith Kupferer, his wife Tara, and daughter Katherine, the emotions shared between a real family elevates the dramatic moments in Ghostlight. And a secondary cast, led by Dolly De Leon, offers humor and acceptance, becoming a second home for Keith’s character, Dan, who unwittingly becomes a community actor in a makeshift, scrappy, one-night-only performance of “Romeo & Juliet.” Overcoming adversity can be something we can face head on or run from and ignore. “Ghostlight” is a lot of things - an emotional drama, a story of recovery and restarting a life different than what you have known, while also showing us the power of finding acceptance and embracing vulnerability within a community that only wants you to find peace and happiness. (Directors O’Sullivan and Thompson on casting a real-life family): (Kelly O’Sullivan): “Keith had played my dad, so I saw him from this far away every night. Oftentimes, I would be in scenes with him and just be awed. It’s distracting. It’s annoying, honestly, how good he is. We’d come to a scene, and I’d be like, ‘This scene isn’t gonna work,’ and he’d make it work. So, as I was writing Dan, I already had him in mind. He wrote and said he’d love to audition, and I told him I wrote it for him. He’s never gotten to play the lead before. It’s just cool to get to do that for your buddy. You’re awesome; you should be a lead. He then wrote and asked if Katherine could audition. She came in and did a reading and did amazing. She thought she did a terrible job, and she was backstage saying, ‘I screwed up. I was flat.’ They had that dynamic. Tara is an amazing theater actor. Why don’t we just cast the whole family?” (Alex Thompson): “We have this ensemble, but we’ve never worked with Keith, Katherine, or Tara…our casting director was talking to Kelly. (Kelly) knew Tara’s work well. I watched her reel. ‘Oh no, this is very unlikely, but they are all incredible.’ We could have cast three of the best actors working in Chicago to play father-mother-daughter, and I don’t know if we ever could have gotten to the level of vulnerability they get with one another.” - RogerEbert.com, June 13, 2024 Ghostlight is available for streaming on AMC+, Acorn TV, and for purchase on VOD. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/041b961d-580f-4628-b28c-d21449c0384a/HIS+THREE+DAUGHTERS.png Announcements - The Best Performances of 2024 4. THE CAST OF “HIS THREE DAUGHTERS” | Carrie Coon (Katie), Natasha Lyonne (Rachel), and Elizabeth Olsen (Christina) When three estranged sisters come together to care for their ailing father, old issues and suppressed emotions bubble to the surface in a small New York apartment. Led by the powerhouse trio of Carrie Coon, Natasha Lyonne, and Elizabeth Olsen, and written and directed by Azazel Jacobs, this underseen Netflix gem is full of powerful performances from the trio, while also exploring the ease with which disagreements and misunderstandings can become chasms nearly too impossible to repair. (Director Azazel Jacobs): “When I started writing this, I started with that first monologue that Katie gives, and it got me so excited to have a character who's just speaking and letting everything pour out. I have to bring it back to the experience I have with my parents — it's just like time has suddenly changed for me. There's a realisation that this time that I have right now could be the only time that there is. Whenever I'm making a movie I'm always thinking about how it could be the last film that I ever make because I'm never sure I'll be able to make another for one reason or another. This one poured out with a very specific urgency of needing to get things out and needing to say things. Writing felt more like transcribing because these characters had so much bubbling up in a way that I hadn't experienced with previous characters before.” (on introducing the apartment as an almost secondary character in the film): “One of the things that I tried to do so it didn't feel claustrophobic was to unveil the apartment in the same way that we were unveiling the characters of the sisters. As they're slowly showing more sides of themselves to each other, we're also discovering more sides to the apartment. Hopefully it feels like the apartment grows as they do, and that they constrict each other as much as the apartment constricts them” - Filmhounds, September 2024 His Three Daughters is available for streaming on Netflix. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/5e4b38f8-0776-4631-9ac1-e991eb543993/SING+SING+POSTER.jpg Announcements - The Best Performances of 2024 5. THE CAST OF “SING SING” | Colman Domingo (John “Divine G” Whitfield), Clarence Maclin (as himself), Paul Raci (Brent Buell), Sean San Jose (Mike Mike), and more than a dozen graduates of the Rehabilitation Through the Arts Program at Sing Sing Prison who appear as themselves. Few films deliver moments of hope, inspiration, drama, and whisk us away on an emotional rollercoaster like Sing Sing, a powerful drama about the rehabilitative nature of the arts. Based on a true story, with a cast largely comprised of graduates from the Rehabilitation Through the Arts Program at Sing Sing prison, writer/director Greg Kwedar crafts a story based on the life of John “Divine G” Whitfield, played by a tremendous Colman Domingo, the de facto leader of a group of inmates who put on stage shows of varying genres and styles. In featuring the film debut of Clarence Maclin, playing a younger version of himself, the film carries an unmatched authenticity and could pass as a documentary in certain moments. And while both of those performances could well be on their way to Oscar nominations, the interplay between the non-professional actors, Domingo, and a terrific Paul Raci, as the director of a wildly inventive production, underscores the power of a program that has a recidivism rate of just 3% since its implementation. (Colman Domingo): “I think we take a sledgehammer to any trope. We’ve had Shawshank Redemption, The Wire, and all these [onscreen] experiences where we think it’s nothing but violence, nothing but darkness. We want to show that there are people in there, taking accountability and responsibility and wanting to do the work of healing to better themselves. I think that’s kind of radical. I think that we’re showing radical love between Black and Brown men which is not typical. That was something very important to me. This is a part of our healing and our liberation for ourselves and our mental health— to feel soft, to feel vulnerable, and to smash tropes of toxic masculinity that we’re raised with. And that was not something I was putting on it but that was something I received by talking to these guys when I saw how affectionate with each other and looking after each other.” - The Hollywood Reporter, August 2, 2024 After a release in theaters in July 2024, Sing Sing will return to theaters on January 17, 2025. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1cc3b899-64aa-4a44-98db-1f463689e077/Chalamet+Unknown.png Announcements - The Best Performances of 2024 6. TIMOTHÉE CHALAMET | as Bob Dylan | A COMPLETE UNKNOWN Timothee Chalamet disappears into the role of a young Bobby Dylan, arriving in New York City in 1961 as a hopeful singer/songwriter and ending 1965 as a revolutionary who famously “plugged in” his acoustic music and turned the music industry upside down in doing so. Delayed multiple times because of the pandemic and other production schedules, Chalamet devoted more than five years in preparing for the role and admitted that it was very hard for him to let the character go when production wrapped. He sings, plays guitar, and harmonica, and creates a Bob Dylan character that the artist himself has personally endorsed. (Chalamet): “This is a movie about folk music and folk musicians. The authenticity needs to be felt. My fear was that … (the performance would) just sort of (be) watered down and crystallized and made sing-songy where it was raw. You know, Bob Dylan had a very bad case of bronchitis in his early 20s that helped make his voice sound the way it is. You hear the iron ore in his voice. You hear the "North Country Blues" when he talks. So I don't want to lose any part of that.” (on not meeting Bob Dylan during the making of the film): “… My honest feeling is … we've gotten something like 55 albums from this man. His contribution to the American artistic scene of the last 60 years is monumental. So if I ever did meet him, I would just say thank you. And not thank you for the role, not thank you for the opportunity. Thank you for your work.” (director James Mangold on Chalamet performing Dylan’s music):“ You want an actor to control the performance, and you don't want at any point where musicality is coming out of their mouth or fingers for it to be a kind of, you know, a little earwig in their ear and some playback, let alone the idea that it would be Bob Dylan's real voice coming out of Timmy's mouth … But what you have to also recognize is we're making a movie about folk music predominantly. And what is folk music if not authenticity, directness, intensity, honesty?” - NPR: All Things Considered, December 25, 2024 A Complete Unknown is now playing in theaters. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/76465a1b-965e-4d19-8341-0acc78bf2f90/Collias+Good+One.png Announcements - The Best Performances of 2024 7. LILY COLLIAS | Sam | GOOD ONE As Sam, Lily Collias gives a breakthrough performance as a 17-year-old heading out for a weekend backpacking trip in the Catskills with her father and his oldest friend. As the two men wrestle with struggles in life and try to navigate their ongoing friendship, Sam is faced with a front-row seat to the arguments, debates, and clashes which ensue before being placed in a position of making a most difficult decision. Wise beyond her years, Collias commands the screen opposite co-stars James Le Gros and Danny McCarthy, and hits every emotional peak and valley that director India Donaldson presents to her characters and audience. (Collias, on seeing the film with her father): “The first time he saw it was at Sundance at the premiere, and he sat next to me, and I remember that being a very specific moment for me. I would turn and see him kind of emotional. There’s a scene where I’m crying, and I saw he just started shuddering, and he said something to me that I’ll remember forever: ‘I just don’t know if I’ll ever get used to seeing my daughter cry.’ Because what dad can look at their daughter crying and not feel the same? I think it gave my dad an awareness.” (on a pivotal moment near the end of the film): “All of my guy friends are like, ‘I feel really badly, but I don’t think I noticed something was wrong for the longest time,' and I was like, ‘Yeah, take note of that.'“ Collias also adds that her girlfriends pick up on things significantly faster, even as early as the film’s first 10 minutes, recognizing something seems off before the trio even leave for the camping trip. - Indiewire, August 7, 2024 Good One is available to purchase on VOD. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/71fa7254-f8c3-4ec1-b2d7-6726c43f11be/A_Real_Pain__1_361UGqs.png Announcements - The Best Performances of 2024 8. KIERAN CULKIN | Benji Kaplan | A REAL PAIN Kieran Culkin jumps off the screen as Benji, reuniting with his cousin David (Jesse Eisenberg), for a tour through Poland to honor their beloved grandmother. As the two childhood best friends find themselves in different places in their lives, old tensions bubble to the surface and the two men see themselves differently than they ever have before, while learning about a shared and collective history. Balancing a caustic wit, with a fear of letting people get close to him, Culkin is a character who seems unable to get out of his own way, and yet we simply want to root for him to find a path to happiness and success regardless of the mistakes and misjudgments he continually makes. (Culkin, on a pivotal monologue given by Jesse Eisenberg’s character, David, about Benji): “I’m sure there’s definitely a good amount of envy from Benji about the kind of life [David has], the fact that we come from the same place at the exact same time, and we’re that close, but we’ve gone on these different paths where, I’m sure to a certain degree, Benji is happy with his path. I mean, not really, but [David has] seemed to figure it out. And I think Benji knows that he hasn’t quite figured out life, and the way I see it anyway is I think he probably understands that he probably never will.” (On shooting scenes at an actual concentration camp): “The thing with shooting there, I had never been to a concentration camp before, and I appreciated when reading the script, the way that it was written … the characters walk into this room (with shoes displayed which were worn by victims). When we got there, it didn’t feel like we were ever on a set. There wasn’t a lot of setup. There was no scene work, there wasn’t anything. So we got to just walk in and experience it in real-time. I’m dressed like Benji, so I’m Benji, and I’m there. Particularly with the shoes, I didn’t want to go in that room until I heard action. I just didn’t want to see it. Not for an acting perspective, like, ‘let’s get it,’ just because I just didn’t want to be in there unless I had to.” - Indiewire, October 31, 2024 A Real Pain is now available for purchase on VOD. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/2dbe3511-8ac0-4b6d-b068-94d026e94606/Dastmalchian.png Announcements - The Best Performances of 2024 9. DAVID DASTMALCHIAN | Jack Delroy | LATE NIGHT WITH THE DEVIL A 1970s talk show host, desperately trying to turn around his ratings as he competes against Johnny Carson, concocts an episode of his show that turns out to be unlike any other in the history of television. With an opportunity to finally be a leading man, character actor David Dastmalchian gives one of 2024’s most memorable turns as Jack Delroy, an entertainer grappling with personal tragedy and also determined to remain relevant and in the public eye. On a special Halloween episode, he decides to conduct an interview with a teenage girl possessed by a demon as a means to turn his show’s fortunes around. Presented largely as a “here’s what happened”-style documentary, Late Night with the Devil developed a significant fanbase due, in no small part, to Dastmalchian’s masterful performance. (Dastmalchian): “So here’s this movie set in the - for all intents and purposes - innocuous, fun, silly world of late-night talk shows. These are springboards for musicians and entertainers to get on and yuk it up and hopefully have a little bit of fun. And yet at the center of it all is this very broken, very frayed man who has so many boulders of unprocessed trauma, grief, and unwellness brewing within him that in his effort to entertain people, to boost his ratings, to save his show, he makes some errors in judgment, and the horror that is unleashed is the consequence.” (on his inspiration for the role): “There was a late night talk show host in Australia who was American. Don Lane was actually from Chicago and a big influence on me. He was this great interviewer, and he ruled late night in Australia during the same time that our movie takes place. But what I loved about Don Lane was he had this genuine and sincere interest in wanting to believe elements of the supernatural. And so he would bring on people who profess to have psychic or media, mystic powers, or spoon benders or whatever. And he did so with an open mind and always wanted to give them a chance, as opposed to maybe, say, making them the butt of a joke.” - Nerdist, March 21, 2024 Late Night With the Devil is available for streaming on Shudder, AMC+, and Hulu. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1714197684081-GA8D20VWI3VBMCH6H8O6/PeoplesJokerFeatured.png Announcements - The Best Performances of 2024 10. VERA DREW | as Director, Co-Writer, Editor, and Lead Actor (as Joker the Harlequin) | THE PEOPLE’S JOKER After years of fighting with major studios (one in particular), a variety of legal entanglements, and other cease-and-desist claims against her film, Vera Drew’s innovative and groundbreaking The People’s Joker emerged as one of 2024’s most talked about films. Returning to theaters multiple times throughout the year, Drew’s film saw her wear multiple hats and never wavering in bringing her unique, autobiographically-inspired story to screens big and small. As Joker the Harlequin, Drew portrays an aspiring clown who is defined as “painfully unfunny,” while trying to come to terms with her gender identity. Simultaneously, she attempts to join Gotham City's sole comedy program in a world where comedy has been outlawed. A film mixing live action, animation, satire, comedy, and an exciting unpredictability, Joker finds a community that welcomes her and accepts her, though she soon comes face-to-face with a cruel caped crusader who rules Gotham City. (on spending nearly all of 2023 to have her movie seen): “2023 was one of the most just challenging, exhausting years of my life, because the movie was in limbo for a while. But ... it wasn't in too much of a limbo … there wasn't anybody that was really looking to distribute it. You get a lot of press at TIFF, and then you see "rights issue" slammed over every headline. Nobody's really looking to buy that movie. I also took it out to festivals, and we did secret screenings, which was a lot of fun. We could do these secret screenings but also spread some rumors, like, ‘Hey, maybe The People's Joker is screening.’ That was fun. This movie has always just been a snake eating its own tail, because it is so personal and based on my life. But the release of the movie has really kept that continuum of like, where does the movie start and stop, and where does my life end and begin?” (reflecting back on the film’s release and overwhelming praise): “I don't even know if I have been able to really process it emotionally. I think there's a massive amount of relief, first of all, just because, like you said, we had the festival buzz, we had underground buzz, but I was also getting told every step of the way by a lot of people that I was surrounded by that ...the momentum wasn't going to keep going. The Richard Brody piece [in the New Yorker]: "Best superhero movie I've ever seen." I keep reading it, because I keep thinking it was something I dreamt. I don't know. It's really cathartic, and it's healed me in a way.” - Seattle Gay News - April 19, 2024 The People’s Joker is now available for purchase on VOD. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1732254851025-JAY2C9KLT6RPNXFSQVVZ/wicked+1.png Announcements - The Best Performances of 2024 11. CYNTHIA ERIVO and ARIANA GRANDE | as Elphaba (Erivo) and Glinda (Grande) | WICKED The movie that dominated the conversations during the holiday season in 2024, Cynthia Erivo and Ariana Grande silenced skeptics who wondered if they could pull off the roles made famous by Idina Menzel and Kristin Chenoweth in the long-anticipated big-screen adaptation of one of the most successful Broadway shows of all time. Spoiler alert: They did. Erivo’s show-stopping vocals and physical stuntwork have gone viral, as has her nuanced performance that will continue next fall in Wicked: For Good. Grande’s impressive comedic timing and pitch perfect vocal abilities created genuine chemistry with her co-star and the two performances are likely to be defining moments in each of their careers. (director Jon M. Chu on Erivo): “I think casting Cynthia just is probably the smartest thing I ever did in my life. She looked at this as a very personal story and she brought those things of what it feels to be othered, what it feels like to have people constantly tell you, you need to act this way or that way for people to accept you, that you have to prove yourself to someone. But she’s also the same person who at drama school dreamed, dreamed big, that she would be able to get there. And those dreams were also crushed, whether it’s at drama school or elsewhere.” (on working with Grande): “(I wanted Ariana to) overcome the Ariana Grande image in order to do it. And I know how hard it is. I’ve seen actors who do their first lead in a movie, and that’s not easy. That also takes skills and that takes actual craftsmanship. And every time she came in, Ari was the most interesting person. She was funny, she was emotional. But more than that she understood the nuance of this character in a way that felt so real it wasn’t a performative version of it. “… By the end it was like, if the audience feels like this is a discovery, they’re going to see things they’ve never seen in Ariana Grande before.” - Deadline, January 1, 2025 Wicked is currently playing in theaters and available for purchase on VOD. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/253871c2-718d-444a-881e-2e61fd3f1a9e/conclave-01_4230_C_TP_00015_R_rgb.jpg Announcements - The Best Performances of 2024 12. RALPH FIENNES | Cardinal Lawrence | CONCLAVE As Cardinal Lawrence, Ralph Fiennes plays a character tasked with running the secretive process of selecting a new pope, following the unexpected passing of the existing religious leader. As the Catholic Church’s most powerful leaders assemble within the Vatican, the Cardinal uncovers a long trail of secrets and surprising development that threaten to disrupt the foundations of the Church. For all of its surprising plot twists, discoveries, and melodramatic flourishes, Conclave is a whirlwind of tension, with moments of comedy, high drama, and timely and topical musings on the role and influence organized religion plays in the modern world. Fiennes centers the film, rationalizing, deflecting, defending, and comprehending an endless list of situations and problems that he is forced to solve. (Fiennes on Cardinal Lawrence): “One thing that surprised me was the character of Lawrence. He's wonderfully complex and carries a sense of interior contradiction and struggle. He leans towards a more monastic life but he also also struck me as someone who was well-read and who read different interpretations of the Gospels and their teachings. He's not an iconoclastic person, but he does lean towards this view that the church can modernize … As an actor, the notion that a priest had a crisis with prayer is very interesting. His crises and doubts make him more real and that much more human. In many ways, I think acting is closer to a sport like tennis. If my opponent — in this case, my director or scene partner — hits the ball to me, how I respond to what they send my way has to be dictated in the moment. I may come up with a strategy or way to play the game but intellectual and cerebral thinking only goes so far. At the end of the day, I have to be open, for example, to how Stanley Tucci [who stars as Cardinal Bellini] is going to play the scene. In the scenes where we're debating and things get heated, I gave a lot of thought to the emotions between us. We both were following our instincts together and that makes each take different too.” - National Catholic Reporter, November 15, 2024 Conclave is available for streaming on Peacock and for purchase on VOD. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/6170c72d-e410-4df6-b055-72607f3bb8fc/Jomo+Fray+Nickel+Boys.png Announcements - The Best Performances of 2024 13. JOMO FRAY | as Cinematographer | NICKEL BOYS After being forced to attend Nickel Academy, teenager Elwood Curtis adjusts to life in a brutal reformatory school located in the Jim Crow South. Forming a friendship with another teenager, Turner, the two stick together, balancing survival and optimism as the Civil Rights Movement gains traction in the United States. While director RaMell Ross certainly belongs on this list, you literally cannot look at Nickel Boys without seeing Jomo Fray’s groundbreaking work. In a cinematic world where it feels like everything has been attempted, Fray’s ability to present the entire film through the point-of-view of its main character is a bold and risky obstacle to overcome. Ross’ approach to this material admittedly takes a few minutes to adjust to, but Fray’s unprecedented talent captures the little details most films miss, while placing us in a challenging, at times uncomfortable, but wholly immersive cinematic viewing experience. (on his approach and technique): “if I wanted to do handheld, that felt more connected to the spine of a body, a full body movement, then maybe shoulder handheld would work. Other times, … I wanted the perspective to feel like it was coming from the neck, so a body was stationary, but a neck can move quickly in a way that holding a camera on the shoulder doesn’t often articulate. It was separating the camera block from the camera brain with an umbilical cord so that the grip would be holding a backpack with the brain of the camera to an umbilical cord, so I could just hold the camera block and then be able to quickly maneuver the perspective of that because I was holding it and it was moving from my wrist. It’s a funny thing in this movie where ideally it feels organic. Ideally it feels obvious that it just feels like, ‘oh, well, this is the only way you would see this.’ And it must’ve been somewhat simple to do. But the funny thing is just the level of orchestration any given shot took from my entire team having to be in harmony with each other about what we were about to do with any scene. On the beginning of every day, Nora Mendes, the production designer, would take RaMell and I and walk us through the room and she would say, okay, here are 10 hero items in the room. You can interact with any of these. These are really interesting. These are telling aspects of the story. And so over the course of the take, you can hit them in any order. You can hit eight of them. You can hit two of them. You can hit none of them. But here they all are as almost these miniature base camps in any given set.” - Film Independent, November 27, 2024 Nickel Boys is currently playing in select theaters, expanding to wider release in January 2025. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/e3231ad8-b6b5-436f-a424-e45f69682334/hard+truths.jpg Announcements - The Best Performances of 2024 14. MARIANNE JEAN-BAPTISTE | Pansy | HARD TRUTHS Reuniting with writer/director Mike Leigh, Marianne Jean-Baptiste is extraordinary in Hard Truths, a salty, viscous, but also at times charming film about the tempestuous nature of relationships and the ways fear and anxiety can debilitate people. Jean-Baptiste plays Pansy, a woman perpetually lashing out from a sense of fear, mental health struggles and anger management issues. When forced to spend time with her younger sister (Michelle Austin), a person completely different than Pansy in virtually every way, unconditional love and the strength and support of family are significantly tested. (on working with Mike Leigh): “The initial conversation is usually ‘Should we work together again? I don’t know what it’s going to be about. I don’t know what you’ll be playing in it, but we’ll have a great time.’ He always asks that you come in with a list of people that you know, real people, and you go through that list and it gets smaller and smaller and smaller until you land on a few people. And then you start creating a whole new character inspired by little bits and pieces and characteristics of that person from their first memory to the age they’re going to be playing in the film. And all of the characters in the film are created in that way, by really just doing very, very in depth work on creating them.” (on creating Pansy): “I had to find the school in London that Pansy went to, I’d have to find the house so that you start building a parallel universe for those characters, but in finite detail. So we created the school, the friends at school, their neighbors, their grandparents, aunts, uncles, mother. Even though you don’t see them in the film, they’re what make up the character and their experiences. So when you actually go to improvise, there’s so much information in your brain that you are able to do it.” - Deadline, November 16, 2024 Hard Truths is playing in select theaters and expands in wider theatrical release on January 10, 2025. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/535a3356-a822-42ee-a786-29c5b6e1ccb2/anora-Mikey+Madison+as+Ani.+Courtesy+of+NEON_2.png Announcements - The Best Performances of 2024 15. MIKEY MADISON | as Ani | ANORA Bold. Fearless. Defiant. Fierce. Charming. Endearing. Flawed. Vulnerable. All these words and more describe Mikey Madison’s breathtaking performance in Sean Baker’s extraordinary Anora, a movie that continues the filmmaker’s tradition of telling truly American stories about individuals in our society who are so often discarded and cast aside. Madison gives the performance of the year as Ani, a 23-year-old sex worker from Brooklyn whose life takes an unexpected turn when she meets and impulsively marries Vanya (a/k/a Ivan) (Mark Eydelshteyn), the reckless, spoiled son of a Russian billionaire. However, when her new husband’s parents learn of the wedding, they send fixers to take care of the situation and Ani is forced to mature rapidly as she demands to be seen as a responsible, mature adult by everyone she encounters. (on preparing for the role of Ani): “I’ve seen his (Sean Baker’s) films. I know he’s told stories about sex workers. I trusted him immediately. When I read the script in its entirety [and realised] she’s a sex worker and there’s nudity, it seemed natural to me. I was excited to explore that character and dive into the research. I committed more to the preparation process and dedicated more time than anything I’ve ever done before. I started small, working on her backstory, to create this character from the ground up. I sat down at my computer early on and wrote a hundred or so questions. What kind of cigarettes does she smoke? How did she like school? What were her grades? I filled in all the blanks. On set, the first day, I was, ‘I know exactly who this person is. I am her. I’m wearing her clothes. I have her nails on.’ There’s no question someone could ask me about her life (and) I wouldn’t have an answer to. I avoid conflict like the plague, but she’s so sure of her place in the world and fights tooth and nail for the life she feels she deserves. She will not back down. I liked that about her.” - ScreenDaily, December 29, 2024 Anora is playing in select theaters and available to purchase on VOD. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/6ba87604-d3a5-450e-bc4d-1a1321a0bf8d/demi+moore+substance+2.png Announcements - The Best Performances of 2024 16. DEMI MOORE | Elisabeth Sparkle | THE SUBSTANCE In what is likely becoming the most buzzworthy movie of 2024, Coralie Fargeat’s award-winning horror satire The Substance has bee,n dismissed in some circles as little more than grotesquerie or an on-the-nose satire/body horror freakshow that is too obnoxious to mean much. As more and more people, those thoughts largely dissipate. Once you experience the film and ponder a very pointed commentary Fargeat is making, you realize that this is a sadistically smart film, slicing through tried-and-true narratives in Hollywood and calling out the insane double standards which exist for men and women in the entertainment business. In the leading role, Demi Moore plays Elisabeth Sparkle, a fitness icon who is fired by her boss (Dennis Quaid) on her 50th birthday. Desperate to hold on to everything she has amassed in her career, she accepts an offer from a laboratory to take an experimental serum that promises to transform her into an enhanced version of herself. Not for the squeamish, The Substance is a searing, visceral, and gory takedown of objectification and unreal expectations placed upon women in society. With a great supporting performance by Margaret Qualley, The Substance may give some people pause for its grotesque makeup effects and blood-soaked sequences. But Moore’s approach to the role of Elisabeth demands the film be taken seriously, as it proves to be a far more meaningful and powerful statement than some wish (or want) to give it credit for. (director Coralie Fargeat on the concept and casting Demi Moore): “The theme of the movie is something I’ve been working around for a long time. I felt strong enough to kind of cope with the disturbance that digging into this is going to create. I knew (a lot of) actresses would obviously be frightened jumping into something that confronts them with a phobia that I think as women we all have, but is especially heightened for actresses. I hadn’t even put (Demi Moore) on my list because I said, ‘She will never do it.’ (After reading her memoir) I really discovered someone that was at a stage of her life where she had already confronted all the fears and all the phobias, all that violence. I really discovered someone who was so ahead of her time.” - The Hollywood Reporter, September 5, 2024 (Moore on accepting the role): “It really captivated me, the way in which it was exploring this subject of aging and, in particular, that violence that we can have against ourselves, the way in which we all — men and women alike — can dissect and criticize our own reflection. It just felt so relatable, on a human level. The other part of it was new territory for me — a body horror film. But as an actor, there were so many interesting challenges, not just the physical side of it, with the prosthetics, but the emotional rawness needing to be conveyed with very little dialogue.” - The Hollywood Reporter, December 2, 2024 The Substance is available for streaming on MUBI and for purchase on VOD. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/d9eee902-b5af-4a85-965d-44e87ee2fd05/sugarcane+directors.png Announcements - The Best Performances of 2024 17. JULIAN BRAVE NOISECAT and EMILY KASSIE | as Directors (NoiseCat and Kassie) and Cinematographer and Co-Editor (Kassie) | SUGARCANE As powerful a debut film as you will find, Sugarcane, directed by Julian Brave NoiseCat and Emily Kassie, looks at the discovery, in 2021, of unmarked graves on the grounds of an Indian residential school run by the Catholic Church in Canada. Through ample research, discussion with family members and Indigenous leaders, countless stories of separation, assimilation and abuse of children come to light as the reality of segregated boarding schools for Native and Indigenous peoples are discovered to have severly harmed the very people they were intended to serve. Haunting, chilling, maddening, but necessary and vitally important in showcasing resilience and the efforts to heal long-standing wounds, Sugarcane is one of this decade’s most impressive documentaries and a film that deserves to find a wider audience. (NoiseCat): “Our background is in journalism, and in our prior work, you go somewhere for a few days – you know, a week was a long time to get to work on something like this – and you have to get answers to the questions that you’re looking for, and that sort of thing. One of the big things that we discovered in the field was that pacing of allowing silence to linger after things had really been discussed. So that was something that we learned and discovered in the field, and was also something that was really true, as I’ve said in other interviews, to the way in which this history is lingering and processed in this community.” (Kassie): “Something that was really special about the collaboration with Julian was that we would talk about something, and we would talk about these silences that had permeated his family, that his kyé7e [grandmother] wasn’t able to talk about yet. In the room, when I was filming with them, I could feel her, and I could feel where her breath would catch. I could see when her thumbs would start to … twiddle. There’s a moment, for example, where she says, ‘There’s stuff I should have talked about.’ And Julian says, ‘What kind of stuff?’ You can feel in that moment that he’s pushing just a little bit. And I could feel from spending time with her, spending time with Julian, that that was going to be it for her. That she was probably going to reach a wall there, and knew to stay on her so that that silence could speak louder than whatever she could possibly say.” - Rough Draft Atlanta, December 6, 2024 Sugarcane is available for streaming on Disney+, Hulu, and Fubo. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1f14a389-c8f0-4763-9be8-282db9df04e7/i+saw+the+tv+glow+schoenbrun.png Announcements - The Best Performances of 2024 18. JANE SCHOENBRUN | as Writer and Director | I SAW THE TV GLOW As haunting as it is complicated and as brave as it is revealing, I Saw the TV Glow is a film that addresses gender identity and the way people not only suppress themselves but also hide from an increasingly dangerous world. Using the entry point of a late-night television show that teenagers enjoy, one teenager in particular, Owen (Justice Smith), becomes obsessed with watching the show alongside classmate Maddy (Brigitte Lundy-Paine). The more Owen watches the show, the more a reality begins to fracture. Once the show ends, and as years pass by, Owen continues to struggle with suffocating emotional pain and turmoil, as well as an escalating fear that with each passing day Owen loses the chance to experience an authentic life. (on the autobiographical elements of the film): “I've pushed back a little on the narrative of it being a cautionary tale. I do so because I wrote this film after two months on hormones. Culturally, that's the part of a "gender transition" that we tend to think of as the beginning. To me, it was very much not a beginning. In many ways, it was the catharsis of half of my life, but that moment of un-repression, that moment of the egg cracking - when you finally see yourself clearly in a way that makes it hard to unsee - was (a) very hard one for me, because I really do think that repression is a survival mechanism. If I had transitioned in my own youth in the '90s - Well, first of all, I just didn't have the language to understand what that was, because the language of transness that was being fed to me was created by cis people who were making movies about trans people being monsters or being disgusting, and I didn't want to be either of those things. But to have come out to myself and started the process of transitioning would've been deeply unsafe. You always give up privilege when it happens, but doing that at 14 as opposed to 31, in the '90s as opposed to 2019 would have been a lot. I don't think I would be here if I had done that.” (on finding distribution with studio A24): “I knew that if I got to work with A24, I'd be working with a company where the expectation is that you're going to see something a little bit different. Getting that opportunity … the chance to make something that was this personal, this visceral, this much speaking from inside (the) trans experience that hasn't really been done, at least on this level - Every part of the process was completely surreal. I felt like I was pulling off some kind of existential bank heist.” - The Academy A.Frame, May 16, 2024 I Saw the TV Glow is available for streaming on MAX. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/dd2d427d-4c3a-4093-ac27-b7426210ab54/WILL+AND+HARPER.png Announcements - The Best Performances of 2024 19. HARPER STEELE and WILL FERRELL | WILL & HARPER While filming a movie, Will Ferrell received an email from a close friend of almost 30 years. The message, from former “Saturday Night Live” writer Harper Steele, shared that Will’s long-time friend was coming out as a trans woman. Having not spoken in some time, Will asks Harper to join him on a road trip, hoping to reconnect and have the opportunity to get to know Harper as she lives her life as her authentic self. Over a cross-country road trip spanning 16 days, this charming, emotional, and honest documentary addresses new realities, wonderful memories, and a deeper understanding of what it means to live a life on your own terms. (Ferrell): “You get an email from a friend announcing this kind of dramatic news and I didn't really stop to think how much pain, how much anguish there was to get to that point, how much thought it took to write that email. ... This was something that obviously was a part of her this whole time, and the sadness of her kind of putting it aside, kind of squashing it down, but then (having) the courage that it took to get to that point where she was like, "Enough, I'm going to give up the fight." I just learned how incredibly strong she is, how articulate she is. She's always made me laugh. … And a lot of people have come up to us just saying, ‘It's just nice to see friends stick up for each other.’ I think that's what we're most proud of about this whole thing.” (Steele): “It wasn't a decision about right timing. It was a decision about living in misery and not wanting to do that anymore. So it just took me a long time to finally give up — and I do think of it as a giving up. I just collapsed into myself and found the other side and it's been so much better. I've discovered that vulnerability is truly a really powerful superpower. I'm not calling that a feminine trait. For me personally, to walk out of my house in a dress was a very vulnerable and raw moment, and what became of that moment was pure joy. So trusting vulnerability more has been something that truly has been helpful to me.” - NPR Fresh Air, October 7, 2024 Will & Harper is now available for streaming on Netflix. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/e608c1ae-43e2-441c-809a-1d7f92e539f3/gintz+zilbalodis+flow.png Announcements - The Best Performances of 2024 20. GINTS ZILBALODIS | as Co-Writer, Director, Co-Producer, Co-Composer, Cinematographer, Art Director, and Editor | FLOW One of 2024’s best discoveries is the Latvian film Flow, an animated, dialogue-free story of a cat who tries to survive after its home is destroyed by a catastrophic flood. Along the way, Cat creates a makeshift community consisting of a lemur, bird, capybara, and a dog. Together, traveling on floodwaters in an abandoned boat, the animals seek dry land, while learning about and relying on each other, to hopefully reach their next destination. (Zilbalodis, on creating his story and making his film dialogue-free): “I wanted to tell the story without dialogue, and having these animals act like animals allowed me to do that. So at no point did I ever consider having any human characters in the film because then they would need to speak and that would kind of break this concept. But I did want to leave some clues about what might have happened to the humans and let the audience try to figure it out themselves by watching the environment. And so there are multiple layers of storytelling. There’s the journey that the characters go through, and then you can try and piece together the history of this world or what happened to the humans. But that wasn’t the most interesting part for me. I’m fine if people don’t think about it or catch it on the first watch, but if they decide to watch it again, there’s something in the film that will offer a different experience and they can look for different stories in the background, as well.” (on trusting his audience…and his sound designer): “… There are certain scenes with no music, where it’s just the sounds for sometimes five minutes, which is quite rare in animation, where music often spoon-feeds the information to the audience. And I wanted to trust the audience that they will figure out the intention and the meaning without having the music constantly telling you exactly how to feel. I thought the sound designer (Gurwal Coïc-Gallas) would be excited to have this opportunity, but he actually said that he felt a lot of pressure because he couldn’t hide behind the dialogue or the music, and he had to be able to carry everything for a pretty prolonged period. But I think he really did an amazing job doing that.” - Hammer to Nail, December 12, 2024 Flow is currently playing in theaters. Composite photo courtesy of Loud and Clear Reviews https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1735802298893-9O42XT63PHABPW3KMC80/brutalist%2Bbrody%2Bpearce.jpg Announcements - The Best Performances of 2024 - Adrien Brody, Guy Pearce | The Brutalist https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1735802424931-O6WSALW8JDQQ4BYZJ07M/challengers.jpg Announcements - The Best Performances of 2024 - The Cast of "Challengers" | Mike Faist, Zendaya, Josh O'Connor https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1735802536839-A9SAPHYSP70O7IT1M223/deadwyler+piano+lesson.png Announcements - The Best Performances of 2024 - Danielle Deadwyler | The Piano Lesson https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1735804100436-AOYYZT9FFOY438P6098V/hemsworth+furiosa.png Announcements - The Best Performances of 2024 - Chris Hemsworth | Furiosa: A Mad Max Saga https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1735802620348-RHC756A397R8GYDDAIOJ/karpovych+intercepted.jpg Announcements - The Best Performances of 2024 - Oksana Karpovych | Intercepted https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1735802904772-RDOV29IFN66H1VRPA8PJ/kidman+babygirl.png Announcements - The Best Performances of 2024 - Nicole Kidman | Babygirl https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1735802946958-O09TM14K8CHI17IG97U0/speak+no+evil+mcavoy.png Announcements - The Best Performances of 2024 - James McAvoy | Speak No Evil https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1735803046599-SQJXOB8PE934VL6E1FWK/civil+war+plemons.png Announcements - The Best Performances of 2024 - Jesse Plemons | Civil War https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1735803164799-K4CD6N3JC4RUCW2EI95N/saldana+emilia+perez.png Announcements - The Best Performances of 2024 - Zoe Saldaña | Emilia Pérez https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1735803271496-ZH4KXCGS53G6V1HJ38ES/chris+sanders+wild+robot.png Announcements - The Best Performances of 2024 - Chris Sanders | The Wild Robot https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1735803518063-ST5IW3GXA4SB3ERSYSE4/strong+stan+apprentice.png Announcements - The Best Performances of 2024 - Jeremy Strong, Sebastian Stan | The Apprentice https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1735803719818-EUIVBU4TB1ONH86NR9IS/squibb+roundtree+thelma.png Announcements - The Best Performances of 2024 - Richard Roundtree, June Squibb | Thelma https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1735803876426-0PP8Z7R5AY8ZRLIFZGNZ/my+old+ass+stella.png Announcements - The Best Performances of 2024 - Maisy Stella | My Old Ass https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1735803946722-RRZF2GXBCSX1WQG9RIOS/im+still+here+torres.jpg Announcements - The Best Performances of 2024 - Fernanda Torres | I'm Still Here https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1735804019016-ASLY71N2GUNR0HIANY3B/washington+gladiator+ii.jpg Announcements - The Best Performances of 2024 - Denzel Washington | Gladiator II https://www.shouldiseeit.net/announcements/2024/bo3xqlhib4c8zet9ezl5p35wekbsd0 monthly 0.5 2025-10-08 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/17d6bec5-2c5c-4268-8132-4ed6e3b6297a/image-drokyvrs-960-960-0-0-fill.jpg Announcements - Seattle Film Critics Society Names “The Substance” the Best Picture of 2024 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/c8c65a32-c19a-4a91-9ba9-b6f664570b21/bafkreiaufmrbofnryhfjotzxlbmxkbqb22ofikfj32gzy2zhsgjyf3b6oe.jpg Announcements - Seattle Film Critics Society Names “The Substance” the Best Picture of 2024 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.shouldiseeit.net/announcements/2024/the-50th-seattle-international-film-festival-returns-across-the-city-from-may-9-19-2024 monthly 0.5 2024-04-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/e8e8d037-420c-4d86-8df6-f41bf1b01d04/SIFF+-+FEST24_1600x900.jpg Announcements - The 50th Seattle International Film Festival returns across the city from May 9-19, 2024! - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/d3ddb3d1-bbbd-496d-983c-02c2a1898dc4/1.JuneFredHero.jpg Announcements - The 50th Seattle International Film Festival returns across the city from May 9-19, 2024! - Make it stand out June Squibb stars in “Thelma”, SIFF’s Opening Night Film https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/c57b30a9-26c7-46c9-8873-06aa39f0cf2b/image0+%283%29.jpeg Announcements - The 50th Seattle International Film Festival returns across the city from May 9-19, 2024! - Make it stand out Colman Domingo stars in “Sing Sing”, SIFF’s Closing Night feature. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/f21afe85-97ce-41e2-9547-7d12b83a72b1/MB_JPEG_20240312.00153556.jpeg Announcements - The 50th Seattle International Film Festival returns across the city from May 9-19, 2024! - Make it stand out “Moloka’i Bound” has its World Premiere as part of the cINeDIGENOUS film collection at SIFF this year. https://www.shouldiseeit.net/announcements/2024/the-seattle-film-critics-society-name-past-lives-the-best-picture-of-2023 monthly 0.5 2024-01-09 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/3558a324-a17e-4580-a641-9560bfd1e73d/SFCS+2023+Awards+Banner.png Announcements - The Seattle Film Critics Society Name “Past Lives” the Best Picture of 2023 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/e2a52b63-f5bf-43b5-901d-b642dc104c35/SFCS+Lily+Gladstone+PNW+Award.png Announcements - The Seattle Film Critics Society Name “Past Lives” the Best Picture of 2023 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/050d0688-b666-43a5-80e2-755e797af9f9/Showing-up-2-1600x900-c-default.jpeg Announcements - The Seattle Film Critics Society Name “Past Lives” the Best Picture of 2023 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.shouldiseeit.net/announcements/2024/2023-seattle-film-critics-society-nominations monthly 0.5 2024-01-03 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/0525f1e7-573b-4655-b548-43e5c2e48d6b/SFCS_Logo_Wordmark-page-001.jpg Announcements - 2023 Seattle Film Critics Society Nominations! - 2023 Seattle Film Critics Society Nominations Winners to be announced on January 8, 2024! https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/ef605372-c8f1-41fc-bbd4-8227bb36540d/CI_PoorThings.jpg Announcements - 2023 Seattle Film Critics Society Nominations! - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1697781566151-O1D2DS3SE4II3JHN5F68/KillersFlowerMoon1.png Announcements - 2023 Seattle Film Critics Society Nominations! - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.shouldiseeit.net/announcements/2023/the-seattle-film-critics-society-sfcs-announces-nominees-for-2023-pacific-northwest-filmmaking-award monthly 0.5 2023-11-07 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/fb8eed72-44ec-4691-80c8-f6a44f5806c4/2023+SFCS+PNW+Nominees.png Announcements - The Seattle Film Critics Society (SFCS) Announces Nominees for 2023 Pacific Northwest Filmmaking Award - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.shouldiseeit.net/announcements/2022/the-best-films-of-2022 monthly 0.5 2023-03-12 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/57590ce5-e816-4079-821d-92aa05e50161/2022.jpg Announcements - The Top 10 Films of 2022 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1671901850598-VQS9Y4SVWMW2062DWH31/RRRFeatured.jpg Announcements - The Top 10 Films of 2022 For many, S.S. Rajamouli’s RRR is truly the movie that delivers everything everywhere all at once. The Telugu-language Indian import has captivated audiences around the globe with its unbelievable combination of action, drama, comedy, music, dancing, and astonishing action sequences. From its Oscar-nominated original song, “Naatu Naatu,” to moments that simply must be seen to be believed, along with a splash of mistaken identity and commentary on British imperialism and their rule over the Indian people at the turn of the 20th century, RRR is unlike anything you have ever seen. (Rajamouli): “For me, finding a particular plot of a movie is just an excuse to express my emotions in a very fantastic way. These kinds of ideas are always there, I just need to build a platform on which I can mount them. Once I get a sense of, ‘OK, we have two freedom fighters whom we look up to like demigods, and I’m going to tell a fictional tale about him,’ I don’t need to stick to the facts. The points in the plotline enable me to do the fantastic action sequences. I like to stretch the audience’s imagination as far as possible, and still make them feel for those action sequences. Not just a sense of awe, but also a kind of emotional feeling for the characters as the sequences are going forward.” (on the Oscar-nominated “Naatu Naatu” song and sequence): “[With RRR] things were different, however, because at the beginning of the film we knew that we were going to have a dance song . I needed to make it believable, so I had to create a long buildup scene for the song to happen. The song is a story in itself. I explained this to the music director: ‘I’m not looking it as a song. It should be kind of a fight. Imagine it’s a fight scene, but one where [the fight] can be celebrated.’ Those were my instructions for my composer." - Deadline, December 28, 2022 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1674359996626-EWLA4O77REXJKF0WURES/FabelmansFeatured.PNG Announcements - The Top 10 Films of 2022 Reflecting on a career that now spans five decades and some of the most iconic movies in history, legendary filmmaker Steven Spielberg turned inward and looked at his own life, analyzing the events which inspired him to become a filmmaker in the deeply personal The Fabelmans. With a stellar cast embodying siblings, parents, and self, Spielberg unflinchingly documents the successes and struggles that made him the storyteller and person he has become. Celebrating a nostalgic love of cinema and the excitement and wonder of seeing movies as larger-than-life, it is the humbling realities of what happens when the camera is turned off which seem to matter just as much. (actor Gabriel LaBelle on first meeting Spielberg and then creating a similar character on screen): “When I read the script for the first time I asked him how much of this really happened and he said all of it. And I just got to hear all these stories of him growing up which is really - one, entertaining because he’s a good storyteller, and, two, insightful because I’m going to be able to utilize that in my performance. I could see footage of him as a young kid and try to resemble him physically and his walk and his posture and his smile and then try to put as much of his experience into the script and into the character. There’s no point trying to impersonate him, no one knows how he would have behaved 60 years ago, he’s a successful established man, he’s a confident man, but back then he wasn’t Steven Spielberg. And that was just trying to use what he’d told me and what I’d seen of him and the script and trying to make what makes sense for me.” - Filmhounds, January 25, 2023 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/ec7458a7-69c7-4203-b108-9efadd05f38b/FireOfLoveImage.PNG Announcements - The Top 10 Films of 2022 The year’s best documentary does what the best documentaries so often do - they immerse us into worlds we seldom witness or experience. Director Sara Dosa blends remarkable archival footage with a captivating narration by Miranda July in telling the tragic love story of Katia and Maurice Krafft, scientists who met, fell in love, and devoted their lives to studying and researching volcanoes around the world. (Dosa): “I hope that Katia and Maurice’s story can really inspire an example of what it means to live a meaningful life, and ultimately die a meaningful death. So much of that was how they understood the relationship of love and their life. Like for them, they went towards the unknown that is volcanoes. All the while knowing that they could never fully understand. That’s something that they would both often say, it’s like volcanoes are beyond human comprehension. But they still went towards that unknown, in search of understanding because that journey brought them profound love and meaning. That kind of clarity of purpose is so powerful and so inspiring to me. I think especially at a heightened time in history, when so many people, of course, have been experiencing uncertainty, fear, disaster, catastrophe for so long, but on this global scale with a pandemic, I feel like Katia and Maurice can serve as a North Star in terms of reconciling how to navigate uncertainty towards meaning, through the idea of love and understanding. And that’s, for me, an incredibly powerful lesson. ” - Oscars Central, February 3, 2023 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/81c03e93-850c-4766-b076-fab2c4c6994a/WomenTalkingSocial.PNG Announcements - The Top 10 Films of 2022 Women Talking is a bold and brave film that eschews showy aesthetics and elaborate set pieces and trusts its audience to invest in the dramatic heft and personal stories being told on screen. Writer/director Sarah Polley delivers a stunning, insightful, and timely look at a multi-generational group of women, reeling from the recent realization that they have all been victims of sexual assault in an isolated Mennonite community. Based on true events, eleven women gather in a barn to decide whether to stay and fight the men who are abusing them or depart the colony and move somewhere new. Over the course of the film, the women share stories, experiences, and debate on what next steps to take. (Polley): “So, initially, I just wanted to write the film because that’s what I’ve been doing for the last 10 years, since I had kids. I have three little kids now, so the idea of being on set for 17-hour days felt incompatible with being able to be present with them. I said that I’d love to direct it too, but that didn’t seem viable to me, and I sort of floated the idea of changing the regular hours of a film set to accommodate people being able to see their families or loved ones. Fran (Frances McDormand, producer) said, ‘Men have written the rules of the film industry, but this is Women Talking. Let’s rewrite the rules.’ (on adapting Miriam Toews’ book in to a screenplay): “I asked her, ‘What’s the most important thing for you in this adaptation?’ She said, ‘The laughter.’ That was a great North Star for me to have. Any time we felt the pressure building up, we found a way to release it.” - Vogue, February 19, 2023 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/0d54bbf0-5e56-43b3-b117-ad7c68bd0d71/AftersunImage.PNG Announcements - The Top 10 Films of 2022 A debut film that stunned audiences and left them grappling with their emotions, Aftersun signifies the arrival of Charlotte Wells, who shares a heartbreaking, yet beautiful story of a father, fighting depression, spending a summer vacation with his 11-year-old daughter. Starring Oscar nominee Paul Mescal as Calum and the powerful debut of Frankie Corio, as his 11-year-old daughter Sophie, the film is told in flashback - at first in a more conventional linear way, until an adult Sophie’s thoughts and memories begin flooding the narrative and see her address a suppressed grieving and loss for a father she can only remember through the videos and memories she saved. (Wells): “I envisioned a film about a young father and his daughter on holiday, a father who might be mistaken for her brother, and who were very much partners in crime. And while the seed of that endured, I think the process of allowing my own memories and recollections, and my own relationship with my dad, began to seep into the structure of the film. As I sought out references, one of the things I was looking to explore with memory was how filmmakers portray memory and how they allow audiences in.” - MUBI, January 6, 2023 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/68f34074-b5fb-4158-a896-b7db564f258f/EEAAOSocial.jpg Announcements - The Top 10 Films of 2022 A multiverse movie on steroids, with a beautiful beating heart in the middle of all the chaos, Everything Everywhere All At Once has won audiences over with its unprecedented wild style and vision, but also with its touching, heartfelt look at a family desperately trying to find a way to heal its increasing divides. Directed by a tandem known as The Daniels, and showcasing career-defining performances from Michelle Yeoh, Ke Huy Quan and Jamie Lee Curtis, and introducing the world to Stephanie Hsu, Everything Everywhere All At Once is a film, from the absurd to the sublime, well on its way to becoming a generational classic. (Director Daniel Kwan): “It really came together when we did our table read with all the family of actors, Michelle, Ke, Stephanie, and James Hong. We read the whole thing out loud, and we would constantly be like, ‘You know what, that’s not how my family would talk.’ We would rewrite it together. And someone would say something, and we would all laugh because we were like, ‘Yes! That’s exactly what my mother would say.’ I think that made the whole thing come alive. And the finale, the way it all wraps up, I think might get lost to English-speaking audiences. The final speech that Evelyn gives in front of her father and Waymond and her daughter starts in English so that she can communicate with her daughter, moves to Mandarin so that she can communicate with her husband, and moves to Cantonese so her father gets pulled in, and then ends once again in this Chinglish space, mostly English, almost as a way to pull it all together. So even in the structure of her speech, we try to be a metaphor for how she’s trying to pull it all together.” (Director Daniel Scheinert): “We structurally wanted the movie to have a rewarding, broad, gentle final feeling. We looked at Groundhog Day and It’s A Wonderful Life as movies where the main character loses all hope and then regains it, as references to say, okay, underneath it all, we don’t want it to be just weird for weird’s sake.“ - The Beat, April 22, 2022 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/07511599-55d7-44fe-a7e8-2d0728e9a11b/https___cdn.sanity.io_images_xq1bjtf4_production_90f82fbe8d8f694d9c662cff4b53c1acf71844a8-1990x1280.jpg Announcements - The Top 10 Films of 2022 The most endearing and charming film of the year is undoubtedly Marcel the Shell with Shoes On, a stop-motion animated dramatic comedy, adapted from a series of YouTube shorts, that follows a documentary filmmaker (Fleischer-Camp) shooting his interactions with a one-inch talking shell named Marcel (Jenny Slate). Slate’s wonderful voiceover performance makes us believe in Marcel, who takes care of his Nana Connie (Isabella Rossellini) and draws the filmmaker and viewer into his fascinating view of the world and the moments which have shaped him into who and what he has become. Insightful, emotional, and quite lovely, Dean Fleischer-Camp’s film sheds the novelty of its premise and creates something truly unforgettable. (Fleischer-Camp): “A lot of this movie was made with a hope and a prayer. And it was made in a really unorthodox way with the aim that at the end of it, we would arrive at a movie that really moved people. And even though there’s this whole technical process going on, we all had our fingers crossed that that would result in something that doesn’t feel technical or mechanical, but feels organic and emotional and really reaches people. And so I think that yeah, it’s amazing. And it gives me a lot of confidence in artistic vision, and the ability for art to connect people. They’re clichés that sound dumb when you say them out loud. but they’re very true to me right now." - Gizmodo, July 19, 2022 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1667453264270-MG5OO0AUJ2AH7CRVCJPQ/DecisionToLeaveFeatured.PNG Announcements - The Top 10 Films of 2022 A mind-bending mystery from South Korea, steeped in a love story that questions morality and judgment, Park Chan-wook’s Decision to Leave is a return to form for a filmmaker who has pushed boundaries and envelopes throughout his career, delivering films which leave images and moments resting with viewers nearly impossible to let go. In unraveling the mystery surrounding the death of an older mountain climbing enthusiast, and his younger wife who becomes a suspect, the mental cat-and-mouse game which follows keeps viewers guessing. Knocked off-kilter, we are left to wonder not only whether the wife committed a crime, but also absorb into gorgeous cinematography, rhythmic editing, and brilliant writing that reminds us that truth and reality can often live in shades of grey and that, in some small way, every narrator can be an unreliable one. (Chan-wook): “(My film is a) story about this unclear world and you’re trying to clearly see that blurry silhouette and that effort of trying to clearly see that blurry world. I think that is connected onto the job that I do. I think this is the attitude that a creator or an artist should have. Think about [the detective] Hae-joon with his eye drops: he’s putting them in his eyes and blinking, and trying to see objects around him more clearly. In this world where the meaning of it all is so unclear, this is the attitude that the artist should view our world with. So even though the effort of our character Hae-joon fails, and he is ultimately sucked into this curtain of mist and darkness and he fails to clearly see the world in the end, I do believe it’s the effort that matters most. From beginning to the end, what I really intended was to make this a dreamlike world, where you feel lost and you don’t know which way to go and everything is unclear. That kind of psychological state, where you’re still searching for something, you’re still searching for clarity. That was the kind of dreamlike state that I intended to create here.” - Deadline, January 12, 2023 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1674351095184-ZH6ZHNI1MO8YWF9RLFQB/BansheesofInisherinFeatured.PNG Announcements - The Top 10 Films of 2022 The writing is so good in Martin McDonagh’s The Banshees of Inisherin, you cannot help but find a soft space in your heart for all of these damaged individuals. Whether heartstrings are pulled toward the hangdog demeanor of Colin Farrell, the damaged but perpetually optimistic Barry Keoghan, the gruff and angry Brendan Gleeson, or the desperate voice of reason looking to finally live a life on her own in Kerry Condon, the fantastical elements surrounding these Banshees fall away and we find a way to connect with every emotion and reaction made by a group of characters trying to survive on a remote island in 1920s Ireland. When Gleeson’s character tells Farrell’s character he no longer wants to be friends, and will cut off one finger at a time if Farrell doesn’t stop bothering him, a fascinating role reversal occurs. We become willing participants in how these characters behave and react, mesmerized by not only the embedded pride that comes with toxic masculinity, but the impact our behaviors cause and how blind we can be to how our behaviors impact those around us. There may not be a better film in 2022 with greater insight into who we are as people, present-day, then this film - set more than 100 years in the past. (McDonagh): “[I was] just trying to capture the sadness of a breakup. I don’t usually write directly from personal pain—I was going through something not dissimilar in a romantic way—but I knew it would be about a platonic relationship between two guys. So the very first thing was to capture sadness, which isn’t what a film company would want you to be doing. [Laughs] But it turned out OK! We all have egos, but I don’t have the kind of ego that needs to be the top dog. So [Colin and Brendan] trust that my ego isn’t going to get in the way, and I trust them in the exact same way. It’s all about finding solutions together to make us all better. (That) opening statement, ‘I just don’t like you anymore.’ Aside from that, I didn’t have too much more. But I find it more exciting to not know what the hell’s going to come. So even the threat about [Colm cutting off his own] fingers—that wasn’t there until that day of writing. But when something like that comes up, it gives you so much information and so many dramatic potentialities. When he made that threat, I knew that these [fingers] weren’t going to survive. It was just like: How many are we going to lose?” - Backstage, February 22, 2023 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/a2d85a8a-3eea-450f-b544-36f2cdc3b5e6/Tar2.PNG Announcements - The Top 10 Films of 2022 You can’t shake TÁR, Todd Field’s comeback story of a master conductor unraveling scene-by-scene and moment-by-moment as her carefully constructed world falls in around her. The film is a breathtaking 160-minute suspense/thriller housed within a character study of Lydia Tár, a woman (Cate Blanchett) who has achieved the highest of heights in her career but can no longer hide from her pattern of hiding secrets and disturbing behavior. In the end, everything catches up to her in Field’s essay on celebrity, cancel culture (and the myths associated with it), power, and whether Lydia truly understands the gravity of her actions and the damage she has left in her wake. Blanchett’s mesmerizing performance as Lydia Tár hits every unsettling note perfectly, as her ego, hubris, and outright defiance towards anything that doesn’t focus on her own career and interests is on ample display. And yet, as she starts to crack, the film hits another level of fascinating curiosity and we, as viewers, begin to question whether Lydia’s reality is truly being shown to us or whether we have dissolved into her blurred and skewed view of the world. Todd Field’s first film in over a decade showcases his immense talents as a storyteller, while building a cinematic world for Blanchett to deliver, arguably, the finest performance of her stellar career. Full of moments big and small, there is so much to be discovered in TÁR. You simply want to revisit it again and again, looking for clues, details, and moments that help explain the dizzying descent we take with such a complicated character. (Field): “…Given the themes of the film and examining the sort of scandal part of it…I had no interest in pointing at the particulars of those things or the discussion around those things. Protests against hierarchical, essentially white male power, are something we all know about, that we’ve all experienced from the time we were young. Whether it was in the media or not, it was something we could passively observe on a day-to-day basis: we could see who held the power and who was able to get away with certain things that others were not. (on working with Cate Blanchett): “So, it’s about process. The actual process of making the film was very sort of reflective of the themes of the film. It was a very, very open conversation, and we worked and collaborated as equals and were open to a lot of experimentation on a constant basis. Cate and I were holding onto each other as sort of dance partners that way. And we tried to keep a sense of play in it, which is what process is about.” - Deadline, March 6, 2023 https://www.shouldiseeit.net/announcements/2023/everything-everywhere-all-at-once-named-best-picture-of-2022-by-seattle-film-critics-society monthly 0.5 2023-01-21 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/f79d7741-b943-4e44-ab01-3a5873bdb896/SFCS_Hero_Template_Winner_A.jpg Announcements - "Everything Everywhere All At Once" Named Best Picture of 2022 by Seattle Film Critics Society - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.shouldiseeit.net/announcements/2023/2022-seattle-film-critics-society-awards-nominations monthly 0.5 2023-01-21 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/4dab7a8f-f02f-4590-80ce-75c91939a9f9/SFCS_NomSlide_0.jpg Announcements - 2022 Seattle Film Critics Society Awards Nominations - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.shouldiseeit.net/announcements/2022/seattle-film-critics-society-announces-nominees-for-inaugural-excellence-in-pacific-northwest-filmmaking-award monthly 0.5 2022-12-06 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/e1fe3d97-4b85-4bc7-9247-3cd4411dc42e/SFCS_Mockup_2022_plain.jpg Announcements - Seattle Film Critics Society Announces Nominees for Inaugural Excellence In Pacific Northwest Filmmaking Award - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.shouldiseeit.net/announcements/2022/drive-my-car-named-best-picture-of-2021-by-seattle-film-critics-society monthly 0.5 2022-01-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/3c8928fd-aef9-4e99-b7ae-c5d8e100f4a1/SFCS+Winners+SLate.jpg Announcements - "Drive My Car" Named Best Picture of 2021 by Seattle Film Critics Society - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.shouldiseeit.net/announcements/2022/2021-seattle-film-critics-society-nominations monthly 0.5 2022-01-10 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/b55b0bba-1643-4c43-b6b7-ecb5b786d5d5/SFCS+2021+Best+Picture.PNG Announcements - 2021 Seattle Film Critics Society Nominations - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.shouldiseeit.net/announcements/2021/siff-2021-docfest monthly 0.5 2021-09-24 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1632505101017-1NWH1ML0DTAAA3BZKES1/CIN_DocFest2021_thumb_1600x900.jpg Announcements - SIFF 2021 DocFest Marks SIFF's Return to In-Person Cinema - Make it stand out Image courtesy of SIFF. https://www.shouldiseeit.net/announcements/2021/nomadland-named-best-picture-with-seattle-film-critics-society monthly 0.5 2021-02-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1613520637364-8O6XOB7R8ADNTTCLJHWA/NomadlandMovie.jpg Announcements - "Nomadland" Named Best Picture with Seattle Film Critics Society Frances McDormand in “Nomadland” (Searchlight Pictures) https://www.shouldiseeit.net/announcements/2021/the-2020-seattle-film-critics-society-nominations monthly 0.5 2021-02-08 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1612818432528-P6WMSNIZZUXP7PYGIW4V/SFCS+2020+Best+Picture.jpg Announcements - The 2020 Seattle Film Critics Society Nominations https://www.shouldiseeit.net/announcements/2021/the-top-10-films-of-2020 monthly 0.5 2022-02-05 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1610218715711-03870JA1AE58Y69Q826W/2020+Image.jpg Announcements - The Top 10 Films of 2020 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609810519455-112GBO18T5EXC63GEO17/TimeMovie.jpg Announcements - The Top 10 Films of 2020 Time is unapologetic in its stance that the criminal justice system seeks not to rehabilitate families but drive them apart. Our narrator, Fox Rich, is unrelenting in her push to reunite her family, as her husband, Rob, serves a 60-year prison sentence with no possibility of parole. Under advising of his attorney at the time, Rob refused to take a plea bargain for an armed robbery he and Fox committed. Fox, on the other hand, took the deal and served a little over three years. With five sons and working tirelessly to support her family for more than 20 years, Fox fights constantly to bring Rob home. Initially, director Garrett Bradley envisioned the Rich story as a short film, but near the end of the process, Fox opened a Pandora’s Box of sorts for Bradley, the filmmaker having earned her trust. Bradley received nearly 20 years of home video footage that Fox and her family had taken, documenting a life’s record and history for Rob’s hopeful return home. With Fox’s blessing, Bradley used the footage to allow her film to reach a staggering level of unanticipated depth, emotion, and power. (Fox Rich): “I think we concluded a long time ago that we as human beings have to give ourselves rooms to make the not so good choices and still know that we can be okay in knowing that I'm not the worst thing I've ever done. One of the most powerful moments for me was when Rob reminded us of what happened to us. And he says, ‘Baby, we lost our confidence because of the action we had made, but we got to forgive ourselves. We made a bad choice, Fox. We're not bad people.’ And so when you can settle into that, you must, as a formerly incarcerated person, not buy into ‘I'm bad or less than’ because of the labeling of convicted felon because it will really take you down a road. You've got to love yourself enough to forgive yourself so that others you [can] feel like you have earned the forgiveness of others. And that's what Rob and I and our family tried to do - be better than the worst thing that we have done.” - WBUR.org - October 15, 2020 (Director Garrett Bradley (on her process and incorporating Fox Rich’s personal videos into the film)): “I’m not interested in entering somebody’s life and following every moment of their day, then taking that into the editing room and finding a story. I try actually to spend enough time with the person that I can anticipate what their days look like. I can even anticipate, to a certain extent, their lifestyle and physical movement in the room so that my camera just has to be in one place, and everything can unfold in front of it. There’s a certain static stillness and understanding in what’s to be anticipated in our current-day footage. All of that was completely thwarted going through the archives. It was texturally different, tonally different. So, trying to find a way to bring them together became the beginning of Fox and [me] really, truly collaborating with each other across space and time." https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609811262021-EJ3HLA1NUOK1A0TNP2RJ/OneNightInMiamiSocial.jpg Announcements - The Top 10 Films of 2020 The premise is a clever one. On February 25, 1964, Cassius Clay (the future Muhammed Ali), Malcolm X, Jim Brown, and Sam Cooke spend an evening together discussing and debating their lives in Malcolm’s motel room after Clay defeats Sonny Liston to become the new heavyweight boxing champion of the world. Sadly, both Malcolm and Cooke would be dead within one year of Ali’s big win. That sobering truth hangs a pall over the proceedings. There is an urgency pulsing within the film and director Regina King makes Malcolm’s motel room, the site of the get-together, feel both large and small. At times, there feels like ample space for these men to air out grievances, eat some ice cream, and share some laughs. In other moments, the men feel pressed on top of each other, fighting for air, desperate to speak and demanding to be heard. The men are rivals, we suppose. Malcolm knows the specific impact his friends have made in the world. But in 1964, a world still devastated by racism, segregation, and unspeakable acts of horrific violence against the Black community, Malcolm cannot shed his agitation and pushes his friends to be provocative and radical and make statements on behalf of Black brothers and sisters everywhere. (director Regina King on her cast): “It was quite fantastic to be the fifth wheel. [The actors] knew the journey we were about to go on, that this was not a time to be doing any impersonations or caricatures. This could've gone south quickly, but they trusted me to guide them, or lure them back, or caution them from going to some places. They listened, understood that the nuanced moments are the ones that capture the audience's hearts and ears.” - Entertainment Weekly, December 2020 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609812200934-P214SFLUHZKOR4GQY8RR/MinariMovie.png Announcements - The Top 10 Films of 2020 Minari is a tender, honest, revealing story of one Korean-American’s family attempts to relocate to a small town in Arkansas and secure the American Dream. And while they may not quite know what that Dream is supposed to look like, patriarch Jacob believes building a sustainable farm is the pathway. Writer/director Lee Isaac Chung’s film is semi-autobiographical, set in the 1980s, and explores a lonely, challenging world through the perspective of multiple characters. Jacob (Steven Yeun) wrestles with the strain of his decision to uproot everyone while refusing to abandon his ambition. Monica (Ye-ri Han) is a loving mother and wife who begins searching for exit doors with what she sees as a potentially calamitous decision for her family. Chung writes great scenes for young actors Noel Cho, a pre-teen daughter, and Alan S. Kim, the spirited young boy who steals the movie -until- Soon-ja (Youn Yuh-Jung), the family’s grandmother arrives, disrupting everything with her caustic wit, lack of responsibility, and love of professional wrestling and Mountain Dew. (Chung): “I started off my career thinking that I wanted to make films that aren’t about my life. Something shifted around 2014 around the time my daughter was born. I just wanted to tell a story that encapsulates a lot of things that I grew up with and a lot of things that I was thinking about presently in life as well. (I wrote memories down) from that time of my life, looking at it from the point of view of age my daughter is. So, looking at what was life back when I was in that range of five to seven years old. And a lot of funny things went in there like my dad taking us to this place in the middle of nowhere, plopping us on this land with a trailer home with no steps and him saying ‘this is your new home.’ I felt precious to do this and to have something I can show to my family, both of my parents in which they feel like they were seen and heard. And also, to my daughter, something I can leave behind for her that she can see where we come from.” - Goldderby, November 25, 2020 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609814908768-NP8P5F4R5USWO16IL5ZI/SoulFeatured.PNG Announcements - The Top 10 Films of 2020 Though comparisons have been made to Inside Out and Onward, two recent Pixar films that deal with concepts of life and death, Soul is very much its own unique experience. Directed by Pete Docter, and co-directed by Kemp Powers, the film tells the story of Joe, a musician whose lifelong ambition to be a famous jazz performer has come at the expense of a great many things in his life. When a dream opportunity arrives suddenly out of the blue, Joe’s excitement finds him absent-mindedly stepping into an open manhole and landing on the cusp of The Great Beyond. If this all feels like weighty stuff, under the direction of Pete Docter (Inside Out, Up, Monsters, Inc.), the subject matter is handled in a tender and caring way. Co-directors Docter and Powers underscore the sensitivity required to properly explore the notion of what makes us who we are. Are our personalities predetermined before birth? What control do we have over our actions once we begin to realize our lives as human beings? Themes of responsibility, fighting for our dreams, and maximizing our time while we have it, carry deep and profound resonance. Kids will miss some of the loftier concepts, while laughing at many comedic moments the directors orchestrate exceptionally well. Soul is yet another amazing highwire act from a studio that is never afraid to facilitate conversations about the human condition through accessible and inviting means. (Docter): “The afterlife was, especially, like ‘Danger, danger, danger!’ You know, there’s a lot of pitfalls and things that we could have stuck our foot in by accident. [When] we did start the whole process, I think, one of the first things we did was talk to a lot of different religious consultants - pastors, theologians, rabbis … and we just tried to understand from every angle how people across time have understood the soul, and what does it look like. Are there any clues to us in terms of the design that we can use.” - Focus on the Family’s Plugged In, December 22, 2020 (Powers): “The central themes of the film, questions like, ‘What am I meant to do with my life?’ are not something that just Black people are sitting around thinking about. It’s something we’re all thinking about. But you also want to make sure that the world that you’re creating feels like an authentic world, whatever that world may be, so that someone who is of that group - in this case, if you happen to be a Black person from New York - doesn’t bump and say, ‘That is nothing like the world I’ve ever seen.’ You don’t want to take them out of it. And in the best sense, in the perfect world, you want people who are from that group to feel that someone like them had a hand in creating it. And that’s often evident. You can often tell when there’s Black characters but Black people had nothing to do with the creation of those Black characters.” - Slate, December 21, 2020 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609828939766-NY42FA59SSI6Z50ZNJXV/SoundOfMetal+-+Riz+Ahmed.jpg Announcements - The Top 10 Films of 2020 As the drummer of a punk/metal band, Ruben begins to experience intermittent hearing loss following his performances. A recovering addict who has used music to fuel years of sobriety, he learns his condition will only worsen. Relocating into a sober house for the deaf, Ruben’s hearing loss increases as a community attempts to nurture him into accepting the new realities he faces in his life. Darius Marder’s directorial debut is a rollercoaster of deeply felt highs and lows, powered by Riz Ahmed’s incredible performance. Lest we think this is one actor’s tour de force though…Ahmed may provide the film’s heart and soul but a community of deaf people in a sober house adds layers of emotional connection to Ruben’s journey. His desperation in conquering his hearing loss surprises him, but for us, as viewers, we see the complete journey of a man accepting his fate, but coming to terms with the fact that everything he has known and fought for and against in his life is changing and he is powerless to stop the effects of time. (Director Darius Marder on bringing the viewer into Ruben’s experiences): “My overriding objective is that the experience is visceral. I had custom earpieces designed that blocked sound and emitted a whole range of sounds, so every stage of hearing loss is literally happening to him. The first time Riz put them in and the audiologist put the sounds on, tears came to Riz’s eyes because you lose more than just a sense, you lose your equilibrium, you lose control. You could see the physical change come over him. We shot chronologically so his hearing loss progressed in order. I could control this mechanism: first, it was a ringing, then a white noise and Riz couldn’t hear his own voice. It had to feel natural and be immersive but also watchable. It couldn’t be jarring. The dance of the visuals and sound are so complicated. We had to plan beforehand the perspective out for every shot - whether you’d be in his head with his sounds or out wide for omniscient sound. If you overplay being in his head, it’s too much, but we had to figure out what we could get away with. You could never do all that if you didn’t shoot it the right way.” - The Orange County Register, November 20, 2020 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609866599024-HSNNLO1P5DE63HNZ4QUA/CollectiveSocial.jpg Announcements - The Top 10 Films of 2020 A Romanian documentary about a tragic nightclub fire in 2015 is not something I anticipated would provide the framework for the best documentary of 2020. Collective, however, is no normal story. With as many twists and turns as a scripted thriller, the film first discusses the lives lost and forever altered by the fire, but also brings to light evidence of medical malpractice and neglect. This neglect led to a spike in deaths among those who initially survived the fire, further raising questions on the practices and protocols within the Romanian healthcare system. But there’s more: A mysterious death occurs. A sports reporter leads the charge on exposing the malfeasance, resulting in significant consequences within the Romanian government. As civilians learn the realities surrounding the professionals and elected officials they are asked to trust, Collective morphs into a film which reaches beyond its country of origin. Collective becomes a story about the collective trust we place in the institutions designed to protect us, and the power of a free press to inform its citizenry of any and all wrongdoing. Collective leaves an unsettling feeling in your gut, but this is an exceptional emotional journey. And all of what that fire meant and brought to the surface feels, at once, necessary, immense, and daunting. Death and hope co-exist. Reformation and resignment walk side by side. Tragedy and anger are uncomfortably nestled in together. As good as any film released in 2020, Collective captures who we are. (Director Alexander Nanau on journalist Cătălin Tolontan): “In the aftermath of the fire, which was a national tragedy, the whole press somehow failed because the authorities used this trauma to manipulate [the public], saying ‘Our health system is the best. We’re going to handle it. We’re on top of it. We can rescue all the burn patients.’ We understood later that they could not – there were not enough burn units in Romania to do that, and Tolontan and his team were actually the only ones after three days who said, ‘No, no, no, wait a minute. There’s something very fishy.’ They started to uncover huge lies. The fire department said they didn’t know the club existed when in fact they authorized it - he exposed that. And then there was a newly opened burn unit in Romania and they said the burn victims are getting surgery there, but he found out the burn unit closed and it was only inaugurated several months earlier to justify all the investments the hospital manager made there to get his bribe. We understood, ‘Okay, he’s going after the health care system,’ and that led us to get in contact with them because before that, he was known as the most ardent investigative journalist in Romania, but he was investigating corruption in the sports world." I can only watch it from the side, in a way honored and humbled that our team managed to make a film that hits such a core thing about our world today and from now [the film] has its own life. We just have done our job and now we watch it, but it’s great that people are connecting with it and it inspires people. After we released it in Romania, the number of whistleblowers journalists [started hearing from] every day got 10 times higher.” - The Moveable Fest, November 20, 2020 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609867426393-KB8N0YUFLKSGBFZZ8KH5/HamiltonFeatured.PNG Announcements - The Top 10 Films of 2020 Hamilton arrived as a film in troubling and divisive times. Though it opened on Broadway in August 2015, July 2020 saw Hamilton as timely as ever, with our world torn apart by a fractured political discourse. Race and racial inequity were and remain at the forefront of our collective conversations. President Trump held approval ratings below 40%, and at the time the film premiered on Disney+, just 24% of Americans believed the country is on the right track. Writer and composer Lin-Manuel Miranda takes us into a time of war, political persuasion, and a fight for independence with Hamilton. The founding fathers of Washington, Jefferson, Madison, Hamilton, and others had no true idea of how America would look as they worked to form our nation’s first government institutions. We are no different today. We are at war, culturally, as a nation. Political persuasion and influence is more deep-seeded than ever before. Persons of color are fighting for an independence from 400-plus years of oppression, systemic racism, and scapegoat-driven blame that has defined the non-white experience in this country for centuries. Hamilton is arguably more relevant now than it was upon its debut. Driving the themes and narratives home emphatically are an ensemble imbued with flawless chemistry, who leap off the stage with enthusiasm and power. In casting members of the Black, Latinx, and Asian communities as iconic historical (i.e. white) figures, Miranda reminds us that we are all one people. And while that symbolism may feel simplistic or heavy-handed to some, the passion, and explosive emotions these actors generate speak far beyond Miranda’s composition book. Hamilton truly is one of those rare pop culture-tilting moments that come few to a generation. (Miranda): “When you write a musical that brushes against sort of the origins of this country, it's always going to be relevant. The fights we had at the [country's] origin are the fights we're still having. I've always said that slavery is the original sin of this country. [Slavery] is in the third line of our show. It's a system in which every character in our show is complicit in some way or another. Hamilton - although he voiced anti-slavery beliefs - remained complicit in the system ... He didn't really do much about it after that. None of them did. None of them did enough. In the Heights (Miranda’s 2008 Tony Award-winning musical) really came out of a result of seeing [and] writing what I saw as missing in the musical theater canon for Latinos. And so every time I write a piece of theater, I'm trying to get us on the board. And that continued with Hamilton, of, how can we write the parts that I didn't see existing?" “I am not interested in statues. I am not interested in how they (the Founding Fathers) look on our money. I was picturing Hamilton as a hip-hop artist. And, as a result, as I am reading Ron’s book (Alexander Hamilton by Ron Chernow), my brain is mining it for who are the hip-hop and R&B voices that can tell these strands of the story. I think it’s incredible meaningful to then populate our live show with Black and Brown artists. Hip-hop is a Black artform, it was created by Blacks and Latinos in the South Bronx in the ‘70s and Hamilton is a love letter to that artform, just as much as it is a love letter to musical theatre. It’s our country too.” - NPR’s Fresh Air, via Broadway World - June 30, 2020 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609870689728-AN0ZE1181I4SS46PSRE1/NeverRarelySometimesAlwaysFeatured.jpg Announcements - The Top 10 Films of 2020 Abortion is never easy to discuss, harder to debate, and polarizes people to opposite corners in most conversations on the topic. It is as inflexible a political issue as we have in this country; even more reason why making a movie like Eliza Hittman’s Never Rarely Sometimes Always feels so profoundly brave and important right now. Through its use of neorealism, both Sidney Flanigan and Talia Ryder give convincing, haunting performances. Flanigan, in their film debut, offers a performance wise beyond their years. When Sidney’s character Autumn sits down with a case manager in a New York City clinic, played by real-life clinician Kelly Campbell, the film feels authentic, almost documentary-like. As Autumn is carefully guided through an escalating series of deeply personal questions, she is offered one of four words to use in her response: “Never,” “Rarely,” “Sometimes,” or “Always,” Hittman’s screenplay is stunning in its precision. In that sequence with the clinician, not only do we understand why Autumn is in New York City, but we also have a deeper understanding why this is necessary for her. Whether you agree or not with the decisions being made in the story, one cannot help but feel empathy for Autumn. Flanigan’s performance is raw, honest, and truly unforgettable. This is an intense film, but a compassionate one. At times, the journey feels fraught with peril and yet, Autumn’s cautiousness never gets in the way of the confidence and strength in her choice and determination to fight for that choice. (Hittman): “It’s been a whirlwind and simultaneously a marathon. In coping with the open-endedness of everything that’s happening in our world, I think it’s good that the film is out there. And I think that obviously we’re in a very vulnerable moment not just in terms of the (COVID-19) virus but in terms of women’s reproductive rights. I hope the film, what it’s about, reaches people. Potentially reaches vulnerable women who can’t get access to birth control and can’t get access to their reproductive rights. It’s a journey that many women take and are forced to take and would never speak about. So, I do think that the film does open up a conversation.” - The Reel Podcast, via Los Angeles Times - April 17, 2020 (Flanigan): “I got the part and then things happened, and started real quick. It was a very quick film. It was a 27-day shoot. We had two days of rehearsal. Everything was so fast. And also not having been an actor in previous life, I just didn't have a conventional process. So I tried my best as a musician. I feel like I already have to find a certain emotional headspace in order to deliver a performance pertaining to each song and you take on a persona on stage. So I'd try my best to transfer that over to acting. I just really hope that it gives them a realistic glimpse into what the [abortion] experience can be like and the woman's perspective of what the world is like with the hostility that there is from other men. And that it gives people a real look and so that they can maybe empathize and put themselves in other people's shoes.” - Harper’s Bazaar, April 3, 2020 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609870724337-NR3O0GOXNJNIKUTPMA39/PromisingYoungWomanFeatured.PNG Announcements - The Top 10 Films of 2020 Leading a double life, Cassie (Carey Mulligan) is a 30-year-old barista who goes out to nightclubs on weekends, gets drunk, and goes home with a different guy each night. Things are not quite as they appear to be, however, and Cassie’s actions are driven by events from a past she simply cannot allow herself to leave behind. A movie that will divide audiences with its very direct and pointed commentaries on women, their power and agency, their sexuality, rape culture, sexual assault trauma, the motivations of men, toxic masculinity, and the actions of men when challenged in the presence of strong females, Promising Young Woman dares you to hate it. Dares you to be mad. Dares you to dislike its main character. Then it lights a cigarette, draws a wicked smile, and leaves you to process and consider everything you have just witnessed, as a number of characters sit in disbelief over a reckoning they never anticipated. Writer/director Emerald Fennell, who cut her teeth as a writer and showrunner on the series “Killing Eve,” holds nothing back in letting us understand what Cassie’s motivations are in the opening moments. Rather than shine a spotlight on her actions as if to exploit her decisions, we embed with her and get to know Cassie through a series of boozy interactions in and outside of the clubs she frequents, and with customers at the local coffee house where she works and banters with manager and best friend Gail (Laverne Cox). The film is messy and unkempt in one moment, polished and perfect in the next. In exchanging drinks, one-liners, concocting schemes, sending perfectly timed texts, or letting down her guard for a rare moment, Mulligan’s enigmatic personality is balanced wonderfully within subjects and themes bigger than merely one character or one performance. Promising Young Woman is a force of a movie; fearless in its commentary, blistering in its touch and a film we will be talking about for a long time to come. (Fennell): “I have always been quite interested in morality tales. In terms of the way it was shot, there are lots of parts of it almost touching on Greek tragedy — Cassie as the avenging angel who comes and offers redemption or punishment. And it’s ultimately, for me, a film about forgiveness, but that people only get forgiveness if they admit wrongdoing. She’s called Cassandra as a kind of nod to the original Cassandra. So the whole purpose of the movie is to say, look at these two paths in front of this promising young woman. One is just skipping through daisies and delicious, beautiful candy land. And one is hard and lonely and bleak. Who chooses the hard road? It’s a horrible road to choose. And isn’t it funny how frightening a character becomes — particularly a woman becomes — when they say, ‘Actually, I’m right. And so I’m going to keep going. Even when everyone else is bored. And even when everyone else is furious, I’m going to keep going.’ And that, without Carey, was impossible. Because Carey is so exceptionally gifted, it was only her who could have given this character that in my mind was, as you say, this kind of an allegorical person — to make it completely and utterly real.” - Variety, December 2020 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609870781549-YXVMY78FSO3FMC6FY0V0/NomadlandMovie.jpg Announcements - The Top 10 Films of 2020 There is beauty found within every frame of Chloé Zhao’s extraordinary Nomadland, the third feature from the accomplished and acclaimed writer/director. Sometimes the beauty is shown in a smile. Sometimes it is revealed in confession and vulnerability. In other moments, we find it in the gorgeous, breathtaking cinematography of Zhao’s collaborator, Joshua James Richards. These components and more make for a raw, real, and powerful viewing experience. Set in the early 2010’s, Frances McDormand, every bit as Oscar-worthy as she has ever been, portrays Fern, a former teacher living a nomadic existence after the recent economic recession. She resides in her van and when an old friend encounters her at a store, in an early scene, she tells a former student of hers, “I’m not homeless, I’m houseless. There’s a difference.” A community of nomads will soon envelope Fern. Zhao, who wrote the screenplay based on Jessica Bruder’s acclaimed book of the same name, holds these seemingly wayward souls in touching reverence. McDormand stars alongside non-professional actors and strikes an immediate kinship with friends like Linda (Linda May), who works with her at a campground, and Swankie, a woman at peace with her life while managing a pesky broken arm. Zhao frames the first half of her film almost as a documentary. And Richards frames these moments against a rolling landscape of the Far West, with a grounded, respectful, but roaming eye. In lesser hands, it would be easy to shove the idea of Nomadland to the fringe of our thinking and turn up the heat in our 2,000 square foot homes, while grabbing a blanket and surfing the internet on our smartphones. Zhao simply embeds, embraces, and invites us to walk this journey. And perhaps most affecting of all is how Zhao captures intimate, small moments which feel like everything. Floating on your back in a river, with not a soul around. Listening to a man share what he has learned in life after losing his 28-year-old son. The simplicity of seeing birds fly above you. The power of stepping into the memories of the past and letting them wash over you one more time, as you contemplate letting them go to better inform your future. In the days since first watching it, I am struck by how much I am still thinking about the individuals Zhao brings before us and McDormand’s steely, yet vulnerable resolve. There is the nagging realization I cannot shake that we take for granted the ability to learn from one another and are so quick to dismiss those opportunities when they seem challenging or different than what we define as “normal.” A powerful testament to the times we live in, Nomadland is a beautiful, unforgettable film, worthy of any and all praise, and a masterclass in storytelling by the inimitable Chloé Zhao. (Zhao): “The world is trying to divide us. In the past several months, we’ve all gone through a version of what Fern has felt - this feeling of great loss to a life that you used to have. It’s just this void you feel, the need to go back to normal, which leads to acceptance and how you can grow to ultimately feel OK with your place in the world. That’s what a lot of people need right now. Everything happened very quickly because of what we wanted to capture, the seasons, and the scale of landscapes we were trying to get in the American west when it was actually doable. We went from high desert to low desert to the plains to the ocean. I tried to focus on the human experience and things that I feel go beyond political statements to be more universal - the loss of a loved one, searching for home. I keep thinking about my family back in China - how would they feel about a cowboy in South Dakota, or a woman in her 60s living in America? If I make it too specific to any issues, I know it’s going to create a barrier. They’d go, ‘That’s their problem.’” - Indiewire, September 8, 2020 https://www.shouldiseeit.net/announcements/2020/best-performances-of-2020 monthly 0.5 2021-01-05 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609617838233-DT3O70QPV28PD1OC6Z61/2020+Image.jpg Announcements - The Best Performances of 2020 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609619075913-0WSLHXTWHO06PKJQ8JN6/SoundOfMetal+-+Riz+Ahmed.jpg Announcements - The Best Performances of 2020 1. RIZ AHMED | Ruben | SOUND OF METAL As the drummer of a punk/metal band, Ruben begins to experience intermittent hearing loss following his performances. A recovering addict who has used music to fuel years of sobriety, he learns his condition will only worsen. Relocating into a sober house for the deaf, Ruben’s hearing loss increases as a community attempts to nurture him into accepting the new realities he faces in his life. “When you only get one or two shots of something, you’re not going in thinking about trying it this way and that way. You just have to go from the gut and be in the moment. We were also shooting chronologically, which helps us live through it. And also, the way that it was shot, we didn’t have a lot of takes, but there was an intimacy and an observational, almost documentary style to the way things were done that really helped us to live in it a bit more. Learning the drums is one thing, but spending seven months learning them and then having two takes to do the gig is another thing.” - Collider, December 9, 2020 “Ruben is someone…trying to construct his identity, as many of us do. He’s dying his hair blonde, he’s defining himself with all these tattoos on his body, and this is who he is. This guy, his life is music, he lives in an RV with his girlfriend, tours America, that’s what he does. So he has a clear but almost brittle sense of who he is, a very clear attempt to define himself. It was important to have that as a starting point. He’s someone who very much has ownership and construction of his identity. That’s important because by the end of the film the journey he’s going on is one of realizing that you can’t control anything in life, least of all who you are or who you think you are. We thought it was really important for there to be a visual transformation of the journey of the character that is almost a stripping back of some of these masks and armor to get back to a place of simplicity and nakedness and to the core of who Ruben is outside of his labels.” - National Board of Review, December 16, 2020 Sound of Metal is now available on Amazon Prime. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609622124678-FAGJYX00G9L77S5Y47GS/PainAndGlory+-+Antonio+Banderas.jpg Announcements - The Best Performances of 2020 2. MARIA BAKALOVA | Tutar Sagdiyev | BORAT SUBSEQUENT MOVIEFILM Controversial Kazakh journalist, Borat Sagdiyev, is summoned back to America to make amends with President Trump for embarrassing Kazakhstan 14 years before when he made his first film. During his departure, he learns of a 15-year-old daughter, Tutar, he never knew he had. Hiding away, she joins her father in America against his wishes. (on seeing the first Borat film after landing the role as Tutar): “That was when I realized it was going to be a sequel to a big, famous movie, I was extremely impressed and inspired. And I was a little bit scared, because he (Sacha Baron Cohen and his Borat character) is huge. I hadn’t spent that much time thinking about bigger movies. Most of the parts we (as Bulgarian actors) are given are like two lines as a prostitute, a hooker, or maybe a Russian mafia person who’s not even Bulgarian. I thought I should not dream of such things.” - Indiewire, December 1, 2020 “Sacha explained that Tutar should be as crazy as Borat, maybe even crazier. She should be completely disoriented — what is right, what is wrong — and through this journey, she should learn how to be a normal human. It’s a satirical movie, it’s over the top, but he got me thinking about what it would be like, living this life, even if it’s fake. He’d be like, would you be happy if people treated you this way — if the whole purpose of your life was to get married and live in a cage? It’s a movie of how a girl can grow up and should grow up. How people can treat you as not equal because you’re a woman and what kind of options you have.” - New York Times, November 11, 2020 (and filming that scene with a particular Mayor): “Yeah. I was nervous. My heart was racing. But Sacha was like, you should be nervous in this situation. So use your nerves. Convert them and accept them and they’re going to help you through everything. I saw everything that you saw. If you saw the movie, that’s our message. We want everybody to see the movie and judge for themselves.” - New York Times, November 11, 2020 Borat Subsequent Moviefilm is now available on Amazon Prime https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609623485888-XNDKT1MULW8GUQZTSTUD/MaRainey+-+Boseman+and+Davis.jpg Announcements - The Best Performances of 2020 3. CHADWICK BOSEMAN & VIOLA DAVIS | as Levee (Boseman) and Ma Rainey (Davis) | MA RAINEY’S BLACK BOTTOM In Chadwick Boseman’s final performance, he stars alongside Viola Davis is this cinematic adaptation of August Wilson’s Tony-nominated stage play. On a hot, summer day in 1927 Chicago, blues singer Ma Rainey is late for a recording session. As her band rehearses, in preparation of her arrival, horn player Levee becomes increasingly brash and combative throughout the day with his bandmates. Davis: “Everything attracted me to Ma Rainey, especially the idea that I didn’t feel I could play her. But she also really reminds me of the women I grew up with, all my aunties and relatives, the people who were bigger in stature whom I saw as so beautiful. They never questioned their worth. They had the full makeup, the earrings, the Afros, the wide-leg pants. In white American culture, the idea of classic beauty and confidence has always been associated with extreme thinness, but not in my culture. In the African-American culture, we are in command of our bodies. There’s an unapologetic way that we approach clothing. Even in the way Ma Rainey’s breasts were hanging out. At first I was like, ‘Should I pull my dress up and be more modest?’ But I had to channel Ma, and she wouldn’t do that. Neither did my relatives.” - InStyle, November 9, 2020 (Director George C. Wolfe (pictured above) on working with Boseman): “I think when you look at the number of film performances that he has, culminating in Ma Rainey, the range is extraordinary. He’s clearly an actor of extraordinary charisma and profound emotional depth and incredibly skilled. Working with him, working with the entire cast, it was an unbelievable joy. When I heard of his passing, I was just in a state of shock and sadness, and it wasn’t about revisiting [the past]. But every single thing that I feel about his work in the film, it’s a source of tremendous pride for me and a huge blessing because I, like the rest of the company, was working with a great artist. And that’s my memory—that’s what I’m holding on to. I’m holding on to the fact that we talked about working again together, and he sent me a script and I sent him a script and we talked about doing a play. So, the sadness that I feel is very deep and real, but on the other side of that is the pride and joy of his work.” - Observer, December 18, 2020 Ma Rainey’s Black Bottom is now available on Netflix. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609625936867-7QPSCMIC3Q8OF0PDSZTI/1917+-+Roger+Deakins.jpg Announcements - The Best Performances of 2020 4. GARRETT BRADLEY | as Director and Co-Producer | TIME Sibil “Fox” Rich is a mother of six sons, fighting for the release of her incarcerated husband, Rob, for more than 20 years. Through a combination of present-day footage and 18 years of private home videos Fox recorded in documenting her family’s lives for Rob’s hopeful release, the phrase Time takes on a multi-layered significance in Garrett Bradley’s documentary film. (on her process and incorporating Fox Rich’s personal videos into the film): “I’m not interested in entering somebody’s life and following every moment of their day, then taking that into the editing room and finding a story. I try actually to spend enough time with the person that I can anticipate what their days look like. I can even anticipate, to a certain extent, their lifestyle and physical movement in the room so that my camera just has to be in one place, and everything can unfold in front of it. There’s a certain static stillness and understanding in what’s to be anticipated in our current-day footage. All of that was completely thwarted going through the archives. It was texturally different, tonally different. So, trying to find a way to bring them together became the beginning of Fox and [me] really, truly collaborating with each other across space and time." (on presenting the film in black-and-white): “Once we started getting into the archive…there were real formal and aesthetic challenges that were easily resolved by using black and white. It was really important to me that the film felt like a river, that it felt fluid and consistent, because we’re going back and forth between times, shifting through space. The textures and the materiality of the archive up against the slick clean zooms of the present day footage felt to me like they really worked against one another. I also thought that the music—which was Emahoy Tsegué-Maryam Guèbrou’s piano album that she recorded in 1964 to raise money for an orphanage in Ethiopia—was going to hold the film so much better if the visual element felt tight. Also, I think it is important to remember that black and white film used to be our only option. Then, color film became not an alternative but a standard. I guess, in my opinion, film is still too young for standards.” - Filmmaker, July 7, 2020 Time is now available on Amazon Prime https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609626272635-69S2M82BCPB7XG6BLMWS/Hamilton+-+Cast.jpg Announcements - The Best Performances of 2020 5. JOAQUÍN COCIÑA & CRISTÓBAL LEÓN | as Directors, Writers, Cinematographers, Art Directors, and Animators | THE WOLF HOUSE (LA CASA LOBO) A young woman escapes from a dangerous religious sect, and is welcomed into a strange home inhabited by two pigs. Soon, the pigs become human, Maria’s sanctuary becomes a home to disorienting nightmares and experiences, and the proverbial “Wolf House” takes on a much more sinister and harrowing meaning. Utilizing stop-motion animation, where the film is literally constructed and deconstructed before our very eyes, The Wolf House is animation and storytelling unlike anything we have seen before. Cociña (on the film’s groundbreaking stop-motion animation): We try to prove that [it] is actually simple. For me, [it] is a matter of focus and time. Of course, it seems difficult to spend more than five years on a single project, but for us [it] was actually a pleasant process. We try to show through the film that if you want to [do] animated or do any kind of art [it] is only a matter of focus. The film tells Maria’s story but also the material’s story. And in this journey we try hard to present the bones and flesh of the process so you can think, ‘maybe I can do the same; it does not look impossible.’ León: We had a lot of practice from all the short films we made previously. We try to keep it simple, and we try to turn our technical limitations into aesthetic qualities. We had a great time animating. Now that I haven’t animated much in the past two years, I miss it.” León (discussing the inspiration for the film): The story of Colonia Dignidad is a very present story in our country. The colony played a central role in the recent history of Chile. This makes them different from other isolated and eccentric communities like the Amish or Menonites (sic). Colonia Dignidad was several things: a sect led by a semi-divine figure; a criminal organization that committed every conceivable crime (from tax evasion to pedophilia, through trafficking and weapons manufacturing); an intelligence agency that collaborated with the intelligence organizations of the Pinochet dictatorship; and finally a concentration camp for political prisoners also during the dictatorship. They disguised themselves as a welfare and social organization, and this was the image that we had of the colony as children who grew up in dictatorship. They even had a restaurant on the highway where I had lunch with my parents a couple of times on the way to vacation.” Cociña: I do not know what people will think, but I am pretty sure that [it] is not a film that you will forget that easily. It kind of gets stuck to you, even if you do not want to.” - Hollywood Soapbox, May 14, 2020 The Wolf House is now available for rent or purchase on major VOD platforms and the KimStim Films Screening Room https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609655533167-CL2P84GMOOGDY5U6OW22/Never+Rarely+Sometimes+Always+-+Sidney+Flanigan.jpg Announcements - The Best Performances of 2020 6. SIDNEY FLANIGAN | as Autumn | NEVER RARELY SOMETIMES ALWAYS Faced with an unintended pregnancy, and no support from anyone around her, a teenage girl ventures to New York City with her cousin for a trip that will forever change their lives. (regarding their acting debut): “When I was reached out to by Eliza (Hittman, director)'s partner, Scott, who I met when I was about 14, at first I wasn't sure what it was about at all. He just texted saying, ‘Well, Eliza is making a film. And she's interested in you auditioning.’ At first, I just thought I was totally incapable. You know, I didn't think that I could be an actor and I was worried that I wouldn't be able to leave for two months. I was worried that, ‘Oh, I have a band, how would I pay my bills while I'm gone?’ And then I learned that I was able to pay my bills because [of it]. I didn't think I was capable of it and I ended up giving it a shot. I didn't want to miss out on that opportunity because I was afraid to take a risk. So I took it and I was very surprised when I got it. I read her script and saw that it was an abortion movie and I was like, ‘Oh, well that's really cool.’ And I was really impressed by how well [Eliza] had written it and I really wanted to be a part of that. So when I took on the opportunity and actually got it, it was like overwhelmingly cool.” “I didn't necessarily do any kind of conventional research. I got the part and then things happened, and started real quick. It was a very quick film. It was a 27-day shoot. We had two days of rehearsal. Everything was so fast. And also not having been an actor in previous life, I just didn't have a conventional process. So I tried my best as a musician. I feel like I already have to find a certain emotional headspace in order to deliver a performance pertaining to each song and you take on a persona on stage. So I'd try my best to transfer that over to acting. I just really hope that it gives them a realistic glimpse into what the [abortion] experience can be like and the woman's perspective of what the world is like with the hostility that there is from other men. And that it gives people a real look and so that they can maybe empathize and put themselves in other people's shoes.” - Harper’s Bazaar, April 3, 2020 Never Rarely Sometimes Always in now available on HBO Max. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609655835348-763NWK3A8KGBSBBP14A1/Hamilton+-+Cast.jpg Announcements - The Best Performances of 2020 7. THE CAST OF “HAMILTON: AN AMERICAN MUSICAL” (pictured L-R): Jonathan Groff, Okieriete Onaodowan, Jon Rua, Leslie Odom Jr., Phillipa Soo, Lin-Manuel Miranda, Chris Jackson, Anthony Ramos (not pictured): Daveed Diggs, Renée Elise Goldsberry, Jasmine Cephas Jones, Sydney James Harcourt, Thayne Jasperson, Ephraim Sykes Lin-Manuel Miranda’s 11-time Tony Award-winning musical arrives in a cinematic presentation, with the original cast performing the story of Alexander Hamilton’s rise and fall in American political history. (creator Lin-Manuel Miranda on Hamilton’s re-emergence in 2020): “I think once we got passed through the reality that the pandemic was sort of slowing business as usual, and then the larger conversation is … And I’m just speaking to my own corner of the world that is sort of theater, and New York theater is like, well, business is not business as usual. So, in this moment where we’re talking about systemic racism, systemic inequalities, how does that affect our corner of the world? And it certainly affects theater. The fact that Hamilton is the first successful hip-hop musical and hip-hop is 40 years old tells you everything you need to know about how late change comes to the very siloed, very white world of theater. And so, those are the conversations we’re having within the Hamilton company, and within sort of the larger world of theater of, how do we return to a more equitable space? How do we return to a space where backstage is as diverse as our cast on stage, where our audiences are as diverse as our cast on stage? Because that’s the other thing, is one of the things I’m proudest of this movie is, it gives everyone the brag of, “I saw the original cast for seven bucks.” - American Songwriter, via Zane Lowe/Apple Music - June 2020 (Miranda on history and representation): “When you write a musical that brushes against sort of the origins of this country, it's always going to be relevant. The fights we had at the [country's] origin are the fights we're still having. I've always said that slavery is the original sin of this country. [Slavery] is in the third line of our show. It's a system in which every character in our show is complicit in some way or another. Hamilton - although he voiced anti-slavery beliefs - remained complicit in the system ... He didn't really do much about it after that. None of them did. None of them did enough. In the Heights (Miranda’s 2008 Tony Award winning musical) really came out of a result of seeing [and] writing what I saw as missing in the musical theater canon for Latinos. And so every time I write a piece of theater, I'm trying to get us on the board. And that continued with Hamilton, of, how can we write the parts that I didn't see existing?" - NPR, via Broadway World - June 30, 2020 Hamilton: An American Musical is now available on Disney+ https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609655871001-MYPOWFHAFJIZV30LIULN/Dick+Johnson+is+Dead+-+Kirsten+and+Dick.jpg Announcements - The Best Performances of 2020 8. KIRSTEN JOHNSON & DICK JOHNSON | as Director and Dad | DICK JOHNSON IS DEAD Staging a number of fantastical ways in which your father may die does, at first blush, seem a bit morbid and bleak. Yet, in the hands of gifted director Kirsten Johnson, Dick Johnson is Dead is a beautiful celebration of life tenderly told through the lens of a daughter’s love of her father. (Kirsten Johnson on the idea of the film): “One of the primary places this came from was the experience we had making my previous film Cameraperson and this wonderful editor I work with, Nels Bangerter. He placed a shot of my mother alive after a shot of her ashes in a box. And it so startled me, I really had the impression that she came back to life. It was like, ‘Oh, right, cinema can do this!’ And then, of course, I had a dream in which I saw an open casket and a man who wasn't my father sat up and said, ‘I'm Dick Johnson and I'm not dead yet.’ And it just clicked something in me, like, ‘Wait a minute! My time is running out with him.’ (filming Dick’s first ‘death’): “Ever since I was pretty little with my dad, we have kind of amazing conversations about all kinds of things. He was not particularly interested in being the center of things, but he was absolutely interested in doing something with me full time, spending time together, watching movies together, making something funny together. To see my 84-year-old father, like, laughing - but also just the vulnerability of him laying himself out at the bottom of the stairs because I had asked him to - both made me question the entire idea and also say, ' Woah, this is potent.' (On her father’s dementia): “It's doing so many things to him. He is distilled to his essence, which I would say, he can call me multiple times in a day and simply say to me, ‘I'm just checking to see if you know that I love you.’ And that is who he has been in my entire life, just affirming that. All of these words are applicable. I do think the loss of his capacity to have an extended conversation, an analytic conversation — it's a profound loss for him and for me. But, every once in a while I can still come in with a question and he'll just go deep analytic and be right in there for the length of that question. So in some ways, it's taught me new ways to think and talk and interact with him.” - NPR’s Fresh Air, September 30, 2020 Dick Johnson Is Dead is now available on Netflix https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609656013204-U849YTPE376ZIBMQFGMK/Pieces+of+a+Woman+-+Vanessa+Kirby.jpg Announcements - The Best Performances of 2020 9. VANESSA KIRBY | as Martha | PIECES OF A WOMAN A married couple experience unspeakable sadness when a home birth ends in tragedy. Over the course of the following year, Martha struggles with the grief of loss, while she and husband Sean, as well as her mother, steady themselves for a legal action against their midwife. (on the film’s opening 23-minute birth scene): “The actual filming of it was just exhilarating. It was the best film experience of my life. We did four takes the first day and two the second day. I think Kornél (Mundruczó, director) used the fourth one. It was like doing a play. Shia (LaBeouf, co-star) is also a real theater animal, so is Ellen (Burstyn, co-star), and we all understood what it would require. It was exciting setting up, preparing and then launching into it freefall. And then at the end…Out of it – taking a long time to come out of it – and then reset everything. We would blast music around the house and dance around the house just to clear what had happened. By the end of it, your psyche does know any different and you feel like you actually went through this.” (on the significance of the role and the film): “The film felt so much bigger than any of us. This is a subject about neonatal death. The women I spoke [with] that had stillbirths and multiple miscarriages and it’s still a subject that’s really hard to talk about. The fact that you’re saying this conversation (awards prospects) is happening around this [film], that means so much to me. If that means that a few more people watch it or more conversations start happening, and that was everyone’s intention with it. The best moments of my working life was doing that birth. It’s hard to articulate. I’m unbelievably grateful and touched that it’s for this film. It’s my first lead role too and I knew I that was ready. I waited a long time. I watched other people do it and I absorbed everything and felt really ready.” Pieces Of A Woman is in theaters where available, and debuts on Netflix on January 7, 2021 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609656215191-UNPIM020MFRI5ERE2LDO/Da+5+Bloods+-+Delroy+Lindo.jpg Announcements - The Best Performances of 2020 10. DELROY LINDO | as Paul | DA 5 BLOODS Four African-American Vietnam veterans return to the country, decades later, to find the remains of their Squad Leader and a desire to find a buried treasure. Paul, with political views different than his military brothers, becomes the de facto leader of the group, Joined by Paul’s son, the veterans wrestle not only with the memories of their shared experiences, but with reflections on what it means to be a Black man in present-day America. “This may seem like a very elementary thing to say, but in my mind it is not. I hope that they have an enhanced regard for these men in their humanity, because when I think about how we are presented in this film, and the dearth of stories through the lens of the black experience, what this film is doing in my mind is serving as a historical corrective. So what I hope there is a an enhanced recognition of, as a result of seeing this film, is these men, their contributions, their courage and their love of America, and their love of country in context of the presentation of their humanity. Because a lack of recognition of our humanity is exactly the reason, one of the main reasons why the country is experiencing the turmoil that it is experiencing right now. So I hope in this film there's a recognition of: These men are human beings, courageous human beings, loving human beings. Certainly, problematical human beings with faults and foibles and pettinesses, but who also love deeply. Because I think of this film as a love story.” (on Paul being a Trump supporter): “I didn't want to do it, but I said to Spike, why can't we make Paul, you know, an archconservative, an extreme conservative without going there? And he thought about it for a while. He called me back three days later and said he really needed Paul to be a Trumpite. And at that point, I read the script an additional two times, and I came to realize it's just one component of this man. I will say to you that that is part of the reason that I cast the vote that I cast, that Paul cast the votes that he cast. Now, let me just be clear what I'm saying, I am speaking as Paul. I struggle with a litany of betrayals and losses. One of the most significant betrayals is by the United States of America. When I came home from Vietnam after having volunteered - I was not drafted. I volunteered for three tours in Vietnam out of a love and sense of duty - coming back and being reviled and rejected constitutes for Paul a huge betrayal. Then there is the loss of my wife. Then there is the loss of my son - and by loss of my son, what I mean is our relationship, as you see in the film, is fractious. There's love there, but it's very, very fractious. And here comes this individual in 2015 who says, I can make it better. And Paul needs a win. I need to believe what this man is saying, and that is what causes Paul to become that MAGA hat-wearing person.” - NPR, via Weekend Edition - Saturday, June 13, 2020 Da 5 Bloods is now available on Netflix https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609658941876-992635AHILTT6I3BFNJP/ToEndsOfEarth+-+Maeda.jpg Announcements - The Best Performances of 2020 11. ATSUKO MAEDA | as Yoko | TO THE ENDS OF THE EARTH A reality television star, Yoko, journeys from Japan to Uzbekistan to film the latest episode of her travel series. On screen, her plucky, enthusiastic personality masks an introverted demeanor and Yoko secretly dreams of a different life. Left to her own devices in a place she’s never been, Yoko begins to envision her dreams becoming a new reality. (director Kiyoshi Kurosawa on the casting of Maeda in the leading role): “I value her extraordinary acting ability and personality. Moreover, there’s a lot of overlap between the life she’s lived so far and Yoko’s role in the story. That was decisive. Maeda is an established actress now, but before that she was an idol singer, and since she was a teenager, she’s made a lot of effort to overcome many obstacles and get to the place she is now. Her strength of will and sense of isolation, which are rare for young Japanese actresses, come from such a background. There’s no better casting for Yoko.” (on Maeda’s performance and her two musical numbers in the film): “For Yoko, who’s always tense, the song scenes are one of the few places where she can reveal her emotions. The first time is her fantasy, but the second time she really sings “Hymne a l’Amour” at the top of the mountain. What’s more, the second time she has accompaniment, and sings the full chorus in a single take. For me, such a scene isn’t documentary or drama, but a real cinematic moment. I think the wonder and pleasure of seeing something that normally is impossible overflows from such a scene. In fact, Maeda really sang in front of the camera, rather than lip-syncing to a prerecorded song. The audience hears what she really sang. It was an unimaginable challenge for her to sing “Hymne a l’Amour,” a song with intense intonation, without interruption on the mountaintop where the air is thin. We did 20 takes. Maeda was almost about to collapse when she finally sang it satisfyingly and got the okay.” - Slant, December 6, 2020 To The Ends Of The Earth is now available for viewing in Virtual Cinemas https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609656604609-076F7YG6KP1TEA8B74X2/Nomadland+-+McDormand+and+Zhao.jpg Announcements - The Best Performances of 2020 12. FRANCES MCDORMAND & CHLOÉ ZHAO | as Co-Producer and Actor (McDormand) and as Director, Writer, Editor and Co-Producer (Zhao) | NOMADLAND In the wake of the 2008 economic recession, Fern lives in her van, works seasonal jobs throughout the Far West, and absorbs into a modern-day nomadic community and lifestyle. (Zhao): “The world is trying to divide us. In the past several months, we’ve all gone through a version of what Fern (Frances McDormand’s character) has felt - this feeling of great loss to a life that you used to have. It’s just this void you feel, the need to go back to normal, which leads to acceptance and how you can grow to ultimately feel OK with your place in the world. That’s what a lot of people need right now. Everything happened very quickly because of what we wanted to capture, the seasons, and the scale of landscapes we were trying to get in the American west when it was actually doable. We went from high desert to low desert to the plains to the ocean. I tried to focus on the human experience and things that I feel go beyond political statements to be more universal - the loss of a loved one, searching for home. I keep thinking about my family back in China - how would they feel about a cowboy in South Dakota, or a woman in her 60s living in America? If I make it too specific to any issues, I know it’s going to create a barrier. They’d go, ‘That’s their problem.’” - Indiewire, September 8, 2020 (McDormand): “It was much more about honoring the process of a person’s life than a process of making a movie. It was successful because in one town, in Nebraska, I went to the local Target and I was offered employment. I was offered a form to fill out! I went back to Chloé and said: ‘It’s working!’ “I learnt to just sit still, keep my mouth shut and listen. The keeping still part I am not very good at, the listening part I have practiced for a long time. It was about hearing their story, not telling mine. If you could say one consistent thing about what I have done over the last 38 years, it’s that I mostly played American female characters. Although Fern is probably going to be a bit of a punctuation - I am never going to play another American woman again! Both Mildred (her Oscar-winning role in Three Billboards Outside Ebbing, Missouri) and Fern are in the same world, they come from a working-class background. I am from the working-class background too and here is this ‘what-if’ again. What if I hadn’t had the opportunity to go to college and to graduate school? What if I hadn’t had a chance to partner with a spouse who believed in my potential and helped me realize my dreams, what if I hadn’t met my son and became a fuller human being? What if I had looked in the mirror, unable to recognize myself as the women who are being represented in fashion magazines and movies? What if that had stopped me? That’s a lot of ‘what-ifs,’ but part of the American Dream I got to realize was working with people like Chloé Zhao.” - Variety, September 11, 2020 Nomadland had a one-week theatrical run in December 2020 and will be re-released February 19, 2021 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609656930740-HMLBULXSOXATPH1E71FT/SmallAxe+-+McQueen.jpg Announcements - The Best Performances of 2020 13. STEVE MCQUEEN | as Director, Co-Writer, Co-Producer, Co-Editor | THE “SMALL AXE” ANTHOLOGY MANGROVE | LOVERS ROCK | RED, WHITE & BLUE | ALEX WHEATLE | EDUCATION In Steve McQueen’s five-film anthology, the writer/director explores individual stories from the West Indian immigrant experience in London in the 1960s, 1970s, and 1980s. A mix of stories based on actual and fictionalized events, the “Small Axe” Anthology has earned unanimous praise. “It was time, you know? It was one of those situations where stories I wanted to see, stories I wanted to hear were not projected, were not sort of given space within the canon of the British film narrative. And I needed to see these stories. I mean, the West Indian community have been so influential in the United Kingdom. But at the same time, we have not been represented correctly or acknowledged properly within film. And I just felt it was a bit of a crazy undertaking, the way of making five films. But in some ways, it was such a big hole that I needed to sort of attempt to fill it, at least.” (on the overwhelming acclaim "Small Axe” has received): “I really am happy. But at the same time, there's a seriousness about the situation where it's about passing on the baton. That's what it's about. It's about encouraging the next generation of people. We are here to clear the path for the up-and-coming generation. And I think what they - what those young people did on the streets, marching around the world after the unfortunate death - well, murder - of George Floyd was tremendous. It was just tremendous. It gave me so much heart.” (regarding the audience McQueen hoped to reach with the project): “Black people in the U.K. - that was my audience. And it's - what's happening, which is - I'm very, very, very touched by, is that families are watching "Small Axe." You know, grandmothers, daughters and their children are watching "Small Axe" on a Sunday. And they're getting together. They're looking at it. They're laughing. They're crying. They're embracing. And actually, afterwards, what I'm hearing is that people are sort of opening up and talking about their experiences of living in London during that period to their kids. And kids are asking questions - their grandchildren - and then having - talking about some of the experiences they had, having them. And so I'm very excited about that and, you know, what sort of - what can come from that. You know, that's what art can do sometimes.” - NPR, via All Things Considered - December 5, 2020 The “Small Axe” Anthology is now available on Amazon Prime https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609657242272-UABWZLB8DLIQOBPUFII0/Minari+-+Cast.jpg Announcements - The Best Performances of 2020 14. THE CAST OF “MINARI” (pictured L-R): Ye-ri Han, Yuh-Jung Youn, Steven Yeun, Alan S. Kim, writer/director Lee Isaac Chung, Noel Cho (not pictured): Will Patton Set in the 1980s, a Korean-American family moves to a tiny Arkansas town to build a farm and pursue the American Dream. In Lee Isaac Chung’s semi-autobiographical story, with rifts developing between husband and wife, a surly grandmother arrives and upends the family household. (Yeun): “Jacob (his character) has to hold a specific set of dualities which is both to be seen as the dominant force that is really kind of thinking of himself at times and also showing that he deeply loves his family. That was a really cool thing to go through. (He is) not only trying to leave a collective kind of system that he’s from in Korea, he’s further trying to leave another when he leaves California. So, he’s deeply searching or himself. I think he doesn’t have the tools to really understand who he is and how he can find who he is. I think for Jacob, his stubbornness is a character trait, it was a validation of his existence.” (Chung, on the origins of Minari): “I started off my career thinking that I wanted to make films that aren’t about my life. Something shifted around 2014 around the time my daughter was born. I just wanted to tell a story that encapsulates a lot of things that I grew up with and a lot of things that I was thinking about presently in life as well. (I wrote memories down) from that time of my life, looking at it from the point of view of age my daughter is. So, looking at what was life back when I was in that range of five to seven years old. And a lot of funny things went in there like my dad taking us to this place in the middle of nowhere, plopping us on this land with a trailer home with no steps and him saying ‘this is your new home.’ I felt precious to do this and to have something I can show to my family, both of my parents in which they feel like they were seen and heard. And also, to my daughter, something I can leave behind for her that she can see where we come from.” (Noel, on her working with her on-screen brother Alan S. Kim): “We kind of looked like brothers and sisters and did most things that brothers and sisters would do like fight and fight and fight some more. And then we would do practically the same-fight and fight and then watch TV some more.” (Yeun): “I don’t know if I would have been able to approach this in the same truth if I didn’t have it in my own life. I think it was beyond even my story as a father. What was really cool to connect it to my own father and my father’s generation. I used to view my father as kind of a completely separate thing or idea or time.” - Goldderby, November 25, 2020 Minari received a one-week theatrical run in December and will be re-released on February 12, 2021 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609657401800-UTZ4BS3I8IWA9RJJ9P8B/PromisingYoungWoman+-+Fennell+and+Mulligan.jpg Announcements - The Best Performances of 2020 15. CAREY MULLIGAN & EMERALD FENNELL | as Co-Producer and Actor (Mulligan) and as Director, Writer, and Co-Producer (Fennell) | PROMISING YOUNG WOMAN Leading a double life, Cassie is a 30-year-old barista who goes out to nightclubs on weekends, gets drunk, and goes home with a different guy each night. Things are not quite as they appear to be, however, and Cassie’s actions are driven by events from a past she simply cannot allow herself to leave behind. (Fennell): “I have always been quite interested in morality tales. In terms of the way it was shot, there are lots of parts of it almost touching on Greek tragedy — Cassie as the avenging angel who comes and offers redemption or punishment. And it’s ultimately, for me, a film about forgiveness, but that people only get forgiveness if they admit wrongdoing. She’s called Cassandra as a kind of nod to the original Cassandra. So the whole purpose of the movie is to say, look at these two paths in front of this promising young woman. One is just skipping through daisies and delicious, beautiful candy land. And one is hard and lonely and bleak. Who chooses the hard road? It’s a horrible road to choose. And isn’t it funny how frightening a character becomes — particularly a woman becomes — when they say, ‘Actually, I’m right. And so I’m going to keep going. Even when everyone else is bored. And even when everyone else is furious, I’m going to keep going.’ And that, without Carey, was impossible. Because Carey is so exceptionally gifted, it was only her who could have given this character that in my mind was, as you say, this kind of an allegorical person — to make it completely and utterly real.” (Mulligan): “It’s important to me to never really care what the audience thinks. I think a lot of it was about just telling the truth. There’s these sorts of tropes that we see in films where people do really badass things, and then afterwards they sort of ride off into the sunset in celebration. And actually, the truth of most of what Cassie does is it wasn’t great — she probably feels terrible. There’s a scene that’s in the trailer where Cassie loses her temper and smashes somebody’s car up. And instead of gleefully throwing the crowbar to the ground and walking off in her high heels, you see the terror of what’s come over her, and what’s allowed her to do that thing. Because it’s mad, and could get her arrested. There was such freedom, and a lot of the time Em would be encouraging me to go further and further. And I felt like I could do all of that, trusting her to make the right decision.” - Variety, December 2020 Promising Young Woman is now available in theaters where available, and will be released through Video on Demand the first quarter of 2021. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609657906543-J0MIMD4YE8AQ1VVS9STV/One+Night+in+Miami+-+Cast.png Announcements - The Best Performances of 2020 16. THE CAST OF “ONE NIGHT IN MIAMI…” (pictured L-R): Leslie Odom Jr., Aldis Hodge, Kingsley Ben-Adir, Eli Goree Adapted from Kemp Powers’ acclaimed stage play of the same name, One Night in Miami… imagines an evening where Malcolm X invites Jim Brown, Sam Cooke, and Cassius Clay to his Florida motel, following Clay’s improbable heavyweight championship boxing victory and prior to his changing his name to Muhammed Ali. (director Regina King on her cast): “It was quite fantastic to be the fifth wheel. [The actors] knew the journey we were about to go on, that this was not a time to be doing any impersonations or caricatures. This could've gone south quickly, but they trusted me to guide them, or lure them back, or caution them from going to some places. They listened, understood that the nuanced moments are the ones that capture the audience's hearts and ears.” - Entertainment Weekly, December 2020 (co-writer and playwright Kemp Powers): “This isn’t about four impersonations. Not at all. It’s not about putting on a cute little Malcolm X costume, wearing some glasses and striking a pose to recreate a photo, you know what I mean? It’s not about any of that. It’s about this story we’re trying to tell. And these guys are vessels.” - The Root, September 11, 2020 (Director of Photography Tami Weiker on shooting the film): “The vast majority of the film takes place in one room, and we didn’t have much rehearsal time. The actors were coming from all over the place. Kingsley was in London, Leslie was in New York, and they also are incredibly busy men—they had other projects that they were coming and going from, so we didn’t really get them until a few days before the actual filming started to see it on its feet in this space. We had these daunting 15-page scenes that were wall-to-wall dialogue, and Regina, being an actor-director, really wanted to give the actors the freedom to move within the space and discover things, [so] we would do 15-minute-long takes. It was a little bit daunting at first. It’s very hard for the entire crew when there are no marks on the ground; the cameraperson had to remember, seven minutes in, they’re going to move to the bathroom. But we couldn’t imagine doing it any other way, and I think the actors really loved it also.” - Backstage, December 23, 2020 One Night In Miami… is now available in theaters and will premiere on Amazon Prime on January 15, 2021. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609658136682-HFGI0GLMJDTCN5DZ1MCB/BlackBear+-+Aubrey+Plaza.jpg Announcements - The Best Performances of 2020 17. AUBREY PLAZA | as Allison | BLACK BEAR Within a film split into two distinctive halves, a remote lake house provides a backdrop for Allison - at first a house guest who makes independent films and later a troubled actor disrupting the final day of a film shoot - who shakes up the lives of a man and woman intrinsically linked to her fiercely defiant demeanor. At a remote lake house in the Adirondack Mountains, a couple entertains an out-of-town guest looking for inspiration in her filmmaking. The group quickly falls into a calculated game of desire, manipulation, and jealousy, unaware of how dangerously convoluted their lives will soon become in the filmmaker’s pursuit of a work of art, which blurs the boundaries between autobiography and invention. “On a very, very basic level, every project that I’ve ever worked on I’ve worked with an acting coach, her name is Ivana Chubbuck. I’ve worked with her for ten years now. So I have a method of a process that I go through every time I work, but with this film I started exploring Jungian dream analyzation and creative work that’s kind of wrapped up in your dreams. Because Larry [director Lawrence Michael Levine] was inspired by a dream he had when he first wrote the script. When I read it, I sometimes describe it as ‘two nightmares interwoven in one mega nightmare.’ I thought it would be interesting to go into my unconscious mind and my dreams and explore in that way, and see what I could bring to the film. (regarding her specific “homework” in preparing for the role of Allison): “I can conjure up lots of memories of being incredibly, unhealthily inebriated and intoxicated. I’m not proud of that, but I know what that feels like. And more than anything, I think for this movie in particular, it felt to me like the alcohol was this kind of acting out response to this situation with her husband. It became a symbol of her being like, “F**k you, I’m not going to listen to you anymore.” It’s this rebellious act, I think, that just gets to a point of total self-destruction. Do I know what that feels like? Yes I do. If you don’t know what it feels like, I don’t know! I’m sure you could still act. You could always follow Michael Caine advice of, actors that play drunk the good ones know that when you’re drunk you don’t want actors to know how drunk you are, so you don’t play drunk, you pretend that you’re not drunk. This is not a good example of that. Because everyone knew I was drunk! From the minute I showed up on set. But Michael Caine. What an icon! But I think that the alcohol became a window through which she could unravel. Physically that was probably also the hardest part of the shoot for me. The amount of hours that I had to be acting wasted was so many hours, and all night shoots. My body was just breaking down, because I was constantly physicalizing this inebriation, just flinging my body like no sense left. I would go to my hotel room and just be covered in bruises and be like, “Oh, I’m just hurting myself.” So, it was pretty gnarly.” - RogerEbert.com, November 30, 2020 Black Bear is now available for rental or purchase on all major VOD platforms. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609658330703-G8MFVYVPJFOFFHFCFR92/Reznor+and+Ross.jpg Announcements - The Best Performances of 2020 18. TRENT REZNOR & ATTICUS ROSS | as Composers for the films MANK and SOUL Whether a metaphysical animated story about living one’s best life (Soul), or providing the backdrop to a black-and-white film about the events which led to the creation of iconic film Citizen Kane (Mank), Nine Inch Nails bandmates and collaborators, Trent Reznor and Atticus Ross, composed two wildly different, but equally affecting scores for two of the year’s best reviewed films. (Reznor, discussing Mank’s Big Bang-era, 1940s-style score): “During that time, we spent a lot of time really absorbing the music of the era, watching and kind of analyzing Bernard Herrmann scores, which was another point of reference. This is a companion piece to Citizen Kane. Perhaps it could feel inspired by dot dot dot … And when we actually sat down and started exchanging musical compositions, before we had any picture, the results surprised us. They sounded really good right off the bat. We believe in doing the thing that we can do, which is translate emotion into sound. And we’re just using a different tool to achieve that. If we thought about it that way, suddenly, it didn’t seem quite so impossible or intimidating. There’s plenty of time for revision. So, we initially sent David (Fincher, director) a batch of music early this year, probably in January (2020). It might have been February, maybe 90 minutes of stuff. It was kind of half-orchestra and half-big band arrangements. And a little bit of solo piano stuff. I can’t tell you how great it feels to receive that text in all caps: “I WANT TO USE IT ALL”. Because they were out shooting at the time. It really felt like validation that we’ll be able to pull this off. And then the real work began of actually scoring and getting into it.” - Consequence of Sound, December 17, 2020 (Ross, discussing Soul’s score): “There’s The Great Before, The Great Beyond, The Astral Plane, The You Seminar. Every place needed its own identity.” (Reznor, discussing Soul): “Our first step is always to listen and really try to understand where the filmmakers are coming from: what they’re seeing, what they’re imagining. We spent a lot of time discussing how you’re supposed to feel when you’re first exposed to the ‘Soul’ world. Then we went back to our studio, which is filled with a variety of real, imagined and synthetic instruments, and spent the first chunk of time experimenting with different arrangements and different instruments and seeing what felt emotionally right to create the fabric of this world.” - Heroic Hollywood, October 9, 2020 Mank is now available on Netflix, with the soundtrack available on all major streaming platforms. Soul is now available on Disney+, with the soundtrack available on all major streaming platforms. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609658594797-9S2DWSHI2FUSDBKA0F3E/PalmSprings+-+Samberg.jpg Announcements - The Best Performances of 2020 19. ANDY SAMBERG | as Nyles | PALM SPRINGS Attending a wedding in Palm Springs brings together Nyles, a nihilist, and Sarah, the maid-of-honor who feels disconnected from everyone and everything. While spending time together, a bizarre set of events lead to the two being caught in a time loop where they relive the same day again and again, While stuck at a wedding in Palm Springs, Nyles (Andy Samberg) meets Sarah (Cristin Milioti), the maid of honor and family black sheep. After he rescues her from a disastrous toast, Sarah becomes drawn to Nyles and his offbeat nihilism. But when their impromptu tryst is thwarted by a surreal interruption, Sarah must join Nyles in embracing the idea that nothing really matters, and they begin wreaking spirited havoc on the wedding celebration. “When you first meet him (Nyles, Samberg’s character), it feels to the viewer probably like he is the coolest guy ever. I don't know. Those are not my words, but he's in complete control. He somehow knows everything that's happening and is the master of of this world. And then the longer it goes on, the more you realize he's maybe so broken and so resigned to his situation that he's actually just given up. And there's something about that [which] I found really funny, but also very compelling in a dramatic way. When I first read it and I talked to the writer, Andy Siara, we both talked a lot about how it's working in the space of the moment where you decided to take the leap. That can be a really terrifying thing to do for a lot of people, and we both felt like we were people that had done that and been rewarded for it and felt happy about it. And even in instances like Sarah (played by co-star Cristin Milioti) and Nyles, where they're both kind of really f***ed up people that have a lot of things to work out, it doesn't mean they don't deserve an opportunity to do that. I feel like a lot of people in this world feel like they don't deserve love or deserve the chance to be in a relationship or to share that experience with people because they don't love themselves yet. The message, hopefully, from the movie is that is not the case.” - Screen Rant, July 9, 2020 Palm Springs is now available on Hulu https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609658707867-R0I9W22A6ZSR9328EGNI/Kajillionaire+-+Wood.jpg Announcements - The Best Performances of 2020 20. EVAN RACHEL WOOD | as Old Dolio | KAJILLIONAIRE A family of con artists have worked their entire lives to prepare their adult daughter for success in the family trade, only to surprise her by bringing in a stranger to pull off their latest heist. “She's very unique. It was very interesting to build a character that is completely removed from any sort of societal norm. If anything, that family looks down on anybody living on the grid, or somebody that they feel has been brainwashed into the lies of society. So, crafting a character that had no awareness of what was normal, what was healthy; no awareness of gender, no awareness of sexuality, has never danced; has barely received any kind of affection, physically or emotionally - what does that look like? How does that manifest? That was one thing that Miranda (July, writer/director) and I worked on really closely together. The second I signed on, we started talking about the physicality and watching videos. I'd practice things over and over and over again; even just the way that I put my hair behind my ears had to be different. There were tells of mine that would give me away; my voice, my hands. And what is dancing look like from somebody who's never danced, and is trying it out for the first time? How and what do these things look like, and how do they manifest. So, it was fun to explore. It was challenging, because part of acting is really relying on what feels natural to you and being as real as possible. Playing a character that was just completely different in every way was interesting. One of the references in my mind for her was Edward Scissorhands. Because, again, he's been completely removed. He feels completely alien and foreign. He desperately wants to be seen and desperately wants connection, but he is terrified of it. And I just thought, that's Old Dolio. She's somebody that, like Edward Scissorhands, barely says anything throughout the film but is communicating so much and is breaking your heart at every turn.” - Screen Rant, October 6, 2020 Kajillionaire is now available on VOD on all major platforms. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609726201707-AXKRIUOI067JX53774OR/Way+Back+-+Affleck.jpeg Announcements - The Best Performances of 2020 - BEN AFFLECK | Jack | THE WAY BACK Jack, a once-coveted high school basketball star, returns to coach his former high school’s basketball team as an adult. Mired in debilitating depression and spiraling alcoholism, he not only must find out who he is as a leader, but also address the demons he has held at bay for much of his adult life. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609711131888-LYX6PPOGESNB6VR79TFW/Run+-+Allen.jpg Announcements - The Best Performances of 2020 - KIERA ALLEN | Chloe Sherman | RUN On the cusp of high school graduation and leaving a protected environment at home, Chloe begins to question the ways with which her mother has taken care of her innumerable health challenges throughout her life. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609734454630-D59C4VPB1235NSK9OWXY/Miss+Juneteenth+-+Beharie.jpg Announcements - The Best Performances of 2020 - NICOLE BEHARIE | Turquoise Jones | MISS JUNETEENTH A former beauty queen turned hard working single mom prepares her rebellious teenage daughter for the Miss Juneteenth pageant, hoping to keep her from repeating the same mistakes in life that she made. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609711154743-SW1PVIEHI898MUNP8SA0/Swallow+-+Haley+Bennett.jpeg Announcements - The Best Performances of 2020 - HALEY BENNETT | Hunter Conrad | SWALLOW A seemingly idyllic life for a newly pregnant housewife hides escalating bouts of anxiety and emotional instability, bringing back a disorder known as “pica” - the compulsive swallowing of inedible and sometimes dangerous objects. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609711169938-2Y12XUQY985AUVMD2I89/FortyYearOldVersion+-+Radha+Blank.jpg Announcements - The Best Performances of 2020 - RADHA BLACK | Radha (RadhaMUSPrime) | THE FORTY-YEAR-OLD VERSION Radha is a New York playwright struggling with her career choices and an impending 40th birthday. Desperate to reverse her fortunes, she turns to hip-hop and begins to find a new voice from within that forces her to re-evaluate her career and artistic pursuits. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609711189073-TOPS7Y3G5KTCZCGRRAVV/TheNest+-+Coon.png Announcements - The Best Performances of 2020 - CARRIE COON | Allison O'Hara | THE NEST In the 1980s, Rory, a wealthy businessman convinces his wife Allison and family to leave America and return to his native Britain. When hidden truths come to light, the family fractures and Allison and Rory embrace seething anger and discontent with one another. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609711204387-ZBCWPH0IS7IF0LOL7U27/Assistant+-+Garner.jpg Announcements - The Best Performances of 2020 - JULIA GARNER | Jane | THE ASSISTANT Jane is a junior-level assistant to an influential, well-known movie mogul who spends her day answering phones, arranging flights, and taking care of a myriad of tasks. As we watch Jane go about a day in the office, we see a deeply concerning office culture normalized around her. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609711209888-VT8L3L6SX626NIHK1J5U/Father+-+Hopkins+Colman.jpg Announcements - The Best Performances of 2020 - ANTHONY HOPKINS, OLIVIA COLMAN | Anthony, Anne | THE FATHER A daughter struggles to find the proper way to help her father through escalating cognitive decline, as he remains steadfast in denying the need for any help or assistance with his condition. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609711243844-WB4Z13AE12UPA3W849II/First+Cow+-+Lee.jpg Announcements - The Best Performances of 2020 - ORION LEE | King-Lu | FIRST COW Around 1820 in the Oregon Territory, a savvy cook crosses paths with a Chinese immigrant. Together they find a business opportunity too good to pass up, and despite the risks involved, forge a unique relationship that connects them for a lifetime. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609711263594-RHLODTB683YT4YT4A9Q1/Another+Round+-+Mikkelsen.jpg Announcements - The Best Performances of 2020 - MADS MIKKELSEN | Martin | ANOTHER ROUND Four high school teachers and friends stare mid-life crises in the face by testing out a theory that maintaining a certain amount of alcohol in one’s system during the workday is a boost to a person’s health. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609711271538-22J5LTW6G34IWZQIP1BS/InvisibleMan+-+Moss.jpeg Announcements - The Best Performances of 2020 - ELISABETH MOSS | Cecilia Kass | THE INVISIBLE MAN Cecilia escapes an abusive relationship with a wealthy scientist with help from friends and family. When her ex-boyfriend dies unexpectedly, and bizarre events begin occurring, Cecilia’s sanity is increasingly called into question. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609711295018-BNRAECW116H2K70X8GNW/OnTheRocks+-+Murray.jpg Announcements - The Best Performances of 2020 - BILL MURRAY | Felix | ON THE ROCKS When her husband begins working long hours, Laura is convinced by her father, Felix, to investigate his travels and, together, they learn more about each other than they ever could have anticipated. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609711306155-OAZOJOL91MW17CWCVPTA/Freaky+-+Newton.jpg Announcements - The Best Performances of 2020 - KATHRYN NEWTON | Millie | FREAKY Millie struggles to fit in at her high school. After a serial killer known as The Butcher murders some of her classmates, she finds herself his next target. When an altercation between them leads to them swapping bodies, both are desperate to switch back before the swap becomes permanent. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609711316745-7I4YEL3FFFHSQNGVTYQS/Prom+-+Pellman.jpg Announcements - The Best Performances of 2020 - JO ELLEN PELLMAN | Emma Nolan | THE PROM When a high school girl is denied the opportunity to take her girlfriend to prom, four Broadway actors descend upon her small town to raise awareness of her plight and give her the prom she deserves. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609734677955-X9L1OZYZEL9O461KVEKW/Bloody+Nose+-+Ross+Brothers.jpg Announcements - The Best Performances of 2020 - BILL ROSS IV, TURNER ROSS | as Directors, Producers, Cinematographers, Editor (Bill) | BLOODY NOSE, EMPTY POCKETS When the inhabitants of a New Orleans watering hole known as “The Roaring 20’s” face the bar’s final hours, the regulars arrive throughout the day and night, sharing stories, getting drunk, and facing the realities of what life will mean for them when their safe place and makeshift sanctuary closes its doors for good. https://www.shouldiseeit.net/announcements/2020/the-best-documentaries-of-2020 monthly 0.5 2021-01-05 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609809318858-GYPZ3X5JSLSTRC28JR8T/2020+Image.jpg Announcements - The Best Documentaries of 2020 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609545021788-GTU0NS18KVSFSKFQGFFW/BloodyNoseFeatured.jpg Announcements - The Best Documentaries of 2020 Bloody Nose, Empty Pockets pushes the boundaries of what a documentary can and should be. The film’s premise is a construct by the filmmakers - brothers Turner and Bill Ross. The bar in question is still operational and the “regulars” include a few professional actors (Michael Martin is given a particular storyline to perform) and real-life civilians. This blended reality makes for a fascinating experience, where unscripted conversations and behaviors are loosely connected to a pre-determined premise, as people get exceedingly drunk and wrestle with real emotions, fears, and uncertainties in their lives. Turner Ross spoke to Indiewire in January 2020: “Outside that bar door you see the great manifestation of American excess. You see American affluence. Why are these often transient people in the bright lights seeking the shadows of a dark bar? For us that was intrinsic in what we were after and the great framework of the film. We spent so much time thinking about what happens at certain times of day and what is the arc of a drunk, of the closing night, and of the themes we want to get through. So, if there are five people in the bar who don’t know each other well at 2:00 in the afternoon what’s the greatest and most honest thing bringing them together? ‘Jeopardy.’ Give them some drinks and turn on ‘Jeopardy’ and they’re going to find common ground and find things to argue and talk about. Just little things like that, like ‘John you’re going in at 10:30am with a bag of donuts, go.’ And it just goes from there.” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609617378044-M0K1OUGJ62FWD49S4FXE/TotallyUnderControlFeatured.jpg Announcements - The Best Documentaries of 2020 In damning and factual detail, Totally Under Control leaves no stone unturned in illustrating the timeline of the Trump Administration’s response to the COVID-19 outbreak in the United States. Filmed and created in secret, directors Alex Gibney, Ophelia Harutyunyan, and Suzanne Hillinger interview whistleblowers, former Administration officials, epidemiologists, politicians, and medical experts to provide an irrefutable, maddening, and enraging timeline of our government’s failed response to the pandemic. Notably, the film was finished the day before President Trump tested positive for the Coronavirus. Hillinger told Forbes in November: “When the pandemic hit so many people started making films, and a lot of them still are and they're starting to come out. I certainly had the same urge [to ask] ‘what is the story that I can help tell?’ When Alex (Gibney) called we knew it was going to be a crazy schedule, we knew there were going to be challenges. By the time we started, New York had been fully shut down, most of the country was, so we knew there was going to be some creative problem solving happening to figure out how to do this and do it safely. We were able to put together kind of a dream team of really hard working, smart people from our researchers to our editors, everyone was like ‘all hands on deck,’ so we [made a film] in five months and it was pretty amazing.” Gibney (on his biggest takeaway): “To me, the most terrifying thing that we discovered was the intense likelihood that this administration intentionally slow walked testing for political reasons. [They thought] if you don't test and you don't know how many people are sick, and then maybe it'll all go away, people won't get so upset, and the economy will be great. The irony is that slow testing is what allowed the disease to spread, it put us all at risk. And the idea that it may have been done intentionally is terrifying. That is the biggest thing for me.” Harutyunyan: “Very early on the administration removed scientists from the messaging and completely took over the information coming out of the White House. People didn't know what they could trust. The CDC in these situations is supposed to be the agency talking to people and giving messaging, [and] the messaging has to be very clear. At the same time [...] we were getting one thing from the CDC, one thing from the White House, one thing from somewhere else, and people were extremely confused. Sidelining the scientists, not letting them speak to the public... I think [...] that was a huge failure.” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609548358860-4XDW3PBA123TEH2BZUMS/HistorySeattleMarinersImage.jpg Announcements - The Best Documentaries of 2020 Is it a visual podcast? A PowerPoint presentation? Or a documentary film? Yes. The History of the Seattle Mariners: Supercut Edition is an amazing 3 hour and 40 minute creation that flies right on by, documenting the unbelievable fortunes of a Major League Baseball team who have the legacy of being the only team in MLB to never play in a single World Series game. Creators Jon Bois and Alex Rubenstein dig deep into the newspaper clippings, clubhouse tales, and rumors, completing a factual, comprehensive, statistical and chart-driven dive on the bizarre stories, incidents, and situations which have made the Mariners, in their view, the most fascinating professional sports team ever. This is truly the most unique documentary of 2020. In writing about the project on the SBNation blog, Editor-in-Chief Graham MacAree shared: “Being a Mariners fan is frequently traumatic, but despite the sustained, impressive and yet still somehow surprising ineptitude the overall experience hasn’t been all that upsetting. There is something about this team that sort of transcends sports, turning an 18-year playoff drought into an extremely funny dark comedy, rendered even funnier by our willing participation. Technically, the Mariners are a sports team. Admittedly, they’re a team that probably should never have existed, and is lucky to still exist, one that’s squandered more or less every good thing that’s ever happened to them in increasingly bizarre and upsetting ways. The Mariners should not have any fans. None! Their default state, disguised by a seven-year blip, is rampant and frequently surreal futility. Just how surreal (and no matter what you’re expecting, you’ll be surprised) is something you’ll discover during Jon and Alex’s documentary. Yet the fans still exist, bound to this odyssey of a team by inexplicable, unbreakable ties.” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609550495416-U3BJI2S4QGRDELO8LWJ2/WelcometoChechnyaImage.jpg Announcements - The Best Documentaries of 2020 Shot in secret, through hidden cameras, cell phones, Go Pros, and other concealed devices, Welcome to Chechnya is a harrowing, unforgettable look at the “Gay Purge,” an effort led by the Chechen government to round up and detain people believed to be gay, bisexual, or transgender. First reported in the spring of 2017, hundreds of people have gone missing, been tortured or killed, in a sustained effort to conduct a so-called “prophylactic sweep” of the country. The risks involved in documenting the work of activists attempting to expose these practices, while also freeing innocent people proved so significant and dangerous, director David France oversaw a groundbreaking technique where people’s real identities were hidden by imposing the real faces of allies and activists from outside of the country. The stories are real, the faces are not, all in an effort to protect innocent people and minimize their risk in speaking their truth. France spoke to NPR in June 2020: “This really is the net result of (Russian President Vladimir) Putin's weaponization of homophobia in Russia beginning…with the adoption of the so-called gay propaganda law that makes it illegal to say anything that might be deemed in favor of LGBTQ Russians in the presence of minors because that would be disruptive to the minors. And so when the Kremlin is doing that, then when you reach down to the further extremes of the ideologies within that very large country, you find people like (Head of the Chechen Republic, Ramzan) Kadyrov, who interprets that in the most horrific way. But I see Kadyrov as being like the tip of the whip that Putin is swinging. And that's why Putin is doing nothing to intervene.” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609551681260-E3PM7V30E3YX6ZFQWBA1/AthleteAImage.jpg Announcements - The Best Documentaries of 2020 As awful as they are, the news stories and reports failed to properly document the scope of the depravity and abhorrent abuse. Athlete A is a searing, unflinching, gut-punch of a film which exposes the depth that abuse ran unchecked and was covered up and ignored by an institution Americans celebrate and champion every four years - the United States Women’s Gymnastics Team. Tracking the steps taken by reporters with The Indianapolis Star newspaper, directors Bonni Cohen and Jon Shenk’s film focuses in on team physician, Larry Nassar, and the more than 500 women who came forward with allegations of abuse committed by the doctor over a near 20-year period of time. Cohen and Shenk spoke to the Chicago Media Project prior to the film’s premiere at the virtual DOC10 festival this past April. Cohen: “That’s the crux of why we wanted to make the film, this new lens of looking at Olympic sports. And how we consume it as Americans. Gymnastics is the most watched and the most sponsored and has the most advertising dollars thrown at it, so it’s a beloved area for Americans. But the idea with the film is that you’re going to find out how these Olympians are created, and it’s this dark and abusive space. And in the end when you start to analyze it, we’re all culpable of it. How could we all let this go on?” Shenk (addressing a pivotal scene near the end of the film): “Of course, as you know, part the story of the “Me Too” movement is that so many women (and men) have been through these troubling circumstances…we started filming Athlete A in 2017, before that victim impact statement happened in the Michigan courtroom, and that was the most public thing that happened in the Nassar story. When you have something that powerful in your tool chest as a filmmaker, it presents an editing challenge. That victims impact statement scene…it’s a rising up, it’s this incredibly hopeful and beautiful moment and as amazing as some of the athletic feats you see in the film.” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609557604341-8L0HVI2GLIK2H3BAS613/DickJohnsonIsDeadImage.jpg Announcements - The Best Documentaries of 2020 This idea: Staging a number of fantastical ways in which your father may die does, at first blush, seem a bit morbid and bleak. Yet, in the hands of gifted director Kirsten Johnson, Dick Johnson is Dead is a beautiful celebration of life tenderly told through the lens of a daughter’s love of her father. The film creates numerous scenarios with which Dick could perish and he is tickled to participate in acting out every last one of them. Over the course of the film, Dick, a retired psychiatrist, is diagnosed with dementia and the movie takes on even more poignancy. The film views death as an inevitability. Though what seems sad and tragic becomes quite the opposite, as Kirsten and her father create a tapestry of experiences around the galvanizing message of living for every moment. Kirsten Johnson spoke with NPR in October: “One of the primary places this came from was the experience we had making my previous film Cameraperson and this wonderful editor I work with, Nels Bangerter. He placed a shot of my mother alive after a shot of her ashes in a box. And it so startled me, I really had the impression that she came back to life. It was like, ‘Oh, right, cinema can do this!’ And then, of course, I had a dream in which I saw an open casket and a man who wasn't my father sat up and said, ‘I'm Dick Johnson and I'm not dead yet.’ And it just clicked something in me, like, ‘Wait a minute! My time is running out with him.’ (On her father’s dementia): “It's doing so many things to him. He is distilled to his essence, which I would say, he can call me multiple times in a day and simply say to me, ‘I'm just checking to see if you know that I love you.’ And that is who he has been in my entire life, just affirming that. All of these words are applicable. I do think the loss of his capacity to have an extended conversation, an analytic conversation — it's a profound loss for him and for me. But, every once in a while I can still come in with a question and he'll just go deep analytic and be right in there for the length of that question. So in some ways, it's taught me new ways to think and talk and interact with him.” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609557929973-F3Y0UPA4P92XKW4V7Y30/BoysStateFeatured.jpg Announcements - The Best Documentaries of 2020 In polarized political times, Boys State takes us into the political futures of more than just Democrats and Republicans, showing us how teenagers (boys, in this case) begin to learn and understand the machinations with which the gamesmanship of politics is really played. Amanda McBaine and Jesse Moss’ film embeds with 1,000 teenage boys attending the annual Boys State conference in Austin, Texas for one week. Divided into two parties - the Federalists and the Nationalists - students run for office and in addition to leading their party, the top prize is being named the Governor. As campaign managers learn and grow with their influence, the candidates experience the good, the bad, and ugly that comes with running for political office. Focused mostly through the perspective of Steven Garza, the Nationalist candidate, and Federalist campaign manager Ben Feinstein, McBaine and Moss lay bare our political divides and question what awaits our next generation of political leadership. The directors shared their thoughts with The Credits in August. Moss: “We see two models of leadership, of empathy versus a sort of militant strength. We understand that those are being worked out in national politics in different ways. It’s a kind of struggle of optimism and hope versus a dark cynicism. We hadn’t fully anticipated the degree to which we would have a really valuable prism, or perspective, into this contest of wills and masculine identity formation.” McBaine: “We had these big questions in our heads about the health of democracy, and polarization, and so many things. When we got to Texas, we recognized what an incredible window we had to boyhood in 2018, around when #MeToo and toxic masculinity conversations were happening. Suddenly we saw we had this vantage point into how our young men are growing up in this atmosphere, and to what extent that plays into politics. We saw machismo and fronting, and tribal groupthink. Some of it is very Lord of the Flies. I had a lot of preconceived ideas of what I’d see, and a lot of them were met, but then there was an enormous amount of surprise in the range of masculinity that I saw, and the range of power that empathic leadership had, even in this space.” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609557952604-T2T48QM9G1QALNWXURTO/76DaysMovie.jpg Announcements - The Best Documentaries of 2020 Undoubtedly, dozens of films will be made, documentary or otherwise, detailing the 2020 outbreak of COVID-19 and the devastating effects it has had on the world. An astonishing historical record of the first wave of Coronavirus is found in 76 Days, a cinéma vérité-embedded look at several hospitals in Wuhan, China, as the virus first raged out of control. Weixi Chan, a journalist, teamed with director/producer Hao Wu, along with a second journalist credited as “Anonymous,” gaining unprecedented access and witnessing first-hand the unrelenting emotional toll these nurses, doctors, and hospital personnel experienced day after day. While not all patients featured in the film are COVID-19-related, the virus is always a presence, defining and reinventing hospital protocols and the psychological mettle necessary to commit to this work day in and day out. Hao discussed 76 Days with Variety in December 2020. “I was in New York, and my co-directors Anonymous and Weixi Chen had been filming since January. To this day, I’ve still not met them in person. We had one video call and that was right at the beginning. After that, we spent time collaborating over the cloud where they would send me rushes. That’s how we worked through this process - virtually. I reached out to over a dozen filmmakers for this. As soon as I saw their footage, I was shaken and moved to tears because it transports you to the frontline. It was so personal. Even now, we don’t have much visual evidence of how horrible COVID-19 is. That’s for privacy and hospitals fear liability. I think, in the West, we think of the data and statistics, or the political debates. But for me, this was about the human face of COVID. It was about sharing personal stories and experiences. I wanted people to go on the emotional journey.” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609557982256-U6AAXLQJA4TG0R7RSC4S/TimeMovie.jpg Announcements - The Best Documentaries of 2020 Time is unapologetic in its stance that the criminal justice system seeks not to rehabilitate families but drive them apart. Our narrator, Fox Rich, is unrelenting in her push to reunite her family, as her husband, Rob, serves a 60-year prison sentence with no possibility of parole. Under advising of his attorney at the time, Rob refused to take a plea bargain for an armed robbery he and Fox committed. Fox, on the other hand, took the deal and served a little over three years. With five sons and working tirelessly to support her family for more than 20 years, Fox fights constantly to bring Rob home. Initially, director Garrett Bradley envisioned the Rich story as a short film, but near the end of the process, Fox opened a Pandora’s Box of sorts for Bradley, the filmmaker having earned her trust. Bradley received nearly 20 years of home video footage that Fox and her family had taken, documenting a life’s record and history for Rob’s hopeful return home. With Fox’s blessing, Bradley used the footage to allow her film to reach a staggering level of unanticipated depth, emotion, and power. In January, Bradley sat down with Film Comment. (Regarding Fox Rich’s home videos and receiving access to use them in the film): “I think it was also therapy for her. And I think part of what I wanted to do at least at the beginning of the film was to show her as a mother—to show the sacrifices a mother makes, and to show also these private moments that she took for herself that many women feel like they don’t have the right to take. And to show that she never had doubt that he would see the tapes. To me, that was incredible. It was like my worst nightmare and my biggest dream come true. I believe it was almost 100 hours of footage. And I watched all of it. And the short film transitioned into being a feature.” (On making an issues-oriented film her way): “…we needed to have a conversation around the distinctions between journalism and documentary filmmaking. Do we need title cards? How do we get the facts in? I am really thankful to them for allowing me to make the decision to not do that. Let’s omit that stuff like titles and let the film be about the human experience.” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609558015340-0VYH3L3YPIRYU5FZ39EB/CollectiveMovie.jpg Announcements - The Best Documentaries of 2020 A Romanian documentary about a tragic nightclub fire in 2015 is not something I anticipated would provide the framework for the best documentary of 2020. Collective, however, is no normal story. With as many twists and turns as a scripted thriller, the film first discusses the lives lost and forever altered by the fire, but also brings to light evidence of medical malpractice and neglect. This neglect led to a spike in deaths among those who initially survived the fire, further raising questions on the practices and protocols within the Romanian healthcare system. But there’s more: A mysterious death occurs. A sports reporter leads the charge on exposing the malfeasance, resulting in significant consequences within the Romanian government. As civilians learn the realities surrounding the professionals and elected officials they are asked to trust, Collective morphs into a film which reaches beyond its country of origin. Collective becomes a story about the collective trust we place in the institutions designed to protect us, and the power of a free press to inform its citizenry of any and all wrongdoing. Collective leaves an unsettling feeling in your gut, but this is an exceptional emotional journey. And all of what that fire meant and brought to the surface feels, at once, necessary, immense, and daunting. Death and hope co-exist. Reformation and resignment walk side by side. Tragedy and anger are uncomfortably nestled in together. As good as any film released in 2020, Collective captures who we are. Director Alexander Nanau was interviewed by Reverse Shot in November 2020: “For two weeks there was a mix of generations in the streets protesting because of the fire and the lack of precautionary measures. There was this national trauma. We knew there was corruption in Romania, but nobody until that point realized that the corruption was killing. It forced the government to step down, and then they put in a governmental specialist for one year. I wanted to try to capture [those who were] sick, and I also wanted to follow something that could tell us about what was happening in society. …There’s something going on right now, all over the world. We all feel we're all together in this. We don't really know anymore how societies function. We don't really trust that those in power are really governing in our interests. We are really polarized, either black or white. Having screened the film all over the world, I have the feeling that we all see a tsunami coming, and we don’t know what to do. Everybody is just clueless about what will happen in one week’s time. We feel like we are sitting on a bomb in a world that is governed more and more by populists. And we just don’t know when it will go off. Will it suddenly implode and we will start killing each other? I felt that [while filming] without really being aware of it. The film triggers right now this feeling of - how can we correct it, what is our society?” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609572694686-BV088WPYRTJPFR2FT7JJ/AllInFeatured2.jpg Announcements - The Best Documentaries of 2020 - ALL IN: THE FIGHT FOR DEMOCRACY Filmmakers Liz Garbus and Lisa Cortes examine the history of voter suppression and the activists who fight for the rights of U.S. citizens. (Amazon Prime) https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609572757161-IJIBB2R9K27UK4B9IPJB/CityHallImage.jpg Announcements - The Best Documentaries of 2020 - CITY HALL Legendary filmmaker Frederick Wiseman examines the rich history of Boston City Hall, with a present-day focus on the daily activities of the city’s mayor and local government officials. (Available via Virtual Cinema) https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609574358689-0RQW2SP2865EF9O8F4UK/CitySoRealImage.jpg Announcements - The Best Documentaries of 2020 - CITY SO REAL Released both as one complete film, and/or as five episodic chapters, director Steve James presents a current-day look at Chicago, set against the backdrop of its history-making 2019 mayoral campaign, COVID-19 concerns, and the death of George Floyd. (Hulu) https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609572945355-0VV20G3UNA2IYJBMQVJM/CripCampImage.jpg Announcements - The Best Documentaries of 2020 - CRIP CAMP: A DISABILITY REVOLUTION A groundbreaking summer camp galvanizes teens who have disabilities. Over the years, many attendees would go on to become active in the fight for disability rights and accessibility legislation. (Netflix) https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609572966980-ACZSPD9F3RXA5ZK5PAC7/DesertOneFeatured.PNG Announcements - The Best Documentaries of 2020 - DESERT ONE Using new archival sources and unprecedented access to key players on both sides, director Barbara Kopple reveals the true story behind one of the most daring rescues in modern US history: a secret mission to free hostages captured during the 1979 Iranian revolution. (Free viewing via Kanopy, VOD rental on all major platforms) https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609573302211-NVG0FER4XD7X2F20C8LS/DisclosureImage.jpg Announcements - The Best Documentaries of 2020 - DISCLOSURE: TRANS LIVES ON SCREEN An unprecedented, eye-opening look at transgender depictions in film and television, revealing how Hollywood simultaneously reflects and manufactures our deepest anxieties about gender. Leading trans thinkers and creatives share their reactions and resistance to some of Hollywood’s most beloved moments.(Netflix) https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609573724435-FT3P7YIRLW8M31ZAA7QY/DissidentImage.jpg Announcements - The Best Documentaries of 2020 - THE DISSIDENT When Washington Post journalist Jamal Khashoggi disappears after entering Saudi Arabia's consulate in Istanbul, his fiancée and dissidents around the world are left to piece together the clues to a brutal murder and expose a global cover-up perpetrated by the very country he loved. (In theaters, VOD release January 8, 2021) https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609573314951-WT92GQHIGDXG4N1RESHY/FeelsGoodManImage.jpg Announcements - The Best Documentaries of 2020 - FEELS GOOD MAN Artist Matt Furie, creator of the comic character Pepe the Frog, begins an uphill battle to take back his iconic cartoon image from those who used it for their own purposes. (VOD rental on all major platforms.) https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609573638232-J2X5401M4K5Q28113Z21/folkloreImage.jpg Announcements - The Best Documentaries of 2020 - folklore: the long pond studio sessions Taylor Swift, Aaron Dessner (The National), Jack Antonoff (Bleachers) and Justin Vernon (Bon Iver) created an album that crossed genres. For the first time, Swift and her collaborators discuss and perform the Grammy-nominated, critically acclaimed album, revealing the stories and secrets behind all 17 songs. (Disney+) https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609573509955-2ODQY92FVO3FPWWHDQ99/GundaImage.jpg Announcements - The Best Documentaries of 2020 - GUNDA Gunda chronicles the unfiltered lives of a mother pig, a flock of chickens, and a herd of cows with masterful intimacy. Using stark, transcendent black and white cinematography and the farm's ambient soundtrack, director Viktor Kossakovsky invites the audience to slow down and experience life as his subjects do. (Available via Virtual Cinema; Hulu release in 2021) https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609573628439-ERVA92X4EJTQTJFEVTA8/JohnLewisGoodTroubleImage.jpg Announcements - The Best Documentaries of 2020 - JOHN LEWIS: GOOD TROUBLE Using interviews and rare archival footage, John Lewis: Good Trouble chronicles Lewis’ 60-plus years of social activism and legislative action on civil rights, voting rights, gun control, health-care reform and immigration. (HBO Max; Hoopla through your local library) https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609573794813-KIIIJX51ZUDI0O01X02M/MLKFBI+-+Image.jpg Announcements - The Best Documentaries of 2020 - MLK/FBI Dr. Martin Luther King Jr. is remembered today as an American hero: a bridge-builder, a shrewd political tactician, and a moral leader. Yet throughout his history-altering political career, he was often treated by U.S. intelligence and law enforcement agencies like an enemy of the state. (Theatrical and VOD release set for January 15, 2021) https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609573839231-9NYORFPMZ3VJUVZWFXF2/OntheRecordImage.jpg Announcements - The Best Documentaries of 2020 - ON THE RECORD On The Record presents the story of music executive Drew Dixon (collaborator on hit records by Method Man and Mary J. Blige, Estelle and Kanye West, and Whitney Houston) as she grapples with her decision to become one of the first women of color, in the wake of #MeToo, to come forward and publicly accuse hip-hop mogul Russell Simmons of sexual assault. (HBO Max) https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609573911718-0TBKDF3FU3XSG9UMGMGN/PainterAndThiefImage.jpg Announcements - The Best Documentaries of 2020 - THE PAINTER AND THE THIEF Desperate for answers about the theft of her two paintings, a Czech artist seeks out and befriends the career criminal who stole them. (Hulu) https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1609578719411-KTRX88V68L41TNA7ZVER/RedPenguinsImage2.jpg Announcements - The Best Documentaries of 2020 - RED PENGUINS Red Penguins tells a story of capitalism and opportunism run amok - complete with gangsters, strippers and live bears serving beer on a hockey rink in Moscow. Shortly after the collapse of the Soviet Union, the Pittsburgh Penguins and the famed Red Army hockey team formed a joint-venture that showed anything was possible in the new Russia. (VOD on all major platforms) https://www.shouldiseeit.net/announcements/2020/nightstreamfilmfestival monthly 0.5 2020-10-08 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1602133707711-OQFS14F53233FHOI5M3J/Nightstream+Image.png Announcements - NIGHTSTREAM 2020 Movie Festival Starts October 8, 2020 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1602134424352-21B2J3AFAI0F4FP2TV9R/RUN_D30_05571_R.jpg Announcements - NIGHTSTREAM 2020 Movie Festival Starts October 8, 2020 Courtesy of: Hulu https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1602134799016-HL4H0YX6ZD8K359JROJ6/mandibles.jpg Announcements - NIGHTSTREAM 2020 Movie Festival Starts October 8, 2020 Courtesy: Magnolia Pictures https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1602135688474-NX8VTQJCW3K9SJNDM2VI/Virtual_Fireside_with_Nia_DaCosta.png Announcements - NIGHTSTREAM 2020 Movie Festival Starts October 8, 2020 Nia DaCosta, image courtesy of NIGHTSTREAM https://www.shouldiseeit.net/announcements/2020/the-top-10-films-of-2019 monthly 0.5 2021-01-01 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578850917348-DXN1Q3Z0Z7Z4QIEH757S/Top+10+-+US.jpg Announcements - The Top 10 Films of 2019 Jordan Peele’s second feature, Us, tells the story of a family of four, whose vacation plans in Santa Cruz, California, are interrupted by another family, dressed in red, who break in and attack them. One catch: The family in red look just like them. Jordan Peele’s doppelgänger horror film digs deeper and far beyond what we see, painting a far-ranging and symbolic look at American culture and how we treat one another and compartmentalize and suppress truths we see and take for granted each and every day. Starring Lupita Nyong’o in a dual performance that has earned her nearly 30 prizes for acting from critics groups and organizations all over the world. Jordan Peele told NPR in March: “I tried to apply this idea of duality to everything in the film. And you know, I think the piece of the puzzle that pushed me to embark on this is this idea of the doppelganger family. That's when the movie sort of went from being about self-introspection to this idea of a societal or collective introspection.” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578852347792-1ANU7BLOYK5SIDTSXJ03/BooksmartFeatured.jpg Announcements - The Top 10 Films of 2019 In a world defined by box office dollars, Olivia Wilde’s breakneck comedy and directorial debut, Booksmart, might be considered a disappointment. In reality, this is a movie people will likely be influenced by for years to come. Framed in convention, Wilde’s film crams an entire year or more into one night as 4.0 students and Ivy League-bound high school students Molly (Beanie Feldstein) and Amy (Kaitlyn Dever) learn that all the kids who they see as screw-ups and wasting their opportunities, have achieved just as much, if not more, than they have. As they attempt to take four years of debauchery, partying, and everything else, and cram them into one solitary night, they learn more about themselves and their peers than they ever could have imagined. Wilde told The Guardian in May: “…The greatest generational anthems in my film-watching experience, specifically The Breakfast Club and Ferris Bueller’s Day Off, were a real celebration of the exciting independence of youth. There’s something punk rock about it: “We’re in charge, our voices matter and we know more than the grown-ups.” And that represents this young generation to me now. They’re like: “You’ve put us in a f***ed-up political situation, the Earth is dying, there are maniacs in power, you’ve created this binary way of thinking about gender and sexuality, which we don’t accept. We’d actually like to shift this paradigm – you’re done!” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578867330457-LLTZIH042BPDK2EU64N5/Top+10+-+Tigers+are+Not+Afraid.jpg Announcements - The Top 10 Films of 2019 Issa López’s Tigers are Not Afraid starting playing film festivals in the summer of 2017. After receiving praise from dignitaries like Stephen King and Guillermo del Toro, as well as a loyal and dedicated following, the film finally earned a limited theatrical release in August 2019. Set against the backdrop of vicious cartels and drug wars which have crippled families and communities all over Mexico, Tigers are Not Afraid details a young girl, Estrella, who finds her mother go missing. Suddenly alone, she connects with a group of homeless, orphaned boys, and a kinship is made among the youth. A stolen cell phone, strange visions, and horrors, both real and imagined, crash together as the kids try to survive and Estrella desperately hopes to find her mother safe and sound. López told Film Comment in August 2018: “…the other thing that happens to you when you go through tragedy when you’re really young is that the realization that the world is not a nice place necessarily hits you very early. And when that happens, you start looking for and questioning what you see around you, and wondering if this is it. If this is all. That what we can see is all of it, or if there’s more. And if there’s stuff that is not as evident, and only manifests in certain circumstances. And then you start falling in love with ghost stories, because they point to the fact that death is not an end. And you start reading science fiction, because maybe the world is wider. Maybe there’s more in the future. And you start reading fantasy, because what about magic? Maybe if you wish really really hard, you know? So you start falling in love with genre. And that’s what happened to me.” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578868089392-L9CQG113P9RIR8QHBIKB/Top+10+-+Knives+Out.jpg Announcements - The Top 10 Films of 2019 Rian Johnson’s devilish, precocious murder-mystery throwback to the Agatha Christie days of yore, Knives Out, is one of the most entertaining and enjoyable films of the year. Private investigator Benoit Blanc (Daniel Craig) is hired by an unknown benefactor to lend a hand to the investigation on the apparent suicide of wealthy novelist Harlan Thrombey (Christopher Plummer). A vast array of wealthy, entitled family members (a tremendous all-star cast assembled by Johnson makes each scene so…much…fun) are screened by Blanc and two private investigators, as one last series of interviews and questions attempts to get to the bottom of what exactly happened in the moments leading up to Harlan’s death. With nearly $140 million grossed domestically, a sequel/spin-off is in the works with Craig set to return as Blanc once again. Johnson told Slash Film in December: “Every genre that I’ve ever done is one that I deeply, deeply love, and for me, it’s about boiling it down to the essence of what I love about it and get that up on the screen. You have to readjust your brain a bit, and say ‘What is this?’ and lean in. The entire purpose is not just to give a twist, but your senses are awoken and you get the real punch of the genre. With the whodunit genre, that’s very much what I was trying to get at. It’s something I deeply love, and I was trying to get all the pleasures out of it into a form that feels like it could still surprise you. Hitchcock always said about whodunits is probably true, which is that the potential weakness of them is the middle section of the movie, where you’re just gathering information, and at a certain point you think ‘I’m never going to guess this; I’m just going to hang out until the detective explains it to me.’ It’s more about surprise than suspense, and Hitchcock cared about suspense. So the initial idea [with Knives Out] was to take the engine of a Hitchcock movie and put it in the middle of a whodunit and still get all the pleasures o(f) a whodunit. Basically, hide the whodunit behind a Hitchcock thriller.” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578869082292-9MI6EPV1LVYBWMZ251DD/Top+10+-+Last+Black+Man+in+San+Francisco.jpg Announcements - The Top 10 Films of 2019 One of the most impressive debuts and films of 2019, Joe Talbot’s moving and powerful drama, The Last Black Man in San Francisco, looks at the power of community and how it shapes us, defines us, and can harm us when gentrification and short-sighted political decision-making strips culture and legacy away from those who have devoted their lives to making their community better for those who live and work there. Co-written by lead actor Jimmie Fails, the childhood friendship of Fails and Talbot, and Fails’ own personal experiences, makes this a deeply personal story, which sees a strong performance by Fails and co-star Jonathan Majors (as Montgomery). In the film, Fails tries to reclaim his grandfather’s Victorian-style home, and preserve his family’s legacy. Along the way, Jimmie and Montgomery struggle to see their past existing in a place they have always called home, and wrestle with the notion of self, with surreal, eccentric, and deeply affecting characters and moments lining up like memories made in the past and present. Talbot told RogerEbert.com in June: “The first draft was angrier because I think we were still working through it, through our emotions. I think with each draft it got more complex, and I think more layered, and it became more and more focused on being in some ways to the San Francisco that we care about. I think in that way, that’s something that, Jimmie is fighting for this home. If you don’t feel his love, and see what’s worth loving in this city, everything from the small interactions with the naked man in the bus stop who we actually probably have some connection to, to the very details of the house that make it so special, it was important to capture those that I think you really see why his fight is worth fighting. I think otherwise, it’s intellectual. And you’re being told, ‘I get that this is important.’ Versus the visceral feeling of, ‘I love this city, too. I don’t want him to lose this city.’ We tried to do it through love, because I think that’s a more universal emotion that we’ve felt for a place.” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578870820378-2DFSU4TUNAZX3DG2HWTU/Top%2B10%2B-%2BFor%2BSama.jpg Announcements - The Top 10 Films of 2019 In a year of dozens of tremendous and unforgettable documentaries, one remains incredibly haunting, and impossible to forget. For Sama documents the Syrian civil war in a new and astonishing way - through the eyes of a newborn mother. Director Waad Al-Khateab initially wanted to document what was happening in Aleppo, similarly to work she had done for Channel 4 in the United Kingdom. Initial footage is amateurish and scattered. As she continues to document her experiences, and that of her young family, she not only becomes a better videographer, but her footage takes on new meaning as she, herself, becomes a mother and the horrors of everyday life take on a deeper, unnervingly personal depth and feel. This is an incredibly difficult film to watch at times, but for the long list of documentaries which have shown us the Syrian experience in recent years, For Sama, is the only one that carries a constant beacon of hope through the little girl, whose name appears in the name of the film. As horrors are filmed (and Al-Khateab and co-director Edward Watts have acknowledged shooting hours of film they simply refused to include), Al-Khateab also sees the larger context for why her camera becomes so important. A woman, faced with a horrible reality, turning to the camera and having the presence of mind to yell “Film this!” is one of the decade’s most heart-wrenching and jaw-dropping moments captured on film. Al-Khateab spoke with The Guardian in August: “Whenever I watch the film, it is when everyone else is laughing that I cry. We were creating hope and it was destroyed by the violence of the regime and by the Russians. At the last screening, sitting next to Ed, I started crying as I watched the early days of the revolution. And he was asking me: ‘What’s the matter?’ And I said: ‘It’s the hope.’ It’s been amazing – audiences have given me hope, shown me they really care. I’ve been to Nantucket, Washington, Toronto, and even film distributors, who normally sample a film for 10 minutes and then leave, have stayed and been very moved. I can’t describe how proud and happy it made me.” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578872592487-WZ3PNS1VAYLR0B3MU8VV/Top+10+-+1917.jpeg Announcements - The Top 10 Films of 2019 Sam Mendes’ incredible achievement, 1917, is designed to resemble one-take and compresses several hours into just under two of them - a film that replicates the “fog of war” and doubles down on the mission given to two young British soldiers during World War I. Soldiers Schofield (George MacKay) and Blake (Dean-Charles Chapman) are tasked with delivering an urgent message, across enemy lines, that will potentially save 1,600 of their fellow soldiers from an unforeseen ambush. Though not based on a true story, the film is inspired by stories shared by Mendes’ grandfather - who served in the war and later shared his experiences with his family as he grew older. Shot by the inimitable Roger Deakins, 1917 looks and feels different than pretty much any other film released in 2019. Seamlessly constructed, with intense surprises that catch viewers as off guard as it does it characters, we will be talking about this film for a long time to come. Mendes spoke to NPR in December: “This is a war that finished, that ended over 100 years ago, and we are still so aware of it, and that the generation of men that went missing. If you go to the Somme, you go to these places which are very, very moving — these beautifully kept memorials to the fallen — the number of unmarked graves is what strikes you, just white crosses everywhere. And it struck me as very appropriate, therefore, that the two men we should follow are unknown, in a sense. You know, it's the first time that I've been on a set and found myself moved by the event that we were depicting rather than anything in the movie. I mean, honestly, a movie set's the least-moving place in the world. You know, it's just full of technicians and equipment. But I found myself lost on several occasions.” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578872633512-6ODQ6FMSYVU5ZE39IPG6/Top+10+-+Little+Women.jpg Announcements - The Top 10 Films of 2019 Leave it to Greta Gerwig to take your hesitations and questions about why we need “another” Little Women, and quell them within mere moments of her film’s opening. Gerwig’s take on the Louisa May Alcott novel, which explores the March family - four sisters dealing with growing up and life choices - in Civil War-era Massachusetts. Shifting the story into a non-linear presentation, may throw some purists off-center, but Gerwig recognized Alcott’s story has frequent doubling throughout her novel. By revisiting events of the past, with moments in the present, Gerwig found a unique way to bring the sisters’ stories together and share them in a unique and clever way. A stellar cast, led by Saoirse Ronan, and featuring Emma Watson, Florence Pugh, Laura Dern, and Timothée Chalamet, among others, bring her words to life and Gerwig finds commonality between Alcott’s themes and ideas and struggles which are still felt by women to this very day. It’s audacious work and yet, somehow feels effortlessly constructed. Gerwig spoke with Film Comment in the fall: “The distance between life and fiction is moving to me in general. This particular project was so satisfying to me in all the research and all the figuring out of how to make it, finding these puzzle pieces that fit—even the little things that no one will notice. When I was figuring out how I was going to weave this story this way, I suddenly noticed that when Meg goes to Vanity Fair, they call her Daisy, and later, she calls her daughter that, because it’s the last time she felt free. Doesn’t that just kill you? I felt that kind of satisfaction of things that jump out at you, that I would feel sometimes when I wrote papers. But luckily, unlike with papers, [with movies] I don’t have to fully answer everything. I can just enjoy the view of a neat thought.” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578872664119-Q3LV69PWKTMBG8NRTCLZ/Top+10+-+The+Farewell.jpg Announcements - The Top 10 Films of 2019 Lulu Wang’s The Farewell is a movie “based on an actual lie.” And though we are met with this title card at the beginning of the film, we still ride an emotional rollercoaster in this extraordinary story of a family honoring tradition over their better judgment when faced with the news that their matriarch, Nai Nai (Zhao Shuzhen) has a terminal disease and only has a few months left to live. The family stages a wedding as a reason to get the family together to see Nai Nai one last time. Starring Awkwafina as Billi, the comedienne breaks out and deliver a dramatic performance that shows depth few, if any, had ever seen from her before. More than that, the film speaks to loss, remembrances, and cherishing your culture, heritage, and family. While the challenges facing the Wang family make them go to extreme lengths to keep the truth from Nai Nai, one cannot deny that having the opportunity to tell those closest to you how much you love and value them, no matter the context, is a desire we all would like to have one more time. Mislabeled a comedy, The Farewell does have some terrific humor, balanced with emotional drama, and insightful commentary. I was consumed with the movie for days after I watched it. A viewing late in the year only confirmed that Lulu Wang’s film is one of the most underrated and underseen films of 2019. Wang spoke to NPR in February: “What I really wanted to do was tell the story of somebody who was a disappointment to herself and felt like a failure, and having to go home and face her dying grandmother with those thoughts — that's what I wanted to explore. I liked the idea of going against the convention by making the bride and groom the backdrop. You know, that is part of the whole conceit. They are supposed to be the main event, but they are somehow someone they are always in the backdrop.” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578872707741-XVJRFUD3DSJSHFATR4Z6/Top+10+-+Parasite.jpg Announcements - The Top 10 Films of 2019 You have likely never seen a movie like Parasite, a movie that is topical, of-our-times, and also a twisting, turning domestic thriller that is never the movie you think it is, impossible to predict, and yet all feels cohesive and complete. It’s as near-perfect a movie as you can imagine, and director Bong Joon-ho has you in the palm of his hand from the very beginning. Beginning with the destitute, but resourceful Kim family, son Ki-woo reconnects with Min, a friend from university. Min offers him the chance to tutor a sophomore student with the wealthy Park family, who live just blocks away, but in a gated community. When the job pays well, Ki-woo sees opportunities for his family to fill roles the Park family outsource to others. What feels like a basic con job becomes something far greater. In addition to humor, suspense, and brilliant writing and direction, Parasite explores the idea of how interdependency can take root with anyone and the disdain and disregard we show others can expose our biggest faults and failures. And even then, Parasite goes in different directions than you realize and cuts through culture and country to speak universal truths that relate to all of us…while also entertaining the hell out of us with all the reasons why we love going to the movies. Director Bong spoke with Deadline in December: “I never really define the genre that I want the story to be in, or what metaphors or symbols I should place within the story. I always just want to depict very interesting and entertaining situations. I move through impulses. Actually, in the movie, when the young son gets that strange, colored stone, he himself says, ‘Wow, this is very metaphorical.’ [laughs] Usually, it’s the film critics who say, ‘Wow, that was so metaphorical,’ but you have the actor up there, announcing it himself. So, it’s very strange. That stone becomes something very important in the film, and I tend to not like symbols. I wanted this film to feel more physical. I was very shocked at Cannes. They applauded in the middle of the movie, two times. It was very strange. Then, after that in places like Sydney and Hanoi and Toronto, the same thing happened, again and again. It was a very strange feeling; it felt like a live concert. For me, instinctively, humor and fun are like the air I breathe. Whenever I work, there’s always humor, and alongside that comes drama. I always try to maintain those elements, but I always want to hide some very sharp blade inside the social message, or something political. Something very crucial and sharp is inside there, to spark the audience’s thought.” https://www.shouldiseeit.net/announcements/2019/the-best-performances-of-2019 monthly 0.5 2021-01-01 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578813132393-9IJCYW5UJ8FEQMD94NCF/PUGH2019.PNG Announcements - The 20 Best Performances of 2019 Florence Pugh in Fighting with My Family (Top-L), Midsommar (Top-R), and Little Women (center). https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578193850492-P5YE29TAJCBXQ4RTTHYP/Farewell%2B-%2BAwkwafina_Zhao_Shuhzen.jpg Announcements - The 20 Best Performances of 2019 1. AWKWAFINA, ZHAO SHUZHEN | Billie (Awkwafina), Nai Nai (Zhao Shuzhen) | THE FAREWELL With news that the family matriarch is terminally ill, a Chinese family balances tradition and truth when they stage a wedding to spend time with Nai Nai, the only family member unaware of why everyone has actually come together. (Shuzhen): “Initially, she (The Farewell director Lulu Wang) was just telling me about her grandma. She told me about her actual grandma’s life and she told me stories. I could feel a real sense of love and sincerity that Lulu has for her family and for the story material. I knew that the sense of love, the sense of appreciation she has for her family, clearly just ran very deep. I was very moved and very touched, when she first communicated about the part and about the story to me.” (Awkwafina, on working with Zhao Shuzhen): “It was very emotional for me at some points. I was constantly calling my grandma because I am a grandma’s girl. [Shuzhen] is an incredible actress. Such a powerful actress. What she said, it really does come from a real place. My scenes with her, she really sparked a lot of that emotion, just feeling her energy, feeling her performance. I think some of the things that were a little difficult for me were, emotionally, saying goodbye to her. It was a very difficult scene. Then, I think, that scene where I find that you are really getting into Billi’s head and understanding where a lot of this comes from. But she made it very easy to get in that spot. She’s incredible." (Shuzhen): “…oftentimes what’s happening in China is that a benign or a good lie…often yields positive results. I’ve had friends who had been diagnosed with illness, but because they didn’t know what was going on, they were happy. They were not burdened psychologically with thoughts of death or mortality. They actually ended up living a happier life; in some cases, a longer life. The illness did not exacerbate, or did not get any worse. Sometimes miracles like that do happen. Sometimes, when people in China, when they do find out the reality or what’s actually happened to their body, when they do find out that they’re ill, oftentimes they just fall apart. So, for me, this benign lie, the lie that we see in the movie, is something that I can accept. It’s something that I could see the purpose for.” - Deadline, December 6, 2019 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578194794942-S7SZIOAL2SOPTYA6ZZVI/PainAndGlory+-+Antonio+Banderas.jpg Announcements - The 20 Best Performances of 2019 2. ANTONIO BANDERAS | Salvador Mallo | PAIN AND GLORY With his health suffering, and on the eve of a revival of one of his most beloved films, a legendary director finds his past and present-day life reconnecting in unexpected and emotional ways. (Banderas on working with writer/director Pedro Almodóvar for the first time since 2011’s The Skin I’m In): "I've known Pedro for four decades. But our friendship always was in a universe that is very specific and it has certain boundaries that I never trespass. Pedro is a very, very, very private person. I always respected those boundaries. I never went in that area so we were just in our space for friendship. It surprised me to see in the script that I didn't even know about him. It was shocking the way he talked to his mother. I met his mother. I know how much he worshipped her. For me, seeing that he has to come terms with her even after she has been dead for a number of years, to say to her things he probably had never said. It was surprising for me. Surprising to see how he wanted to apologize to actors, somehow.” - Thrillist, October 4, 2019 (Almodóvar): “At least when I started, I didn’t know that it will become so personal as it is. There was a moment in the middle of writing the script — when I discovered that really the reference of the main character was myself — I hesitated for a while. Because I am very shy…this was the first time that reality was my reality. Once I grew comfortable with that situation, for me it was mixed up with fiction. So I felt completely distant from the material. And when I was shooting, I never had the feeling that I was just shooting my autobiography; it was a movie.” - L.A. Times, October 4, 2019 (Banderas, on preparing to play Salvador Mallo): “I had a heart attack 2½ years ago, and it helped me understand this character. Almodóvar himself said, ‘Something changed in you since you had this cardiac event.’ I told him, ‘I know exactly what you mean.’ And he said, ‘Well, don’t hide it. ... There’s something interesting in there that has to do with vulnerability and another perception of reality.’ Things you might’ve thought were important before vanish, and you realize the only thing that is really, really (definite) is death – everything else is relative.” - USA Today, October 1, 2019 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578196254323-R3XHKYLDG5B5FHBGMVI1/Parasite+-+Bong+Joon-ho.jpeg Announcements - The 20 Best Performances of 2019 3. BONG JOON-HO | as Director, Co-writer, and Co-producer | PARASITE An unlikely relationship forms between a destitute family (The Kims) and a wealthy family (The Parks) in present-day South Korea. "If you think about it, my films are always based on misunderstanding—the audience is the one who knows more, and the characters have a difficult time communicating with each other. I think sadness and comedy all come from that misunderstanding, so as an audience member, you feel bad—you want to step up and reconcile them. As a filmmaker, I always try to shoot with sympathy. We don’t have any villains in Parasite, but in the end, with all these misunderstandings, they end up hurting each other.” - The Atlantic, October 15, 2019 (on the way the wealthy Park family sees their place in the world): ”This family (The Park family), they want to show that ‘We do have money, but we're also sophisticated. We're not ostentatious, we're not cheesy about it.’ That’s why they're living in this house designed by a famous architect. They want to be like, ‘I know art. I have artistic taste.’ They want to confirm it every moment, that they're not like cheap rich people. But what they really want, and this is something Mr. Park says in the film, is they [draw] a line over their sophisticated world and they don't let anyone cross it. They're not interested in the outside world, the subway and people who might perhaps smell. They want to push everyone outside of that line and they want to remain safe behind it.” - GQ, October 8, 2019 (on the overwhelmingly positive audience reaction to the film): “…overall I feel that American and European audiences laugh more. They seem to enjoy the film more as a genre film. But I think for Korean audiences, the film feels like things have happened around them on a daily basis. People know friends who have gone through similar things, people who have actually lived in the semi-basement homes (the Kim family lives in one in the film) themselves. So I think they can feel more heavy-hearted after watching this film. I screened this film in Cannes, Sydney, Germany, Telluride, Toronto, New York, and even Texas and I had the opportunity to watch the film again with the audience at some of the screenings and overall I noticed that generally the responses are very similar. This film is ultimately about rich and poor, so no matter which country it is, every country, we’re all living this one giant nation of capitalism.” - Film at Lincoln Center, November 19, 2019 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578197323634-Y0CE7WRYZHCUPKAQ46I9/1917+-+Roger+Deakins.jpg Announcements - The 20 Best Performances of 2019 4. ROGER DEAKINS | as Cinematographer | 1917 Assembled as if to resemble one continuous take, 1917 documents the journey of two young British soldiers tasked with personally delivering a message that could save as many as 1,600 fellow soldiers during World War I. (Deakins): "The film is conceived as a single take, rather than as a series of related shots. That was not something I had experienced before. It meant [I had to be] both considering where the camera should be at any particular moment—which is just the normal practice on any film—but then to connect those moments together in a coherent and fluid way”- Backstage, December 5, 2019 (Director Sam Mendes on the decision to present the film as a single shot): “It was fundamentally an emotional choice. I wanted to travel every step with these men—to breathe every breath with them. It needed to be visceral and immersive. What they are asked to do is almost impossibly difficult. The way the movie is made is designed to bring you as close as possible to that experience.” - Vanity Fair, September 30, 2019 (Deakins): “We rehearsed a lot. And then the second day, we got a lovely cloud cover and we shot two days work in one day. So that's how it went during the shoot when the sun was out. We wouldn't shoot. We'd rehearse and rehearse and just wait. And a lot of time was spent watching the sky, waiting for a cloud to come along that was long enough that we could do a shot under. There was a lot of technical work just working out [the actors’] moves in relation to the camera. But once they got that down, they could get into the character - they could actually be that character for eight minutes, or up to eight minutes, knowing that there wasn't going to be a cut. I think they really enjoyed it.” - WBUR, December 26, 2019 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578198491133-Z75JD3FGG9GIVUQ65NMS/Once+Upon+a+Time+-+DiCaprio+Pitt.png Announcements - The 20 Best Performances of 2019 5. LEONARDO DICAPRIO & BRAD PITT | as Rick Dalton (DiCaprio) and Cliff Booth (Pitt) | ONCE UPON A TIME IN…HOLLYWOOD A fading Hollywood actor and his loyal stunt double navigate changes to their careers and personal lives in 1969 Los Angeles. (DiCaprio, on his initial thoughts on Quentin Tarantino’s script): "I don’t think there’s been a Hollywood film like this—and by that I mean a film set in Hollywood and about Hollywood—which gets its nails dirty, getting into the everyday life of an actor and his stunt double. 1969 is a seminal time in cinema history as well as in the world. Rick and Cliff, they’re part of the old guard in Hollywood, but they’re also trying to navigate this new world of the hippie revolution and free love. I loved the idea of taking on this struggling actor who is trying to find his footing in this new world. And his pal who he’s been with through all these wars in Hollywood. Quentin so brilliantly captures what’s going on in the changing of America but also through these characters’ eyes how Hollywood was changing. It was captivating when I first read it. The characters had the imprint of Quentin’s immense knowledge of cinema history." (Pitt): “I had growing-up flashbacks, because the flavors were all there. For instance, in the movie, Cliff lives next door to a drive-in theater. In Missouri, I grew up a few streets over from the drive-in theater, and I would go hang out at my friend’s house so we could watch movies from his backyard. It’s just a lot of crossovers for me. I think it has something to do with Quentin’s writing. Surely it must. Cliff’s close to my father’s age. A little older. He’s at peace with his mac and cheese. Even if he doesn’t have milk. He’s content with his place in life. Pretty thrilled just to be alive that day. I just felt like he would be all right wherever he landed. He would figure it out. He isn’t asking for that much.” (Tarantino on the personal nature of the film): “This film is the closest thing I’ve done to Pulp Fiction. (Once Upon a Time in…Hollywood is) probably my most personal. I think of it like my memory piece. Alfonso [Cuarón] had Roma and Mexico City, 1970. I had L. A. and 1969. This is me. This is the year that formed me. I was six years old then. This is my world. And this is my love letter to L. A.” - Esquire, May 21, 2019 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578199456824-DGT9W37IRLU9M0CPJ225/Marriage+Story+-+Driver+Johansson.jpg Announcements - The 20 Best Performances of 2019 6. ADAM DRIVER & SCARLETT JOHANSSON | as Charlie Barber and Nicole Barber | MARRIAGE STORY A couple enters into what they believe will be an amicable divorce, but parenting, attorneys and living on different coasts makes things increasingly complicated. Johansson (on working with writer/director Noah Baumbach): "By the time we had made the film, I was in a more settled place. But obviously I had my own fresh perspective on the story. When Noah (Baumbach, the film’s writer and director) first came to me, he hadn't written the script yet, but it was clear that we would be kind of collaborating and work together. He wanted to kind of build this character out of something that came from a real place and so we talked a lot about, not just our experience with divorce, but we talked a lot about all kinds of intimate relationships. We talked a lot about our families, our own parents. We talked a lot about our past relationships. Nicole is a sum of all of those parts. She's an amalgamation of all of those things." - The Hollywood Reporter, October 5, 2019 Driver (on drawing parallels between his parents divorcing when he was 7 years old): "It feels very familiar. Just trying to wrap your head around your parents not being together anymore—and not only that but you’re moving to the Midwest. Like, the first time seeing my father cry, as we’re leaving. It’s just all those very raw feelings that stick with you that you don’t articulate. Something I thought about all the time was the things that my dad didn’t do that this guy does in (the) movie. The fighting to get custody … was moving to me. My dad didn’t do any of this. He didn’t put up a fight.” - The New Yorker, October 21, 2019 (Baumbach, on the work of Driver and Johansson): “These scenes are very personal for them, in performance, and that's the greatest thing to get as a director; to see that it makes it easier to watch my own movie. I mean, you watch your movie so many times over the course of editing it and finishing it and color timing and sound mixing and checking the prints and making sure, and you get pretty sick of your own movie at a certain point, but I can watch these scenes in this one because of what they're doing. What's so gratifying for me about working with these actors is, there's a line that someone said about poetry that it provides your own thoughts and feelings back to you with added majesty, and I feel like working with these actors does that for me. It's like these scenes, you know, these lines, I give them the guidance that I give them and the structure to work within and then they bring so much of themselves to it, and you feel that in the movie.” - Sky News, December 9, 2019 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578364680961-EZSSH83HKNPHIVVI2LQS/Rocketman+-+Taron+Egerton.jpg Announcements - The 20 Best Performances of 2019 7. TARON EGERTON | Elton John | ROCKETMAN Elton John’s rise to fame, fall from grace, and return to the top of the music world is chronicled in Dexter Fletcher’s musical biopic. (John, on his first thoughts seeing Egerton’s portrayal): “When I saw Taron, I was not looking at him — I was looking at me. And when I was hearing the voice, I was hearing me, but it wasn’t me. Everything about it was extraordinary.” - Indiewire, October 16, 2019 (Egerton, on his first time screening the film with John and John’s collaborator, Bernie Taupin): “To see [Bernie and Elton] watch the scene in which they meet in 1968 or whatever and be grabbing each other on the knee and smiling … and then at the end of the movie, Elton, about 15 minutes before the end, just absolutely broke down. And then this amazing thing happens: The lights come up and I’m very moved because Elton is moved, but Elton, because he’s an old pro, has managed to get himself looking immaculate again, whereas I am just melting with all these cameras on me!” - Rolling Stone, May 29, 2019 (Fletcher, on learning Taron Egerton’s was likely landing the role of Elton John): “When this came up and when I heard he was in line to play Elton I was like, well, I gotta get that gig, that's going to be great. And I think from what Taron achieves and what he went for in this film, in terms of how brave he is with that performance, I'm really proud of that. I feel he needed an ally. I think he feels he needs an ally. You know it can be quite a lonely place to play Elton John and sing his songs, it's a big responsibility and big ask. So to be part of that, as his friend as well as his collaborator, was really wonderful, and I think his performance is testament to that.” - Screen Rant, August 28, 2019 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578366135283-P5Q2EW9UOUP2K3PHAHWK/Booksmart+-+Beanie+and+Kaitlyn.png Announcements - The 20 Best Performances of 2019 8. BEANIE FELDSTEIN, KAITLYN DEVER | as Molly (Feldstein) and Amy (Dever) | BOOKSMART On the night before their high school graduation, two best friends and 4.0 students decide to do the one thing they have never done throughout their high school years - party - hoping to create a night they will never forget. (Dever, on why Booksmart is different): "It's not a makeover movie. This movie is not about going after the guy—that was not our main goal for this night, to hook up with our biggest crush at school. The movies I grew up on, oftentimes the woman feels the need to straighten her hair to be accepted by her crush or change something about themselves in order to be accepted by society or the people at school that they're surrounded by.” (Feldstein, on the depiction of Molly and Amy’s friendship): “I don't know why in film it's just a little bit behind, but we're so honored and deeply grateful to be a part of not just a female friendship on screen, but such an honest, real, intelligent one. It's not just one incredibly multifaceted complex smart woman, it's two and they're never competitive with each other. Ever! They're the opposite. They're, like, too obsessed with each other.Not really, but it’s still like, cool, I’m in a movie and people are talking about it, now I have to go and do my math homework. That stuff doesn’t change. So what does all of this mean to me? I don’t know. I’m proud of the film. I’m very thankful people are saying these things about me. But none of that defines who I am. I have to figure that out." (Dever, on the film’s notable argument scene): "[The fight scene] was the only scene we hadn't rehearsed together and we read separately. That was something Olivia wanted us to do, just because we wanted to be able to see each other's faces in that way for the very first time. Which was honestly really scary and actually heartbreaking…” (Feldstein): “In that moment, it's unbearable because you're tumbling down the hill and you can't stop, but you don't even like what you're saying anymore, and you don't like yourself for saying it. And that's what that moment really is—it's such a real moment.” - The Oprah Magazine, May 22, 2019 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578368405926-6OSD8N80NR07U8IVLT7V/Little+Women+-+Gerwig.jpg Announcements - The 20 Best Performances of 2019 9. GRETA GERWIG | as Writer and Director | LITTLE WOMEN In Gerwig’s updated take on Louisa May Alcott’s classic novel, four sisters balance the lives they want with the lives they have in 1850s Massachusetts. (on the alternating timeline present in the film): "I realized once those girls are all separate as adults they are never going to be all together again. The thing they miss is already gone. They'll never get it back. I found that to be very moving, and it allowed the thing that they are looking back at and that they are yearning for in some way to be the thing that the audience is also yearning for. It was something that occurred to me also because there's so much doubling in the book between the first half and the second half. The most obvious one, the initial one that I was moved by was that, as a child, the magic of childhood is when Beth gets sick she gets better. In adulthood, when Beth gets sick she dies. I found doubling all over. When Meg goes to Vanity Fair, people at Vanity Fair call her Daisy, and when she's grown up and has kids she calls her daughter Daisy. When they are children, Amy burns Jo's book in a fit of rage. When they are adults, Jo burns her own writing because she feels it's not worthy. And this is all from the book. I'm not making any of this up. When I started finding all these doublings between childhood and adulthood, I started thinking what would happen if I just grafted these on top of one another. I found it to be this amazing experience of having your life explained to you by where you've been. (on the film’s commentary on women pursuing their dreams; specifically Jo (Saoirse Ronan), who hopes to become a writer): “The question isn't why are there no great women writers the question is why have women always been poor? Because they have been poor not for 200 years, but since the beginning of time. When I looked at Little Women again, and then I looked at Louisa May Alcott's life, and I thought about women, and I thought about artists, and I thought about their journeys to have authorship and to have ownership, I thought, "Goddamn, this could have been written yesterday." This is all over it. And this is something that is fascinating to me. This question of great women artists as separate from women having economic freedom is a ridiculous conversation. So, yeah, I'm interested in this conversation because in many ways for female artists it is the thing." - Thrillist, December 23, 2019 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578369968324-VK8D3E9QVWIOQDD9YQJV/Peanut+Butter+Falcon+-+LaBeouf+Gottsagen.jpeg Announcements - The 20 Best Performances of 2019 10. ZACK GOTTSAGEN & SHIA LABEOUF | Zak (Gottsagen) and Tyler (LaBeouf) | THE PEANUT BUTTER FALCON A 22-year-old man with Down Syndrome runs away from his assisted living facility and crosses paths with a fisherman, also on the run. Together, they set out to fulfill the young man’s dream of becoming a professional wrestler. (co-writer/director Tyler Nilson on Gottsagen’s pitch to him and the film’s co-creator Michael Schwartz): “Zack expressed he really wanted to be an actor in movies and he came to a couple auditions with me for commercials and we talked about the possibility of someone with Down syndrome starring in a film,. (I was honest)…statistically speaking, (I told him) it’s probably not going to happen. It wasn’t because he wasn’t talented — it’s the marketplace. I don’t think people finance movies like that…but then Zack had an amazing, sort of bullish but brilliant idea. He asked, ‘You guys could make me a movie. Why don’t you just write it?'“ (LaBeouf, on his hitting ‘rock bottom’ during the shoot, and the inspiration he found from the film and his co-star): “I’m not Tom Hanks. Search my name on the internet and you’re going to find a list of scary things. So it was a risk for them. And I don’t know if you’ve looked at this motherf***er’s hands, but these are the most beautiful hands, and something about holding them calmed all my fear. (LaBeouf, on what the film means to him personally): "This film is much more exposing than Honey Boy (LaBeouf’s film he wrote and co-stars in about his difficult childhood). (The) Peanut Butter Falcon feels like real time. Like watching myself through a window. Honey Boy is a history. It hits hard, but it has novelty. It’s less dangerous. It’s much more something you put on a shelf. Honey Boy explains my life up to this point. This film saved my life.” (Gottsagen, on working with and becoming close friends with Shia LaBeouf): “I could tell Shia was a badass…I have been changing Shia’s life. That’s how I do things. And Shia has proved to himself he doesn’t have to act out. So I’m going to keep taking the chance of being close to him. A lot of people have come to me talking about Shia, and they always tell me: ‘Stay away from Shia.’ But I am not going to do that. My answer is: ‘No.’ Because people don’t understand the real Shia. And those people need to stop saying those things about Shia. And I don’t really care how people feel about that, because I can make my own decisions.” - The Guardian, October 18, 2019 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578370100519-DDC4VLRGJRWSXN3JITC1/Knives+Out+-+Cast.jpg Announcements - The 20 Best Performances of 2019 11. THE CAST OF “KNIVES OUT” (L-R Front): Jamie Lee Curtis, K Callan, Christopher Plummer, Toni Collette (L-R Back): Don Johnson, Chris Evans, Ana de Armas, Michael Shannon, Jaeden Martell, Riki Lindhome, Katharine Langford Not pictured: LaKeith Stanfield Rian Johnson’s Agatha Christie-inspired murder mystery seeks to uncover the truth as to whether famed author Harlan Thrombey died by suicide or more nefarious means. (Johnson on the idea for the film): "With this movie I was thinking about the form of the whodunit and the inherent weakness of that form, which is that it’s just clue-gathering leading up to a surprise. So the initial idea was as simple and abstract as putting a Hitchcock thriller in the middle of a whodunit, but still turning it back into a whodunit at the end. So I still get the pleasure of the denouement with the detective in the library. - Los Angeles Times, November 22, 2019 (on building his ensemble cast): “A big part of the inspiration was (Agatha) Christie movies that I grew up watching…And those were big, all-star-cast entertainments. That was something I really, consciously wanted to do with this thing. I said to my producer, ‘We want an all-star cast. We want that old-school, entertaining, we’re-putting-on a-big-show type feel.’ Fortunately, everybody wants to work with Daniel (Craig) — but also, he had a very brief window before he started the next James Bond movie. So once he said yes, we had like six weeks to put the cast together. It had to be really quick. So we accumulated this amazing cast, piece by piece. Because it's a big ensemble, you have to find actors that are so good that even if they have relatively little screen time, they can establish a real presence. I also think it takes a great actor to be able to give a huge performance like the ones in this movie. The performances never tip over into caricature, but they're always on the verge of that.” - GQ, November 26, 2019 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578373484700-IZWCVUI3EVKTT3MF6KSG/Tigers+are+Not+Afraid+-+Issa+Lopez.jpg Announcements - The 20 Best Performances of 2019 12. ISSA LÓPEZ | as Writer and Director | TIGERS ARE NOT AFRAID Blending fantasy with reality, after her mother goes missing, a young girl, now homeless, is befriended by a group of orphaned children who are attempting to survive as an escalating drug war in present-day Mexico City rages around them. (on the tone and feel of the film): "The entire tone of the movie is supposed to be the clash but coexistence of extreme realism with fantastical elements. It’s made to look and feel like a war documentary, but there’s a trickle of blood that follows you around the world, or a plush tiger that walks behind you, or a dragon that flies out of her phone and comes back into it. All of that has to coexist in this extremely real universe.” - Vulture, August 30, 2019 (on the personal connection to Tigers are Not Afraid): “I lost my mother when I was eight years old. And in a way, the movie is that story. It’s not my particular circumstances, because I think my particular circumstances pale to what children survive in Mexico today go through. And I felt that their story was so much more worth telling than mine. But still, the structure is there. When you’re eight years old, and you come home and your mother is not there, and you never had a chance to say goodbye, strange, sad, and interesting things happen to the person you become. (on finalizing the ideas present in the film): “ So I’m researching this story, and I’m talking to historians and journalists…the president at that point, [President] Felipe Calderón had decided—in a tremendous act of hubris—that he could declare that drug trafficking was over. So he started arresting people and taking people, and the only thing that that achieved is all the desperate lieutenants, younger and bloodthirsty and ready to do anything, started growing and exploding. And that created chaos. People started disappearing right and left. And then he said, ‘Of course, those poor little children.’ And I just stood there like a deer in the landlights, and said, ‘What about the children?’ And he said, ‘Well, people are disappearing, single mothers are disappearing, who is taking care of the children?’ And he had people he knew in Juárez who were researching about it because it was out of control, simply the state has already failed in so many areas that they could not take care of this. And children were on their own, preyed upon by the cartels to become child soldiers…there were things that I learned in this research that, believe me, you don’t want in your head.” - Film Comment, August 20, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578373893752-TFH22TSQE3B94L7EKFI2/Hustlers+-+Jennifer+Lopez.jpg Announcements - The 20 Best Performances of 2019 13. JENNIFER LOPEZ | Ramona | HUSTLERS A group of female exotic dancers, led by the maternal/sisterly Ramona, concoct a scheme to bilk wealthy Wall Street clients out of thousands and thousands of dollars, during the economic downturn in the late 2000s. (on her initial thoughts playing Ramona): "I was terrified. I felt exposed. I was like, ‘I’ve never done anything like this. I’m going to be up there in f***ng dental floss. What is this? Who is this person?’ And then you get up there, and you have to have a ‘f*** you,’ empowered attitude. You have to take your power back. You have to be so bold. It’s almost like when you say you’re a rock star, you have to be arrogant to go up there in front of all those people or you crumble. You realize it’s the same type of balls that it takes to do something like that. And these women have that. They are tough, hard, vulnerable and damaged. It’s a great character to play.” - Variety, August 26, 2019 (director Lorene Scafaria): “I’ve been cheering for her my whole life. Working with her was more like going to the gym together, getting to spot a true athlete at the bench press, adding weight to the bar and then standing back and marveling at her strength and power and endurance. I couldn’t wait to see Ramona show up every day, rhinestone lighter in hand, two-toned hair, some days a jungle cat, other days a mama bear. Between watching from afar and seeing her up close, not much has changed. After all this time, I’m still in awe of Jennifer Lopez.” - Variety, October 1, 2019 (on the film being almost exclusively made by women, and serving as a producer): “I didn’t get paid a whole bunch of money for Hustlers- I did it for free and produced it. Like Jenny From the Block—I do what I love.” It became a movement. This is our movie, where we run s***. They know it's all women producers, woman director, woman writer, all women starring in it. We've been watching men take advantage of women in movies for a long time, so it was a fun ride to see the tables turned." - GQ , November 18, 2019 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578375208689-R6IP9DUVKCGP8B0ULDLR/Jojo+Rabbit+-+McKenzie+Davis.jpg Announcements - The 20 Best Performances of 2019 14. THOMASIN MCKENZIE & ROMAN GRIFFIN DAVIS | as Elsa (McKenzie) and Jojo (Davis) | JOJO RABBIT In writer/director Taika Waititi’s controversial satire, a 10-year-old boy, enamored with Adolf Hitler in Nazi Germany near the end of World War II, learns that his mother is secretly hiding a Jewish girl in their home. (McKenzie, on preparing to play Elsa): “Immediately when I found out I got the role, I started to research and I started to try to learn as much as I possibly could about what it was like living as a young Jewish girl back then. We wanted to make the point that of course Elsa is a victim, she’s going through this monstrous experience, but she’s also just a human being who has so many layers and so many things going on inside her head. She’s lived a full life up until this terrifying event. She’s going through puberty. She’s got a crush on a boy. She just lives her life doing all the things that a normal teenage girl will do, all the things that I did, all the things that you did. I think it’s important to remind people that being a victim isn’t what defines her.” - Indiewire, November 7, 2019 (Davis, on working with his co-stars and director Taika Waititi): “I thought it was [about] Peter Rabbit…I sometimes had to move my head off-camera to keep from laughing. I tried biting my tongue, but that didn’t help. I [also] tried kind of holding my nose [and] biting my lip.” (Davis, on getting to say a certain expletive on screen in his first-ever film): “It was really quite fun, because Taika was directing me to say it in different ways: ‘For this one, try and rip it out. For this one, say it quite fierce. And this one, kind of give it a ring.’ We did a whole improvising scene where I just said the F-word loads of times!.” - Vanity Fair, November 27, 2019 (McKenzie, on the approach the film takes with very sensitive subject matter): “Although we were all so excited, you never know how the audience is going to react, no matter what you’re doing. It could be the safest film on Earth, and people could hate it. No one’s going to like everything. So, there was definitely a bit of apprehension and not knowing how people (would) respond, but despite that, the whole time I could feel that (this movie) was such a special project. I am beyond lucky to be a part of it.” - Phoenix Film Festival Blog, October 28, 2019 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578375317372-7UCS1CQX8072PN97KP7Q/Portrait+of+a+Lady+on+Fire+-+Cast.jpg Announcements - The 20 Best Performances of 2019 15. NOÉMIE MERLANT & ADÈLE HAENEL | as Marianne (Merlant) and Héloïse (Haenel) | PORTRAIT OF A LADY ON FIRE In 18th century France, a female painter is tasked with creating a portrait of a young women about to be married. (Haenel, on portraying Héloïse): "With Héloïse’s character, to me, it was like a rebellion. I just say, ‘OK, I will do what you want. But don’t you dare believe that you can get close to me.’ This is where I wanted to embody this rebellion, with the fact that my face would not be moving very much. And it’s not only about not smiling. Almost every emotion is very small. There’s not much that [registers] on my face.” - The Daily Beast, December 7, 2019 (Merlant, on conveying the emotional connection with co-star Haenel): “How you propose to look at her is something you decide, and she looks at me in a way that I don’t know, so it’s always something that we create together. I realized how I was connected to the male gaze—like I was thinking and acting [according] to this frame of the patriarchy. That is still so real…the movie connects us with this and that’s why it’s a vision [that is] really important” (Writer/director Céline Sciamma, on comments previously made that Portrait of a Lady on Fire could “save the world”): “I think I said it once, really. The third day of shooting, shooting the scene on the beach where Marianne finds Héloïse and cries and says, ‘Your mother’s coming back,’ and they kiss. Suddenly, it’s this big, emotional thing. And the fourth take was like, wow. I called ‘cut’ and I turned to my DP and I told her, ‘We are saving the world.’ And she said, ‘We are saving the world.’ And that was the first time we said it. Sometimes we said it as a joke, like, ‘Are we saving the world?’ It was mostly a joke. But, of course, images…can change culture.” - Vulture, December 4, 2019 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578376361591-A1J8J4DH2HQX848FGUJC/Her+Smell+-+Elisabeth+Moss.jpg Announcements - The 20 Best Performances of 2019 16. ELISABETH MOSS | Becky Something | HER SMELL A former punk rock superstar struggles with newfound sobriety, while the cause-and-effect of years of abusive, bullying behavior of her friends and former band mates becomes an overwhelming present-day reality. (on her character, Becky Something): “She's an incredible artist and she's an incredible singer and songwriter and has a vitality to her that's difficult to keep in a box. She's an addict, which has a huge effect on her personality and her life. And when we start the movie, she's at the height of her addiction and struggling to chase the high of the fame and adulation as well. It's not just the drugs, as she struggles to be as famous and relevant as she once was.” (on the challenges of Her Smell): “I've done some really difficult things, challenging roles and challenging scenes. But this was the hardest thing I've ever done. It was not fun a lot of the time. It was hard to be in that head space, and hard to be in that person, with all that chaos and craziness. Some things are more fun to play than others. And this was difficult. At the end, I was incredibly fulfilled and happy that I'd done the role. But when we were shooting it, it was not easy. I've done four films this summer, and that was definitely the hardest one.” (on being scared to play the role of Becky): “I had never played a role like that. It was scary and it was a lot of pressure. I also knew it was an incredible role and an incredible opportunity. So doing it justice and trying to live up to it was scary. And playing addiction with accuracy, honoring that journey and what it is like for somebody and being as realistic as possible, was scary. And the music side was vaguely terrifying. Doing the concert scenes was scary. I've never done that before, so having to go up there and pretend I knew how to play the guitar and sing and be a rock star was scary. But it was also really fun. I think all us, Gayle [Rankin] and Aggy [Agyness Deyn], after doing our first concert in the first scene of the movie, after the first take, we all said we want to be rock stars! Screw acting. Rock stars are who we are!” - The Hollywood Reporter, September 7, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578806253024-52KJ5E45VKFDLZIPVOXV/Dolemite+-+Eddie+Murphy.jpg Announcements - The 20 Best Performances of 2019 17. EDDIE MURPHY | Rudy Ray Moore (a/k/a Dolemite) | DOLEMITE IS MY NAME Struggling performer Rudy Ray Moore adopts the persona of “Dolemite,” and turns a crude, outlandish comedy act into a successful movie career in the era of 1970s Blaxploitation. (on how Rudy Ray Moore would be viewed today): ”Today, Rudy Ray Moore would be Tyler Perry. On the surface, [Perry] looks like he just popped up, but he was making these plays and doing Madea all around, so he had a grassroots following. That’s what Rudy did when he went, ‘Hey, I got this thing, I know what’s good, I believe in it and I’m going to go and work and sell it out of my trunk and get it going.’ Your belief and your volition gets you whatever you want. He doesn’t have any of this stuff that’s supposed to make you. He’s got a pot belly, and he’s not a good-looking guy. He’s got nothing and his stuff is super crude. And he went and got his act from homeless people in the alley.” - Indiewire, December 13, 2019 (on his approach to the character): “I think if you watch Dolemite, it’s pretty clear that I’m not tiptoeing around anything. I’m doing what I’ve always done and I don’t even think about the time period we’re in, and how thin people’s skins have gotten or anything like that. I’m the same guy I’ve always been, and I’m just always going to be that guy, always doing just what I do. I tend to have only constructive thoughts when I try to do something creative. How do I make it the best that it can be? How can we have the most fun doing it? That’s as far as my thought process goes. Not who might be offended and who’ll get bent out of shape. Because at the core of what I’m doing, I’m not trying to malicious, so I think it’s not going to come off that way.” - Deadline, December 20, 2019 (director Craig Brewer on Netflix’s green light getting turned on for the project): “Larry (Karaszewski) and Scott (Alexander, screenwriters) spent a week working on this pitch for Netflix. They went in and, literally, as they inhaled to pitch, Eddie walks in, does 20 minutes of Rudy Ray Moore, leaves, and they said, ‘Well, get to writing.’ They didn’t say a damn thing. They didn’t say anything. Just Eddie came in and did it and they were like, ‘Well, obviously, we’re making this movie. So, go off and do it.’ Larry and Scott didn’t say a damn thing.” - Collider, October 25, 2019 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578808515465-J5RO2SY8WAV1I68D3FPZ/Us+-+Lupita+Nyong%27o.jpg Announcements - The 20 Best Performances of 2019 18. LUPITA NYONG’O | Adelaide/Red | US A young girl’s past comes back to haunt her in the present-day, when her family is confronted and attacked by a family which looks just like her own. (on playing both “the good” Adelaide and “the evil” Red): “I had to hold down both sides of the argument. I had to be the offender and the offended. It was about understanding the emotional landscape of each character but also having a very strict discipline to play both physically and mentally. This movie is an externalization of our monster. It’s a movie that explores who we think of as the enemy. Often times we’re very eager to paint people across the border, or from a different religion, or a different creed, or culture, as the enemy. It’s easier to project that. But what happens when we look at ourselves? What are the enemies within ourselves? For me, what I found I related to was that identifying with that inner monster inside me.” - Deadline, December 7, 2019 (on Us being something she had never seen before): “I think just having a black family at the center of the horror film is new, surprisingly so. I didn’t realize it at first, and then I thought about it and all the horror films I’ve experienced — granted that I haven’t experienced many, but it’s just not an image that comes to mind. So there was a refreshment with that, but also just the conceit of them being the all-American family. As you meet them, they’re dysfunctionally functional, and there’s something so familiar about their banter and quipping. And I love setting up that norm and what that does for other paradigms — what is normal and what is American — and then just totally devastating it with the nightmare of the untethering.” - Entertainment Weekly, March 21, 2019 (on her decision to work method when shooting scenes as “Red”): “I went a little more method than I usually do where I stayed in the vocal posture for the whole day and I would remain isolated in a room festering. It was technically very challenging. We're playing against ourselves. The way in which things had to play out was so specific. It took its emotional toll on me. I definitely had a moment of rupture while making this movie." - BBC News, March 22, 2019 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578809563462-BH0PIWK8YI66LUFIXRWQ/Last+Black+Man+in+San+Francisco+-+Fails%2C+Talbot.jpg Announcements - The 20 Best Performances of 2019 19. JOE TALBOT, JIMMIE FAILS | Talbot as Co-Writer, Director, Producer and Fails as Co-Writer, Actor (as Jimmie) | THE LAST BLACK MAN IN SAN FRANCISCO A grandson, with the support of his childhood best friend, attempts to reclaim his grandfather’s home in a city that seems to have increasingly left his community and heritage behind. (director Joe Talbot on movies emanating from the Bay Area): “There's a long history, political history, in the Bay Area. I think there is a real difference, even though it's so close, and even though we love our friends across the Bay, San Francisco has a very specific relation to what's happening with gentrification. The Mission, where we grew up, is ground zero for maybe the entire country for gentrification. It's like the blueprint for how to change a neighborhood, you know? With the influx of tech money, it's going to destroy the Latino neighborhood. So while there are similarities, Oakland and the East Bay have a different history and a different modern-day relationship to gentrification. We've been hit very hard. I don't want to say the hardest, but it kind of seems that way.” - Mubi, June 12, 2019 (Fails, on the approach taken to the story and the film as a whole): “People have been getting pushed out of San Francisco for decades now. What we tried to do with the film is show something that it feels like people are only recently starting to realize is happening, and what the ramifications of that are, through a historical lens.” (Fails, on the deeply personal connection to the story): “When I lost my house, which is what happens in the movie, it wasn’t at all because of gentrification…it is about San Francisco changing, but that’s not what we set out to make a film about. The eviction was life changing for me, and I feel like I haven’t had much of a family since then. It’s like we all just kind of fractured and went our own separate ways.” - Indiewire, June 6, 2019 (Talbot, on the response the film has received): “…There’s that feeling, like you’re chasing ghosts in San Francisco. Going now, traveling with the movie to more cities than I’ve ever traveled to in my life, I’m talking to people, hearing stories that basically regional culture is being destroyed. Everywhere you go has avocado toast and Acai bowls, but there used to be regional accents and architecture that defined areas, and things very specific to the culture of the people that have been there for a long time. And it feels like now we’re going through this period. It feels like the loss of that.” - Consequence of Sound, June 14, 2019 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578810960657-P97TCI9CRJXAOTG4W47P/judy-blu-ray-dvd-Judy_09319_rgb.jpg Announcements - The 20 Best Performances of 2019 20. RENEE ZELLWEGER | Judy Garland | JUDY Looking to revive her career in London in 1969, legendary performer Judy Garland wrestles with emotional entanglements and personal demons. “(on what Judy Garland had meant to her personally, prior to taking the role): “I took her for granted. She was always there in my house on the turntable. I’m sure you’ve heard the myth of network television where you had to be home to watch something in the dark ages. With the rest of America, I would sit down with my family and watch The Wizard of Oz every year at Easter time. I loved her. She set the bar; she’s one of the greatest vocalists of all time. Coming to understand what she had to overcome over and over just to perform on the levels that she did for such a sustained period of time—now I get it, and I appreciate her in a different way. She carved out a space for herself at the table of iconoclastic heroes in American history and to me rightly so.” (on the role costumes played in helping bring Judy’s complexities to life): “…the armor of the clothes and how suddenly it’s a great day because you’re wearing this extraordinary gown with sequins, and it means celebration, power, performance, ownership. The juxtaposition of that with the true circumstances accentuates the emotional moment because it becomes a bit of a lie. It doesn’t properly represent the truth of a person’s experience and how painful it must be to zip up that dress at a time when the last thing you need is to have public expectations as a variable in your day. Which can sometimes be overwhelmingly difficult. Our costume designer fit the dresses to the posture that I would assume in the fittings, which was more representative of how Judy carries herself than my own sort of swayed-back physicality.” (on performing the film’s final number, ‘Over the Rainbow’): “…there was the idea of what that song meant, the hope that’s written into the words and the notes in the way that she sings it. The idea of what it means to a child when she sings it the first time in The Wizard of Oz and that she’s carried that as a part of her identity. And what that song and the words have meant to her as she sang it at different times in her life and how powerful those words are in that moment when we know she’s grappling with insurmountable difficulties? In singing that song she’s refusing to quit having hope. It makes it overwhelmingly emotional.” - Vogue, October 10, 2019 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578824347518-X59LJWVCZY115CG05OSR/bombshell-LD_D21_04710_R2_CROP_rgb.jpg Announcements - The 20 Best Performances of 2019 - THE CAST OF "BOMBSHELL" When a news anchor from Fox News alleges sexual harassment allegations against CEO Roger Ailes, other high-profile women on the network come forward and speak out against workplace mistreatment. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578824633851-GGRWSAPJF2EJ8KODADNS/Beautiful%252BDay%252B-%252BTom%252BHanks.jpg Announcements - The 20 Best Performances of 2019 - TOM HANKS | Fred ("Mr.") Rogers | A BEAUTIFUL DAY IN THE NEIGHBORHOOD A journalist sees his life changed for good when he agrees to write a piece on the kind-hearted children’s television star. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578817918494-L5XGZ5PINS6BDZ8RDWES/Richard+Jewell+-+Paul+Walter+Hauser.png Announcements - The 20 Best Performances of 2019 - PAUL WALTER HAUSER | Richard Jewell | RICHARD JEWELL A security officer, who saved lives during a bombing at the 1996 Atlanta Olympics, finds himself the shocking subject of a criminal investigation by the FBI. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578825341388-UWTWRC46726WTTSVTULJ/Queen%2Band%2BSlim%2B-%2BMelina%2BMatsoukas.jpg Announcements - The 20 Best Performances of 2019 - MELINA MATSOUKAS | as Director and Co-Producer | QUEEN & SLIM A young couple become viral celebrities when they go on-the-run after killing a police officer in self-defense…on their first-ever date. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578819193956-UHC3M5R38O17ZKV5MRBH/Synonyms+-+Tom+Mercier.jpg Announcements - The 20 Best Performances of 2019 - TOM MERCIER | Yoav | SYNONYMS A young Israeli man relocates to Paris to begin a new life, with his dictionary serving as a constant companion. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578824590480-IIUX8O2F7AOL28FQBA2R/Dora%252B-%252BIsabela%252BMoner.jpg Announcements - The 20 Best Performances of 2019 - ISABELA MONER | Dora | DORA AND THE LOST CITY OF GOLD Teenage adventurer Dora works with her friends in an effort to save her parents and uncover the mysteries around a lost Incan city and civilization. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578819711605-EMLSIIRFQSAPMUBDJ6HT/Art+of+Self+Defense+-+Alessandro+Nivola.jpg Announcements - The 20 Best Performances of 2019 - ALESSANDRO NIVOLA | Sensei | THE ART OF SELF-DEFENSE A shy man turns to a local martial arts dojo, and begins training with a strange Sensei, after being brutally beaten and attacked. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578820224793-96EM5D1XWQACGFWWFZWM/The+Lighthouse+-+Dafoe+Pattinson.jpg Announcements - The 20 Best Performances of 2019 - ROBERT PATTINSON & WILLEM DAFOE | as Thomas Howard (Pattinson) and Thomas Wake (Dafoe) | THE LIGHTHOUSE Two lighthouse keepers wrestle with their sanity and each other in 1890s New England. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578821391522-PL5C9FW89PIQ3X2YLS28/Irishman+-+Joe+Pesci.jpg Announcements - The 20 Best Performances of 2019 - JOE PESCI | Russell Bufalino | THE IRISHMAN A hitman details the series of events which allegedly resulted in the murder of Jimmy Hoffa. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578821524289-7ZRX5F0KVBWG7SGWKIO1/Joker+-+Joaquin+Phoenix.jpg Announcements - The 20 Best Performances of 2019 - JOAQUIN PHOENIX | Arthur Fleck | JOKER In Gotham City, a mentally unstable man unravels out of control, eventually embracing a new and violent alter-ego: Joker. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578821800192-3KIGORFWAAMNZIPP2VH6/Always+Be+My+Maybe+-+Keanu+Reeves.jpg Announcements - The 20 Best Performances of 2019 - KEANU REEVES | Keanu Reeves | ALWAYS BE MY MAYBE Two former high school sweethearts reconnect as adults and begin to wonder why they never stayed together. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578822228786-HGAGXLRXPQ3291M46O0O/Uncut+Gems+-+Adam+Sandler.jpg Announcements - The 20 Best Performances of 2019 - ADAM SANDLER | Howard Ratner | UNCUT GEMS A New York City jeweler leverages loans, debts, and prized possessions in trying to achieve the ultimate “win.” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578823523653-54CBCSHGFYFSY7QAIQSN/Waves+-+Cast.jpg Announcements - The 20 Best Performances of 2019 - THE CAST OF "WAVES" A suburban family is broken apart by tragedy. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578824458430-HS8CGTSE5F1W63ELNOER/Ready%2Bor%2BNot%2B-%2BSamara%2BWeaving.jpg Announcements - The 20 Best Performances of 2019 - SAMARA WEAVING | Grace | READY OR NOT A new bride realizes that her in-laws’ wedding-day traditions make her the hunted, as she tries to survive a deadly game of hide-and-seek. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1578823717211-FD6NPOU6K4R3GYOUVD87/Clemency+-+Alfre+Woodard.jpg Announcements - The 20 Best Performances of 2019 - ALFRE WOODARD | Bernadine Williams | CLEMENCY A veteran prison warden has a crisis of conscience and conviction as she prepares to execute her 13th Death Row inmate. https://www.shouldiseeit.net/announcements/2019/the-2019-seattle-film-critics-society-nominations monthly 0.5 2019-12-09 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1575919888137-NKQK2ZAXMAX3GQEZ6R78/sfcs+logo.jpg Announcements - The 2019 Seattle Film Critics Society Nominations https://www.shouldiseeit.net/announcements/2019/45th-seattle-international-film-festival-unveils-2019-lineup monthly 0.5 2019-05-13 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1556736827366-D3VL5XTKQDY6OBB47L0Y/SIFF_2019Fest_Logo_vert_yellowbknd.png Announcements - 45th Seattle International Film Festival Unveils 2019 Lineup! https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1556737917268-RV1JUV7MXKASZBGWQUM3/SwordOfTrust_large.jpg Announcements - 45th Seattle International Film Festival Unveils 2019 Lineup! Courtesy of: IFC Films https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1556738623473-421DS4ZR1XIJESZYNRA9/LateNight_large.jpg Announcements - 45th Seattle International Film Festival Unveils 2019 Lineup! Courtesy: Amazon Studios https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1556738807430-DO5LMWFHI3TQ9ZXNCX96/Regina+Hall+SIFF.jpg Announcements - 45th Seattle International Film Festival Unveils 2019 Lineup! Regina Hall, image courtesy of SIFF https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1556738942475-ZW2SO9DAIO20ERLTUSJV/TheFarewell_large.jpg Announcements - 45th Seattle International Film Festival Unveils 2019 Lineup! Courtesy: A24 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1556739064787-7HAMNSV35NRMJZQT3S7G/Beth_Barrett+%281%29.jpg Announcements - 45th Seattle International Film Festival Unveils 2019 Lineup! SIFF Artistic Director Beth Barrett https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1556740560408-9V5CPSIJUA43HN6VDF8F/SIFF_2019Fest_Logo_Horiz_yellowbknd.jpg Announcements - 45th Seattle International Film Festival Unveils 2019 Lineup! https://www.shouldiseeit.net/announcements/2018/the-best-performances-of-2018 monthly 0.5 2020-01-02 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546385607494-QTIYK22ZSS2O1BGQID4U/Guilty%252C%2BThe.jpg Announcements - The 20 Best Performances of 2018 1. JAKOB CEDERGREN | Asgar Holm | THE GUILTY A police officer, on temporary demotion to an emergency call center, takes a harrowing phone call at the end of his final shift. (Cedergren): ”…Whenever you catch yourself being aware of what you’re doing…that’s a difficult thing. It’s kind of difficult to release that awareness and to just be. On the other hand, it was really nice because we shot it chronologically. We started in the beginning. We had like eight blocks. The shortest was like five minutes long and the longest was a 34-minute take. So it had a theater vibe about it with such long takes, you know? It was great. You hit a wave and just go with it and see what happens. That’s also really rare. So it was a lot of new things that you don’t get to do that often on a movie. But it works in this format. It was really fun.” - Anthem, October 22, 2018 (director Gustav Möller on creating the premise of The Guilty): “I was gripped at how you could be just listening to a phone call for 20 minutes. Later I started reflecting on how the images I had made in my mind would be different to anyone else listening to the same call. That fascination became the starting point for the film." - Screen Daily, January 26, 2018 (on Jakob Cedergren): “For Jakob, he was intrigued by the challenge to carry every frame of the film…For me, what really made Jakob right for the part is his eyes. It’s like he’s is keeping a secret from you, but at the same time you can read a lot from just looking at his eyes. Jakob enhances the whole idea of us bringing our own images [to the story], he’s like a portal to that.” - director Gustav Möller, Screen Daily, January 26, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546387056867-5NBF2P3QIVTAGNX2R5WN/HeartsBeatLoud.png Announcements - The 20 Best Performances of 2018 2. KIERSEY CLEMONS & NICK OFFERMAN | as Sam Fisher and Frank Fisher | HEARTS BEAT LOUD After a song they created gains popularity, a single father and his teenage daughter face some difficult decisions as each reaches a pivotal crossroads in their lives. (Clemons, regarding her character being gay): "Normally, we see movies where the conflict is being gay, and I’m really happy that there’s finally a movie where that’s not the conflict in this person’s life. Although that is the case for some, there are people all over the world that are queer and their conflict isn’t their relationship or their sexuality. It was nice to step away from that typical storyline.” - Indiewire, June 13, 2018 (Clemons, regarding her character being biracial, and raised by a caucasian father): “What do you mean it’s trying too hard? Do you think when my mom had me, she tried to put on a front? What does that mean? We’re not trying. This is life, this is a reflection of the world that we live in. We need to see more of all of these things, because we don’t see these dynamics, and therefore people think they’re watching something bizarre, and it shouldn’t be bizarre.” - Indiewire, June 13, 2018 (Offerman, on his first starring role): “Brett Haley, the director of Hearts Beat Loud, and Mark Basch write these movies and this is their third together. The second was The Hero with Sam Elliott, in which I have a supporting role. Getting paid to sit and watch Sam Elliott talk. Forget about it. He’s chiseled from granite. You can have whoever your boy toys are. He’s 73 and just gorgeous. Thankfully, [Brett and Mark] took a shine to me and said, ‘We have an idea. We think we’re going to write you the next one.’ I loved Brett’s first two movies so much, I pretty much would have signed on without reading the script. I trusted them. Their movies aren't edgy, they’re not taking big swings, they’re really mature looks at people dealing with s**t in their lives. Ultimately, whatever questions are posed, love is usually the answer in some form. Once I read it, I just felt immense gratitude because no one’s written me a movie like that. I was so thrilled.” - Billboard, June 5, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546387879906-9PV67NZNXQI8T97JCQOK/Hereditary2.jpg Announcements - The 20 Best Performances of 2018 3. TONI COLLETTE | Annie | HEREDITARY After a horrible tragedy, the matriarch of a family slowly starts to unravel emotionally through a series of strange encounters and curious circumstances. "I’ll never have the ability to watch it without it being affected by my experience, but I did not want to do anything heavy and when I read it, I knew I had to do it. So I would say it was probably similarly as intense. When I read it, it felt — it was one of those situations that you hear actors talking about, it always sounds incredibly pretentious, where it feels like it has somehow, I haven’t chosen it, it’s chosen me. I really wasn’t looking to do anything like this, but it was just felt so honest, and for a film that kind of creeps into a genre element to have such brave honesty and a kind of poetic vibe was an incredible combination.” …It’s not entirely a horror film. It is horrific, and it becomes what you would consider to be that genre, but I really related to the family dynamics and just the truth of the characters and what they’re going through. It is so intense and exciting to work on. Yeah, I mean I don’t know if I would want to do a film which is scary for scary sake. You know, it’s not that. All of the fear in it is an extension from something very real. It’s never gratuitous, so … When I read it, it felt like as beautiful as The Ice Storm. Like there is a poetic nature to it." - Collider, June 7, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546388244100-01KL9RPEUFUZ6P578FKR/BlackPantherCoogler.jpg Announcements - The 20 Best Performances of 2018 4. RYAN COOGLER | as Director and Co-Writer | BLACK PANTHER The largest grossing superhero movie of all time, Black Panther serves as an origin story for T’Challa, the King of Wakanda, who must lead his country and his people into battle against a surprising nemesis. "As I got older, I wanted to find a comic book character that looked like me and not just one that was on the sidelines,. And I walk in and ask the guy at the desk that day, and say, 'Hey man, you got any comic books here about black people, you know, like with a black superhero?' And he was like, 'Oh, yeah, as a matter of fact, we got this one.' …There's a massive audience — not just of people of color but everybody — who wants to see different perspectives in this myth-making. They want to see something fresh, they want to see something new, but also feels very real. You walk around in this world, and you see people who look like me — all the time. I'm from the Bay Area, where we've got a very successful basketball team right now. The Golden State Warriors run out there, run up and down the court, [and] it's a bunch of black dudes. But everybody in the stadium — even though it's in Oakland — there's very few black people in that stadium. But everybody's wearing they jerseys and experiencing the emotions that they feel. You know, when Steph Curry hits a shot, it's a little white kid or a little Asian kid in there that feel like they just made the shot. …I think intimacy can be achieved in a film on any budget. I feel, personally, like I have some of my most intimate scenes I've ever made in this movie. You know, I just want to make films that resonate with me, that are interesting to me, that deal with themes that I'm passionate about. (Black Panther) brought me closer to my roots. This movie took me to the continent of Africa, which is somewhere I wanted to go since my mom and dad sat me down and told me I was black, you know what I mean? So I hope to make movies that'll challenge me as an artist and as a person. That's really what I hope to do.”- NPR’s Morning Edition, February 15, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546388756451-IEQUJU8V23GX50J71L3O/RomaCuaron.jpg Announcements - The 20 Best Performances of 2018 5. ALFONSO CUARÓN | Director, Writer, Co-Producer, Co-Editor, Cinematographer | ROMA Director Alfonso Cuarón documents a year-in-the-life of a live-in housekeeper, the family she works with, and a series of life-changing and altering events during a tumultuous 1970 in Mexico City. "Ninety percent of the scenes that you see in the film come out of my memory. I’m not saying everything in this is linear, but what I did was compress around three years of memory into a narrative of 10 months. But almost every single scene is something I remember, complemented with the real-life Cleo [played in the film by Yalitza Aparicio]. I would talk to her about what she remembered. And then there’s subtle elements of fiction because I wanted to include thematic elements that I found relevant both to character but also to this sort of broader story. What we tried to do is balance between character and a social context as well. Because we’re talking about personal scars. That is definitely a period that scarred me, probably for life. I can assume that it scarred the characters that play in the film. But also the social events that were portrayed are one of the most important and deep scars in the Mexican psyche. In the collective consciousness. Nobody had the script, and I shot in absolute continuity. That meant that I had talked to each of the actors about their character, about who they are. I talked to them about what they know, that not necessarily other people know. They had to keep it like this; they could not share that information with the other cast. I also talked to them about secrets they shared with one another. But they didn’t know the story, so every day they were playing out the story and learning their circumstances. And in that way, it was like life and it was playing with their own expectations." - Deadline, August 31, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546474219109-V77H22ZWFAQ56TWDDF07/Blindspotting3.jpg Announcements - The 20 Best Performances of 2018 6. DAVEED DIGGS, RAFAEL CASAL | as Collin (Diggs) and Miles (Casal) and as Screenwriters | BLINDSPOTTING On the eve of his parole, a man sees a life-long friendship potentially changed after witnessing a white police officer’s killing of an unarmed African-American man in his hometown of Oakland, California. Casal: "Collin and Miles essentially are siblings. They’ve always been around each other. They’ve helped each other survive for so long. They’re a little two-person gang, right? Even when they’re with a different group of people, it’s them two. And they’ve, to a certain degree, developed as adult men entirely together. Their context is changing—that’s the catalyst for the film. They don’t have an issue with each other. It’s the rest of the world that is treating them in these new and destructive ways, and they’re both trying to reconcile those internally and how that affects [their] relationship." Diggs: "I think the stakes felt high when we started working on it. It unfortunately still feels very high, sort of differently, in that our capacity for apathy is so high these days…But for us as artists, it was just about telling the story and being honest about the space and circumstances. And then when we step back from that, when we get to hold a mirror up to the world as close to exactly as it is, all of a sudden you’re like, That’s f***ed. We should probably do something about that. " (Diggs, on a much-discussed scene, near the end of the film): “…We both came up through Youth Speaks, a spoken-word youth program. You teach your kid poetry because nobody cares what they have to say unless they make it sound pretty. So we wanted to get to a point where Collin has to be heard. The stakes are life and death. What he needs is to be heard by the object of all of his trauma; this person is the nightmare that’s been haunting him. So he’s going to have to make it sound real and use all the lessons he's been learning from Miles over the course of the film about salesmanship to really sell this idea of understanding. That’s why we learned how to write poems in the first place was in order to be heard.” - The Atlantic, July 21, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546452873458-TD629G2BONVI5HTSVGT9/FavouriteTrio.jpg Announcements - The 20 Best Performances of 2018 7. OLIVIA COLMAN, EMMA STONE, RACHEL WEISZ | Queen Anne (Colman), Abigail (Stone), Lady Sarah (Weisz) | THE FAVOURITE Two women vie for the affections of a tempestuous Queen in 18th century England. (Colman): “We hang out together and they come to my house for Sunday lunch. We also do a lot of WhatsApp, sending funny videos to each other. When we were at Venice Film Festival [for the film’s premiere], Rachel couldn’t attend because she’d just had her baby, so we all filmed a barbershop song and sent her a video. We all giggled a lot, we played trust games, held hands, roughed and tumbled. We were like a bunch of kids. But there was method in his (director Yorgos Lanthimos) madness — he knew we could then go and do anything on set.” - Screen Daily, December 21, 2018 (Stone): “Even though people might not be able to relate to Abigail in terms of where she decides to go with her elements of human nature, I at least got to explore a spectrum of human emotion in a very exciting way. To me, she is a survivor. She’s had a lot of horrible experiences. She fell from an aristocratic family. She’s gone through a lot. She arrives at the palace needing the very basics of safety and security, and maybe more. But that’s what I see her as at her core – someone who is fighting very hard to survive.” (Weisz, on working with director Yorgos Lanthimos): “There’s zero discussion. Zilch. Nothing. Not one word. Not like ‘I want you to do this, this is what I’m looking for, this is what the character should feel,’ nothing. There’s a wavelength that he has, and somehow or other by sheer force of his imagination, he tunes actors into his wavelength without using language. I do not know how he does it. He’ll just watch what you do, he doesn’t ignore you, but he doesn’t talk to you about the fiction you’re portraying. You have no sense of perspective on what you’re doing, it’s just happening in a very unconscious way.” He doesn’t want to talk about character or motivation. He just wants you to discover it on your own, which I appreciate and really like because in life, we’re not sitting here thinking, ‘What’s your motivation? Why are you saying that to me?’” - SlashFilm, November 22, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546453953929-7RERPQCLBBCC83OJT2V9/EighthGradeFeatured.jpg Announcements - The 20 Best Performances of 2018 8. ELSIE FISHER, BO BURNHAM | as Kayla Day (Fisher) and Writer, Director (Burnham) | EIGHTH GRADE A teenage girl struggles in transitioning from 8th grade to 9th grade, in the era of social media. (Burnham, on working with Elsie Fisher): "Without her, it was dead. It was her or nothing. We shouldn’t have greenlit this movie before we found her, but we did. She was the first person on my list when I was looking at kids. Through the whole audition process, I was looking at kids to see if any other kid was even close, but that was never the case. She was one of the first kids that I auditioned. Every other kid played it like a confident kid pretending to be shy. She was the only person that felt like a shy kid pretending to be confident. She was the only person that felt like she had the vulnerability needed and yet could also carry a movie.” - Collider, July 10, 2018 (Fisher, on increased attention and sudden fame): “Part of how I don’t let it get to my head is because it might be true and it might not be true. But that doesn’t matter because that’s not how I see myself. I don’t see myself as an actress. Sometimes, I have so much doubt about what I can do. It’s very grounding how every kid at school gives zero s***s. I’m still borderline bullied at school. [laughs] Not really, but it’s still like, cool, I’m in a movie and people are talking about it, now I have to go and do my math homework. That stuff doesn’t change. So what does all of this mean to me? I don’t know. I’m proud of the film. I’m very thankful people are saying these things about me. But none of that defines who I am. I have to figure that out." - MovieFreak.com, July 26, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546456371396-0IGBRSN8C6OP5OK3WZTV/LeaveNoTraceFeatured.jpg Announcements - The 20 Best Performances of 2018 9. BEN FOSTER, THOMASIN HARCOURT MCKENZIE | as Will (Foster) and Tom (McKenzie) | LEAVE NO TRACE A father and daughter live off the grid in the Pacific Northwest, attempting to hide away from an outside world that is seemingly closing in on their peaceful existence. (director Debra Granik): "The scenes that involve just the intensity of [Ben and Tom] relating, needing to negotiate something, team up or cleaving or separating, those scenes are very much worked out between them, and they are inflecting new things that come up for them. The skills trainer, for example, did work with them, but then they took those things and negotiated, ‘Where are the knives? Do they share a knife? Does she need to make more feather sticks for the fire?’ You know, on take ten, or take six, he would then have to say, really, ‘Tom, I need another feather stick,’ or, ‘Cut me up some,’ or something. And so that’s not in the script, but because they’re building a fire, they’ve got a real task. So now the script needs some modifications sometimes because it needs to pertain to what they’re doing right now. They know the scene, but if she says something unexpected and he really answers her and they don’t break the scene, I may well use that. So the scenes have room for additions. In that sense, I shy away from the word ‘improv,’ because the scene is set. They’re not creating a new version of the scene, but gestures and moments and looks between them will be theirs to enact. I’m seeing things they’re doing, and then I might try to capture and get another variation on that." - The Playlist, July 20, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546456983537-O68D5K61W8Y28JU37P4V/Paddington2Grant.jpg Announcements - The 20 Best Performances of 2018 10. HUGH GRANT | Phoenix Buchanan | PADDINGTON 2 The lovable bear, Paddington, hopes to purchase a one-of-a-kind gift for his Aunt Lucy’s 100th birthday, but a former A-list actor, reduced to local theater and dog food commercials, proves to be a complicating factor. “(I) took the role because I needed a job and thought it might be fun…” - Variety, October 13, 2018 “I have had trouble with children since the film came out. Most nights, my house is staked out by children carrying flares. But I’m quite well armed and have dealt with the situation. No, on the whole, children quite like it. Actually, the only child I’ve met who hasn’t loved the film, and me, frankly, is my son. I took him to see a preview of the film with about a hundred of his friends, and they all adored it. But he sat there, stony-faced, throughout the whole thing, saying, ‘Why are you in it so much?’ So that was very sad for me. (on inspiration for Phoenix Buchanan): “…There’s a bit of me. But my earliest jobs were in provincial theater in England, and there were wonderful old boys who were like that, wearing greasepaint makeup, doing voice exercises before the show, taking an enormous interest in the younger actors in their underwear.” - The Gainesville Sun | Gainesville.com, January 5, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546457582074-FOGIZMXVGNU5ESP2W2Q7/ReginaHallFeatured.jpg Announcements - The 20 Best Performances of 2018 11. REGINA HALL | Lisa | SUPPORT THE GIRLS As Lisa, the manager of a Hooters-style restaurant called Double Whammies, Hall plays a woman juggling conflict in both her personal and professional life, while serving as a mentor, friend, and motherly figure to all around her. "I actually read the script while I was in New Orleans shooting ‘Girls Trip.‘ And every day on ‘Girls Trip,’ you know, we're having a ball. We're, like, ziplining across Bourbon Street. And I just got this little script that came, you know? And it as kind of interesting to watch just a day play out, you know, life where people are just really working hard every day, trying to make a living. I mean, I've seen that my whole life, you know? - my mom, my family. And I don't know. It was an interesting thing to play, like, all the subtleties of what life is emotionally every day. And that - it was very specific because, most of the times, we really aren't - in movies, we see people play what they feel, you know? You feel something. But in real life, we really don't, you know? Many of us go to work. And we have someone home sick. Or we don't know how we're going to pay this bill or that. But, you know, we don't wear that - just kind of all simmering in the midst of a million other thoughts - just stuff. And, you know, I loved that it wasn't about that. And yet all of that is in what life is and in Lisa.” - NPR’s Weekend Edition Sunday, August 26, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546459104303-B3UABX0ZHHYILW2YDTAH/FirstReformedHawke.jpg Announcements - The 20 Best Performances of 2018 12. ETHAN HAWKE | Rev. Ernst Toller | FIRST REFORMED A priest in upstate New York begins to see his private life and parochial life blur together after he counsels a young couple in the days leading up to his church’s 250th anniversary. "I had never played a priest but when I was born, my great-grandmother felt certain that I was going to be a priest. She used to tell me I had to listen for the calling. I was petrified because I didn’t want the calling to be a priest; I wanted to be in the arts. I think that most people who are cognizant, it’s not much work for them to feel a sense of despair. That is not far from us at any given moment. Self-loathing is sadly something that comes pretty easily to human beings. We disappoint ourselves so much about what we feel we are capable of and the person we want to be. We’re not sure whether it’s [because of] our own shortcomings or society’s shortcomings that we can’t be the person we want to be. All that is Reverend Toller’s experience. This movie gave me an opportunity to [use] what I’ve learned and what I’ve been thinking about, what my parents have been talking about, my brothers and sisters, for my whole life. All of that vibrated in the walls of this movie.” - Independent, July 10, 2018 (director Paul Schrader): “He was just coming to a very interesting place in his physical life. By that, I just mean [the] physical quality of his face that I thought ‘You know? I think he's the right guy right now for this.’ You can see a number of lessons in his face that he doesn't have to act. Life has put them there.” - NPR’s Fresh Air, June 12, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546459644306-DO24LX64EPKHBDF8RZ2X/IfBealeStreetCouldTalkCast.jpg Announcements - The 20 Best Performances of 2018 13. THE CAST OF “IF BEALE STREET COULD TALK” (L-R): Brian Tyree Henry, Regina King, Colman Domingo, KiKi Layne, Stephan James, Teyonah Paris Also pictured: Writer/director Barry Jenkins Not pictured: Aunjanue Ellis, Michael Beach Adapted from James Baldwin’s 1973 novel, a young African-American couple face an uncertain future, expecting their first child, while the father is incarcerated for a crime he never committed. (writer/director Barry Jenkins): "This movie was definitely harder than Moonlight. For 8,000 different reasons, but the narrative is slippery, there are way more characters. If there are five words spoken in Moonlight, there are 500 words spoken in Beale Street. There are all these different muscles that I haven’t had to work out in the past that I had to work out in this film. The intimacy between the two young persons, and for me that all came down to two actors who would connect in a certain way. I think when you think of chemistry, you think, ‘Oh, those two actors just want to tear each other’s clothes off.’ And that’s not what I’m speaking of when I speak of chemistry. I’m talking about two people who feel legitimately connected, whose viewpoints and thoughts dovetail, and I thought that about KiKi Layne (“Tish”) and Stephan James (“Fonny”). If it’s all anger, all the time, then to me that’s dehumanizing in a certain way. There is a child at the end of this journey, and I did not want to have the circumstances of what befalls Fonny to completely consume him. When Regina [King’s character, Sharon, Tish’s mother] goes to Puerto Rico [to confront Victoria about her accusation against Fonny], if I were making this movie from a place of anger, the scene between the two of them would be very problematic. Because if she went to confront that woman out of anger or bitterness … it frightens me to think of how that scene could have played out. There’s a scene very early in the film where there’s an act of domestic violence. Right in the moment, you hear Joseph, Colman Domingo’s character [and Tish’s father], say, ‘Don’t hit your woman’ [to Fonny’s father]. Then Sharon says, ‘Go on, we don’t need you here,’ and sends the men out. The very first thing she does is go right to the door and turn the deadbolt so the men can’t come back in. The men are out there; the women are in here. Now [the women in Tish and Fonny’s families] still have it out, but just as a common denominator, woman to woman, [the message is] I’m going to protect you.” - The Atlantic, December 8, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546460359885-G2H1QL511KQVPBYH42RA/StarIsBornGagaCooper.jpg Announcements - The 20 Best Performances of 2018 14. LADY GAGA, BRADLEY COOPER | Ally (Gaga), Jackson Maine (Cooper), the duo as co-composers, and Cooper as writer, director, co-producer, and co-screenwriter | A STAR IS BORN The whirlwind romance of a country-rock star and a female protégé changes their lives forever as fame, success, and issues of trust and loyalty, arrive all at the same time. (Gaga on landing the role): "…When I heard that Bradley was attached to A Star Is Born and that he would not only be starring in it but that he would be directing it, I was so excited because I was already such a huge fan of him as a brilliant actor. I just knew that whatever he was gonna do was gonna be an explosion of his talent. I couldn’t believe that he wanted me to be the girl.” (Cooper on their immediate chemistry): “She didn’t have to show me. We made this sort of decision that first time at her house that we wanted to do the movie together. And we shook hands on it, and then it was just about ‘Okay, here we go,’ and started a long journey. She knows everything about me — everything. There is not one thing she doesn’t know, and I believe the same for me.” (Gaga on creating the character of Ally): “First. it was a makeup wipe handed to me by Bradley, to take all the makeup off my face. So we did that. To dye my hair back to my original color, which is this sort of mousy brown that Ally has in the film. To be honest, I really felt afraid to take the stage with Jackson Maine because I was also going on with Bradley Cooper. At the time, I was always very aware that I was in the midst of a tremendously talented human being. I was able to play off of not only memories of what it felt like to be nervous to go on stage, but I also just had it right there. I was standing on the side of the stage during that moment in “Shallow.” I was watching him rip, roar on the guitar and sing. I really felt nervous. I really felt afraid. It really just took me back to that place. It was just so real the way that it was all set up that it was easy. (Cooper, on Jackson’s arc in the film): “I mean, ultimately, it would be wonderful if it could impart some understanding of the human plight. I know that’s why I wanted to tell this story, so I could even help understand it myself. Also, to recognize that trauma is real, and traumatic events that occur especially early in life, if they’re not dealt with and aided, will have ramifications that go on and on and on and on and on.” - Entertainment Weekly, August 31, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546461067768-ITQRJSYQHCIUY37FDIBY/MindingTheGapBingLiu.jpeg Announcements - The 20 Best Performances of 2018 15. BING LIU | Director, Cinematographer, Co-Editor | MINDING THE GAP Comprised of more than 12 years of footage, Bing Liu’s debut film shifts from a story of three best friends growing up together as skate kids into a story of hidden truths and uncomfortable discoveries. "As rough cuts and assemblies kept getting made and I kept showing them to test audiences, sometimes people were like, ‘Would you consider putting yourself in the film?’ I’d usually say no, and that was that. When I kept seeing personal docs, they were narrating their lives, they were doing this backstory explanation stuff. So, that was my take on what it meant to put yourself in the film. I didn’t want that. Not to knock on personal docs, but it’s hard to do it in a way where it doesn’t seem self-indulgent or naval-gazing, where you can set up a reason for the audience to care beyond liking the filmmaker. Basically, the movie we came up with was, let’s just get Zack and Keire’s story up and going first, and I’ll figure out my story later. So back when Josh (Altman, co-editor) was consulting, he was watching cuts. He had me do a cut of Keire’s story, just on its own, to make sure it works; do a cut of Zack’s story, make sure it works. It was like, OK, we have a film. So we wove those stories together and got them working. I think that was around the time where I watched Sherman’s March. I was really taken with how you can embrace the fourth wall, not be on one or the other side of it. You have to open yourself up completely, just to do it. That was also around the time I dug back into the archival footage. It was like, if we’re gonna do that technique, I should just show my relationship with these guys but also with the camera. That’s when I pored through hours and hours, looking for Zack, Keire and myself.” - Filmmaker, August 15, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546461932479-CQG7I3VJDZJSHCF4JDG1/CanYouEverForgiveMeDuo.jpg Announcements - The 20 Best Performances of 2018 16. MELISSA MCCARTHY, RICHARD E. GRANT | Lee Israel (McCarthy), Jack Hock (Grant) | CAN YOU EVER FORGIVE ME? A biographer, reaching rock bottom in her career and personal life, turns to creating celebrity forgeries, with her best friend as accomplice, in Marielle Heller’s adaptation of novelist Lee Israel’s true story. (McCarthy on playing Lee Israel): “What would any of us do? I mean, this was her survival. This wasn't like, she saw a great grift and like wanted a new car. It was like, what would any of us do? I thought about if I couldn't take care of my children, what would any of us do? And it's not that unreasonable to think you are pushed into circumstances that you, you know, you would think you would never find yourself. And that would be the great human equalizer, it's like no one can look at her story and say, well I would never do that. Because she was on welfare, it's like, what else would you do?” - Forbes, October 26, 2018 (Grant): “I didn’t know her story, but I had her biography of Tallulah Bankhead, which I’d read, and which is really good. I had her name on my bookshelf but this story, I didn’t know. I thought, ‘How is it possible that I didn’t know about this story?’ It’s such an extraordinary, grand feat of literary ventriloquism that she pulled off, passing off these letters of really great writers of such disparate talents and styles in the 20th century. I thought that was an amazing thing. Now her story’s out there. I just wish that she was alive to see how celebrated it is for her crimes. Crimes of passion really. It’s a buddy heist. It’s like a buddy road movie to me, one that happens to go through the highways of Manhattan, from bar to bookshelf to bar to bookshelf to seedy apartment and then back again. Like Butch Cassidy and the Sundance Kid in the Wild West of Manhattan and downtown in the 1990s, without the guns and the pistols. There’s no dead bodies.” - Vox, October 18, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546463475113-GS4FNTOWGOVU2TW33UVH/SpiderManIntoSpiderVerseImage.jpg Announcements - The 20 Best Performances of 2018 17. BOB PERSICHETTI, PETER RAMSEY, RODNEY ROTHMAN | Directors | SPIDER-MAN: INTO THE SPIDER-VERSE A teenage boy, obsessed with Spider-Man, soon develops similar powers and abilities, only to meet other individuals and creatures possessing the same abilities across multiple universes. (Persichetti): “We really tried to make this movie’s look and tone feel like a comic book come to life. Broadly, there's a realism in 3D animation influencing the feel and movement, and we wanted to lean away from that stylistically while still being able to land subtlety and scope in character performances like a comic can do so well.” (Rothman): “The way we approached it was to draw from the comics. The character on the page is very distinctive, very sweet, with a warm, loving, complicated family – a mom and dad, which many comic book characters do not have. He's very three-dimensional on the page, and that was our guiding star throughout.” (Ramsey): “I've been a Marvel fan most of my life, since my pre-teen years. Even before then I liked the cartoons. When I got into comics I became a huge Spider-Man fan because he's so relatable, funny, tragic – he embodies everything people love about superheroes. The soap opera, the action, the strong moral lessons and mythic themes that resonate with everyone. By definition, our movie is about the idea of Spider-Man and how strong it is, how it transcends the idea of just a person wearing a mask. Once you start talking about a whole universe of different versions, you have to ask – if anyone can be Spider-Man, what is it that makes YOU Spider-Man? It's not just the powers. It's the person underneath.” - Den Of Geek!, December 7, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546465615226-WBRL1GB4YW8Q88YSW1UF/HateUGiveFeatured.jpg Announcements - The 20 Best Performances of 2018 18. AMANDLA STENBERG | Starr Carter | THE HATE U GIVE An African-American teenager, balancing the worlds of a posh, private school she attends and a lower-income community where she resides, sees her worlds begin to crumble when her childhood best friend is killed by a white police officer during a traffic stop. “As a kid, it was nearly impossible for me to find roles that felt empowered, that were not victim roles, that were fully dimensional, that didn’t serve any white male plotline. So I worked less because I had no interest in doing something that would force me to compromise my own power or just make myself subservient to something I didn’t necessarily mesh with. (The Hate U Give) portray(s) a really rich and deep black contemporary experience. I would go to sessions with Audrey (Wells, the late screenwriter who died on the eve of the film’s opening) in order to provide my experience as a black girl because Audrey is white. Anything that struck me as inauthentic or not accurate to me and Starr’s experience, I would communicate it. From early on, the nature of the project was collaborative. I didn’t feel like I was just fulfilling the role of an actor. I felt like I was doing a lot more. I went through a period of disillusionment where I felt powerless and I didn’t understand how I could continue to use my platform under this current administration. Now, I’m realizing that the most powerful thing you can do is be yourself and express joy and incite joy in others, so I feel more compelled than ever to do that.” - Variety, August 28, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546466227020-TFU6N5X8KS9UPINRCF03/WidowsCast.jpg Announcements - The 20 Best Performances of 2018 19. THE CAST OF “WIDOWS” (L-R): Robert Duvall, Cynthia Erivo, Colin Farrell, Michelle Rodriguez, Viola Davis, Liam Neeson, Brian Tyree Henry, Elizabeth Debicki, Daniel Kaluuya After a heist attempt turns deadly for four bank robbers, three widowed wives and a new accomplice must complete the failed heist, with personal and political lives and futures hanging in the balance. (director Steve McQueen): “To (several characters) of course it’s about money and power. But unfortunately we are the people stuck in the middle of that environment—that cesspool, as I would call it—and we have to navigate our way through that. But what this film is about is making people aware of that power and where it comes from. In a way it’s a metaphor that these four women can actually do anything about it. What’s beautiful about it is that these four women represent America. It’s a country that’s based on genocide and based on slavery, but on [top of] that there are these women who come from different parts of the world to create America. This is how the fabric of America developed: People from all different parts of the world come together to create the union, and these women know that they can’t do without each other. So they come together to do something, to achieve their goal, and they know they can only do this by being together. That is America, as far as I’m concerned. I’m not suggesting we should go out there and just rob people. What I’m suggesting is that people should sort of think about one another in order to take power. This is what these women from different social and ethnic backgrounds are doing. (On why he chose to adapt a British mini-series from 1983): “All those years later, it never got better. In fact, you know, now maybe because of #MeToo, the public is just becoming aware of certain things, certain aspects of that dialogue that was happening 35 years ago on a TV show. It stayed with me because nothing had changed.” - Slate, November 20, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546466249764-DAKU4TLCIAEUMUN5YTTP/BurningYeun.jpg Announcements - The 20 Best Performances of 2018 20. STEVEN YEUN | Ben | BURNING A young man begins to fall for a girl he doesn’t remember from an old neighborhood, only to have her return from a trip with a mysterious new boyfriend, who shares an alarming fascination and hobby. “I approached the role as being as present as possible. Ben is maybe the most present person in that whole film. He’s living in the reality of each moment, watching them, but maybe he’s observing that nobody else is living in the present with him.” - Indiewire, October 24, 2018 “After reading the script, I was like, ‘Wow, I’m really going to get to play, to feel what it’s like to live in this person’s skin, be present in his present.’ I realized in hindsight that nothing I had done prior gave me that feeling. I wasn’t supposed to be in this role. If you’re packaging this in Korea, they’re not thinking about me. [Lee Chang-dong, the film’s director] was like, ‘Here’s an American Korean person, and if I can help him get to a full Korean embodiment of his character, his inherent American-ness will create that dissonance that makes you feel like he’s ‘other’ [in Korean society].’ People can draw their own conclusions about who Ben is. He’s meant to be enigmatic and ambiguous. But for me, the experience that I had there felt rich and full because there wasn’t an otherness that I felt. Really the human layer is the thing that binds it all together. I mean the feeling of unrequited loneliness. The feeling that we’re all alone. We can try to put labels on ourselves and try to separate each other, but really, we’re all fucking alone and that’s what it is. And it’s scary, and it sounds terrible, but really, it’s OK.” - Slate, October 25, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546413001982-H09LB6AEPD4AX9BFDVFA/BlacKkKlansmanCast.jpg Announcements - The 20 Best Performances of 2018 - THE CAST OF "BLACKKKLANSMAN" Spike Lee’s adaptation of a true story documents an African-American detective’s attempts at infliltrating a local Ku Klux Klan chapter in early 1970’s Colorado. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546413024610-AR9SKOGAMHBF559A1AB3/QuietPlaceBlunt.jpg Announcements - The 20 Best Performances of 2018 - EMILY BLUNT | Evelyn | A QUIET PLACE In a society where making sounds can prove deadly, a couple learn to protect their young family at all costs. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546467833448-KQY20NP87U1XPWJPNHW7/BeautifulBoyChalamet.png Announcements - The 20 Best Performances of 2018 - TIMOTHÉE CHALAMET | Nic Sheff | BEAUTIFUL BOY A father struggles to help his son battle through escalating drug addiction. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546413061034-AJY55YU1OKBV3P97F0LO/SearchingCho.jpg Announcements - The 20 Best Performances of 2018 - JOHN CHO | David Kim | SEARCHING A father is forced to turn to his daughter’s social media activity to try and find her after she goes missing over a weekend away with friends. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546413086867-QF15RJX4CWBXCOEX90M7/WifeGlennClose.jpg Announcements - The 20 Best Performances of 2018 - GLENN CLOSE | Joan Castleman | THE WIFE When her husband is awarded the Nobel Prize for Literature, a loyal and patient wife must begin to rationalize suppressed and secret truths around her involvement in his success. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546413094413-8YYX380AJY36S10JCDK4/CrazyRichAsiansCast.jpg Announcements - The 20 Best Performances of 2018 - THE CAST OF "CRAZY, RICH ASIANS" Showcasing the first all-Asian cast in a major motion picture since 1993, this throwback romantic comedy finds a boyfriend bringing his Asian-American girlfriend home to Singapore to meet his wealthy family. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546413116569-A5DZC2Q2YDE2606V4YJZ/LoveSimonCast.png Announcements - The 20 Best Performances of 2018 - THE CAST OF "LOVE, SIMON" in the first major studio, gay-themed, teenage romantic comedy, a high school boy struggles with coming out to his friends and family, while attempting to sort out growing feelings for an online secret admirer. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546413127504-QTL930GB0PMAZZS9BFTQ/BohemianRhapsodyMalek.jpg Announcements - The 20 Best Performances of 2018 - RAMI MALEK | Freddie Mercury | BOHEMIAN RHAPSODY The surviving members of Queen authorized this story of how iconic lead singer and songwriter Freddie Mercury became a legendary rock-and-roll front man. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546413160233-NHOUY3KT3SNJHL370N22/YouWereNeverReallyHereJoaquin.jpg Announcements - The 20 Best Performances of 2018 - JOAQUIN PHOENIX | Joe | YOU WERE NEVER REALLY HERE A former Gulf War veteran, working undercover to save teenage girls from a sex trafficking ring, finds himself in over his head with his latest assignment. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1546413145484-A6S9GUXLNATY61VMTNHN/SorryToBotherYouBootsRiley.jpg Announcements - The 20 Best Performances of 2018 - BOOTS RILEY | Writer, Director, Co-Composer | SORRY TO BOTHER YOU An African-American man is hired to work in a call center of an Oakland telemarketing firm, and soon, after developing his “white voice”, he catches the eye of supervisors who see a bright future ahead for him. https://www.shouldiseeit.net/announcements/2018/the-2018-seattle-film-critics-society-nominations monthly 0.5 2018-12-10 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1544472378638-2U9G6JQ7F6HZGIN9EI9L/SFCS_Logo_Wordmark-page-001.jpg Announcements - The 2018 Seattle Film Critics Society Nominations https://www.shouldiseeit.net/announcements/2018/the-2018-north-bend-film-festival monthly 0.5 2018-08-24 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535066197533-SFG51GUSHKXSWJURK4FP/North-Bend-Web-Logo-1.png Announcements - The 2018 North Bend Film Festival https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535066552806-6L2NVUSUAO7HQ6YPUADV/NBFF+-+Profile.jpg Announcements - The 2018 North Bend Film Festival - PROFILE PROFILE 7:00 p.m. | August 23 | 103 Mins OPENING NIGHT FILM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535066864525-ZBNXO0BD24053IHJ4508/NBFF+-+Something+Strange.jpg Announcements - The 2018 North Bend Film Festival - SOMETHING STRANGE SHORT FILM PROGRAM AUGUST 23 | 9:15 PM | 80 MINS https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535067115997-7QTS8L2SJSUA8JC4C1QU/NBFF+-+Time+Share.jpg Announcements - The 2018 North Bend Film Festival - TIME SHARE 5:00 PM | 96 MINS AUGUST 24, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535067176866-KZKY8QAMZWES6TJKQE7C/NBFF+-+My+Name+is+Myiesha.jpg Announcements - The 2018 North Bend Film Festival - MY NAME IS MYIESHA 7:05 PM | 84 MINS AUGUST 24, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535067218346-ZBRAHN8SD9D6IDVJN8ZB/NBFF+-+Piercing.jpg Announcements - The 2018 North Bend Film Festival - PIERCING 9:00 PM | 81 MINS AUGUST 24, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535067265289-5R4XNHO5P8GWMBZTLVNY/NBFF+-+Dont+Leave+Home.jpg Announcements - The 2018 North Bend Film Festival - DON'T LEAVE HOME 10:45 PM | 103 MINS AUGUST 24, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535067303715-23J7894PXNA8GPOOFF8S/NBFF+-+Twin+Peaks+Tour.jpg Announcements - The 2018 North Bend Film Festival - TWIN PEAKS TOUR 10:00 AM DEPARTS FROM THE NORTH BEND THEATRE AUGUST 25, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535067362815-HDK3NJPQCFG995ZFB02W/NBFF+-+Damn+Fine+Coffee+Hour.jpg Announcements - The 2018 North Bend Film Festival - DAMN FINE COFFEE HOUR 10:00 AM CAMPFIRE LOUNGE - NORTH BEND TRAIN DEPOT AUGUST 25, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535067543877-HG8BFQNFU8O55C33NAFT/NBFF+-+VR+Program.jpg Announcements - The 2018 North Bend Film Festival - VIRTUAL REALITY SHORT FILM PROGRAM NOON - 4:00 PM CAMPFIRE LOUNGE - NORTH BEND TRAIN DEPOT AUGUST 25, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535067806559-I7DP05OUEZPFNN9VPXTK/NBFF+-+Cinema+Vista+Shorts.jpg Announcements - The 2018 North Bend Film Festival - CINEMA VISTA SHORT FILM PROGRAM 1:30 PM | 75 MINS AUGUST 25, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535067869217-7QNWX4B9N94JTPR0HJQR/NBFF+-+Model+Home.jpg Announcements - The 2018 North Bend Film Festival - MODEL HOME 3:25 PM | 82 MINS AUGUST 25, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535067959342-9SVXUP1B6C9JK931O7BY/NBFF+-+My+Own+Private+Idaho.jpg Announcements - The 2018 North Bend Film Festival - MY OWN PRIVATE IDAHO 5:25 PM | 104 MINS AUGUST 25, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535068026992-8ECUXKPSLHSIFN5YTUOS/NBFF+-+The+Extra+Ordinary+Shorts.jpg Announcements - The 2018 North Bend Film Festival - THE EXTRA ORDINARY SHORT FILM PROGRAM 7:35 PM | 75 MINS AUGUST 25, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535068090664-GD3MKGL3AJ2107P931FF/NBFF+-+Shirkers.jpg Announcements - The 2018 North Bend Film Festival - SHIRKERS 9:25 PM | 96 MINS AUGUST 25, 2018 CENTERPIECE FILM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535068162930-TNU9915CMK617KVTR857/NBFF+-+Braid.jpg Announcements - The 2018 North Bend Film Festival - BRAID 11:25 PM | 82 MINS AUGUST 25, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535068231016-VIKN7M4YTIHTG6PZM2E7/NBFF+-+Rattlesnake+Ridge.jpg Announcements - The 2018 North Bend Film Festival - RATTLESNAKE RIDGE HIKE 9:30 AM | TRAIL HEAD AUGUST 26, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535068316485-ZRIH6JIF03CVWMRQ1YJU/NBFF+-+Damn+Fine+Coffee+Hour.jpg Announcements - The 2018 North Bend Film Festival - DAMN FINE COFFEE HOUR 10:00 AM CAMPFIRE LOUNGE - NORTH BEND TRAIN DEPOT AUGUST 26, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535068380796-Z3I2NDKJ6ST2RD50NQHC/NBFF+-+VR+Program+2.jpg Announcements - The 2018 North Bend Film Festival - VIRTUAL REALITY SHORT FILM PROGRAM NOON - 4:00 PM CAMPFIRE LOUNGE - NORTH BEND TRAIN DEPOT AUGUST 26, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535068450429-9BEL4WTRZPSNALC8B2RE/NBFF+-+Billy.jpg Announcements - The 2018 North Bend Film Festival - BILLY 1:30 PM | 90 MINS AUGUST 26, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535068492329-1I8MUNNLGW6I3VHSSYFE/NBFF+-+Black+Mother.jpg Announcements - The 2018 North Bend Film Festival - BLACK MOTHER 3:25 PM | 77 MINS AUGUST 26, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535068532909-XUDR3WZROOUZPUKZIUHM/NBFF+-+Relaxer.jpg Announcements - The 2018 North Bend Film Festival - RELAXER 5:05 PM | 91 MINS AUGUST 26, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535068574726-XHDUETT9FE37TZ9CWYML/NBFF+-+Sarah+Plays+a+Werewolf.jpg Announcements - The 2018 North Bend Film Festival - SARAH PLAYS A WEREWOLF 7:00 PM | 86 MINS AUGUST 26, 2018 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1535068628458-8EDKB1OCBYNTMOLJJEGQ/NBFF+-+Anna+and+the+Apocalypse.jpg Announcements - The 2018 North Bend Film Festival - ANNA AND THE APOCALYPSE 8:45 PM | 92 MINS AUGUST 26, 2018 CLOSING NIGHT FILM https://www.shouldiseeit.net/announcements/2018/siff-2018-day-2-may-18-2018-27-films monthly 0.5 2018-07-21 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1525664444277-SF1E47SNXNPMO3X94M13/Suleiman+Mountain.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - SULEIMAN MOUNTAIN PACIFIC PLACE | 11:00 A.M. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1525664352611-ZANH95SFFUYUREILQFT7/ikitie_pressi_18.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - THE ETERNAL ROAD PACIFIC PLACE | 1:30 P.M. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526439766592-AJQW5MTKDZ572EB407OB/Team+Hurricane.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - TEAM HURRICANE SIFF CINEMA UPTOWN | 3:30 P.M. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526439796406-N6CHZXVH10ILCLCQGOFI/RacerandtheJailbird_KeyArt.jpeg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - RACER AND THE JAILBIRD SIFF CINEMA UPTOWN | 3:45 P.M. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526439812486-E36QOG6OYYBIXRLVVDIH/First+Reformed.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - FIRST REFORMED SIFF EGYPTIAN | 4:00 P.M. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526439838527-WB5P8TIPXS88XIUTCRQ9/Charmer_KeyArt.JPG Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - THE CHARMER SIFF CINEMA UPTOWN | 4:00 P.M. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1525665246382-OQX4C7F75M9WBVPXI669/GospelAccordingtoAndre_KeyArt.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - THE GOSPEL ACCORDING TO ANDRÉ PACIFIC PLACE | 4:00 P.M. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1525665436071-EVPIUY02NHA09G7PW66H/Storyof72_KeyArt.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - THE STORY OF '72 LINCOLN SQUARE | 4:00 P.M. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526440179831-D1DLTSFZVA9KVKEY8BDV/Inventing+Tomorrow.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - INVENTING TOMORROW MAJESTIC BAY | 4:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1525666730331-M6I1JUHS52Y2DDMUCZQ2/I+Miss+You+When+I+See+You.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - I MISS YOU WHEN I SEE YOU SIFF CINEMA UPTOWN | 6:00 P.M. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526440007548-WAK3RR3P44XT3XB8E2AE/Boundaries_Still3.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - BOUNDARIES LINCOLN SQUARE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1525666803460-OTSPJZV34TGY3CAQX6MB/alg-03132.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - AFTER THE WAR SIFF CINEMA UPTOWN | 6:30 P.M. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526440040852-VR7Q7BQF3T15PU4L5378/Hot+Mess.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - HOT MESS PACIFIC PLACE | 6:30 P.M. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526438439999-3OTYGJBOG3HKSQ51LV0L/Sweet+Country.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - SWEET COUNTRY ARK LODGE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526438631092-OIW7QVHXJD1MA34BMOQ0/Children+Act%2C+The.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - THE CHILDREN ACT SIFF EGYPTIAN | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526438500429-1U269D7R32KD2M10395V/FreaksandGeeksTheDocumentary_KeyArt.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - FREAKS AND GEEKS: THE DOCUMENTARY SIFF CINEMA UPTOWN | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526438727321-H5L0L70E7G4F99TNH8M3/Guilty%2C+The.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - THE GUILTY MAJESTIC BAY | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526439549409-YEAKW3QVJHKS4TEYPKTK/Other+Side+of+Everything%2C+The.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - THE OTHER SIDE OF EVERYTHING SIFF FILM CENTER | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526438840224-TZ0TIMOZDKSA55B2IMGH/Butterflies.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - BUTTERFLIES SIFF CINEMA UPTOWN | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526438927496-K54Q8AE9SI0A49PL8E0J/Dead+Pigs.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - DEAD PIGS PACIFIC PLACE | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526438976600-EG4MK54YTQM4QQCCGW5T/GoingWest_KeyArt.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - GOING WEST MAJESTIC BAY | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526438989225-0FLRBLYD7MIF50C7EIZ9/FakeTattoos_KeyArt.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - FAKE TATTOOS LINCOLN SQUARE | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526439199179-N5881YFYF0LE44ZTMZF8/Shakedown.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - SHAKEDOWN SIFF CINEMA UPTOWN | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526439088887-O51OY57IZ6NR50G12B0Y/Tigers+Are+Not+Afraid.jpeg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - TIGERS ARE NOT AFRAID ARK LODGE | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526439298865-JAT0KHR20RHC3Z9N8YSJ/Cinderella+The+Cat.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - CINDERELLA THE CAT SIFF CINEMA UPTOWN | 9:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526439374881-7Y3TSGL74IXPRKYBM370/Under+The+Tree.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - UNDER THE TREE SIFF EGYPTIAN | 9:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526439456449-DSK9ETDMEZX22W8YZF3N/Revenge.jpg Announcements - SIFF 2018 - Day 2 - May 18, 2018 (27 Films) - REVENGE SIFF EGYPTIAN | MIDNIGHT https://www.shouldiseeit.net/announcements/2018/siff-turns-44-annual-film-festival-brings-433-films-to-the-emerald-city monthly 0.5 2019-05-01 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1525463473008-MOXQ8QXYEBA6ZVO1TCJF/SIFF_2018Fest_Logo.jpg Announcements - SIFF Turns 44 - Annual Film Festival Brings 433 Films to the Emerald City https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1525465172289-FZO22HSRVZK1FQKXKY2A/Bookshop%2C+The.jpg Announcements - SIFF Turns 44 - Annual Film Festival Brings 433 Films to the Emerald City Courtesy: Greenwich Entertainment https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1525465410165-7WD1B60A7QVQU2BYPDDG/Sorry+To+Bother+You.jpg Announcements - SIFF Turns 44 - Annual Film Festival Brings 433 Films to the Emerald City Courtesy: Annapurna Pictures https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1525465517850-LSOPLMFA6D27DKS6KSW3/Blaze.jpg Announcements - SIFF Turns 44 - Annual Film Festival Brings 433 Films to the Emerald City Courtesy: SIFF, IFC Films https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1525465631759-I1TN4L9U21GPR1AQJON6/Melanie+Lynskey.jpg Announcements - SIFF Turns 44 - Annual Film Festival Brings 433 Films to the Emerald City Courtesy: SIFF https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1525465733829-84L7XO0UR36715PU6HS0/Don_t+Worry+He+Won_t+Get+Far+On+Foot.jpg Announcements - SIFF Turns 44 - Annual Film Festival Brings 433 Films to the Emerald City Courtesy: Amazon Studios https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1525466348933-Y57P8RWLQN0ZCVBCB2QV/Beth_Barrett+%281%29.jpg Announcements - SIFF Turns 44 - Annual Film Festival Brings 433 Films to the Emerald City SIFF Artistic Director, Beth Barrett. Photo courtesy of: SIFF https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1525465970546-DV6KVP7DGQDTLZNVR1W7/SIFF+graphic+clouds.png Announcements - SIFF Turns 44 - Annual Film Festival Brings 433 Films to the Emerald City https://www.shouldiseeit.net/announcements/2018/the-best-films-of-2017 monthly 0.5 2019-01-22 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514867210802-4EB9Y4NV78MOKY8WELV7/FloridaProject.jpg Announcements - The Best Films of 2017 10. THE FLORIDA PROJECT | Directed by Sean Baker | Release Date: October 6, 2017 Nothing feels quite real in Sean Baker's The Florida Project. The pastel-colored motels which line up in the shadow of DisneyWorld, presented here as an impenetrable fantasy world as reachable as a rainbow. And what to make of the 20-something young mother, Halley (Bria Vinaite), raising her 6-year-old daughter Moonee (Brooklynn Prince) the only way she knows how - by trying to make a fast buck to pay rent, taking freebies whenever she can, and allowing Moonee free reign throughout the housing complex, managed by the stern, but fatherly Bobby (Willem Dafoe). We have seldom, if ever, seen poverty depicted this honestly and free of judgment. As Baker's camera pulls wide, we see as many as two dozen doors opening, closing, people milling around, trying to get from one moment to the next. Some characters we meet are raising nieces and nephews as their own children. Others are working 2-3 jobs to come up with less than $100 rent for the week. Others turn to more desperate means to survive. The Florida Project is not an easy watch, but a necessary one. We are aggravated and frustrated frequently with and against its characters. However, the stunning, honest, raw, and uncompromisingly natural performances leave us mesmerized with what may come next. The Florida Project reminds us that, though we don't discuss the Halleys and Moonees of the world, these characters exist everywhere, and we often are too dazzled by the DisneyWorlds around us to ever take notice. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514867796104-7ZG9F9A1ERXMT99XUZWQ/WarPlanetApesFeatured.jpg Announcements - The Best Films of 2017 9. WAR FOR THE PLANET OF THE APES | Directed by Matt Reeves | Release Date: July 14, 2017 People expected a summer action movie blockbuster and, instead, for this War, director Matt Reeves has delivered something unforgettable and truly special – a blistering, dark, visceral rumination on war, loyalty, and sacrifice. For some this will be grim, dark, and unrelenting. You will want a gulp of fresh air afterwards, and maybe sit quietly with a beverage of your choice and not think about all of this for a good, long while. But this is one of 2017’s best films, though it may offer minimal light and fleeting levity. Reeves delivers an experience full of gripping, knuckle-white potency, with a breathtaking risk of violence and danger in and around every scene. As Caesar, Andy Serkis’ motion-capture work is extraordinary, and he delivers a performance that rivals the best work of any actor we watched all year. War is not warm. Seldom, if ever, is it kind. Heroism can exist in challenging and unconscionable environments. War for the Planet of the Apes dutifully ends this new Planet of the Apes trilogy in a strong and demanding way. This is a compelling film, unforgettable and cold to the touch. However, just like a character in the film who allows themselves to shed a single, solitary tear at the film’s conclusion, this is a journey and finale I am thrilled to have taken. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514869476776-73GN1DP774P2D092EIM3/LoganMovie.jpg Announcements - The Best Films of 2017 8. LOGAN | Directed by James Mangold | Release Date: March 3, 2017 By daring to give us a realistic depiction of what life for a superhero would actually be like, in all its bloody carnage and visceral impact, Logan gives us an aging Wolverine (Hugh Jackman), trying to not only live a peaceful life away from the fights, the X-Men, and the razor-sharp knuckle blades which surge from his hands when provoked, but also as a mentor to an unexpected arrival - 11-year-old Laura (Dafne Keen). James Mangold's film, which has Logan tending to an elderly and ill Professor X (Patrick Stewart), is more modern-day Western than superhero saga ,and Jackman shines in his willingness to give us a glimpse at what happens when inevitability and age catch-up to the supposed immortals. The visual effects are relatively minimal, the punches, the violence, the blood all feels real and painful. We are no longer watching a multiplex time-burner with a big cast of Avengers, Justice Leaguers, or Uncanny X-Men. Rather, we are seeing a bittersweet elegy play out before us, where we are reminded that all good things eventually do reach its right and just conclusion. Impeccably acted, Stewart especially is so good here, Logan stands apart from pretty much every superhero movie we have had in the last decade or so. There are no snappy one-liners, big epic battles, or massive set pieces which wow us for long stretches. Logan gives us a real person, in a real world setting, facing real world realities and hits us hard in our hearts and minds by doing so. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514870715502-CNTCY3X8RML1NCYXQ9MH/FrantzFeatured.jpg Announcements - The Best Films of 2017 7. FRANTZ | Directed by François Ozon | Release Date: March 15, 2017 The 37th film from French director François Ozon, Frantz is a powerful, compelling melodrama that has twists and surprises embedded into a narrative that finds us guessing right along with Anna (Paula Beer), the grieving woman still reeling from the death of her fiancé, Frantz, in World War I Germany. In a trip to place flowers on his grave, she is stunned to see a strange man also placing flowers on Frantz's grave and paying his condolences. The man, Adrien (Pierre Niney), and his eventual arrival to Frantz's family's residence stuns Anna, and Ozon's screenplay begins to take us on a journey of mystery and discovery. Our initial perceptions are redirected, the motivations behind what we are seeing are not as they appear, and after a mid-film pivot leaves us contemplating everything, Frantz becomes a different film altogether. An essay on love and trust, with insightful and damning political observations, and presented in sumptuous black-and-white, with a tangible sense of real-world suspense, Frantz is an exceptional film. Notably, the film's resolve and power comes from the astonishing performance by the 22-year-old Beer. She carries the film with a pure and unfettered vulnerability. The movie simply gets better as her character strengthens, and Ozon's film rises and sets on his young actor's unmistakable instincts and talents. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514872052620-ROAZNRSZ078KJSC6AJE1/CallMeByYourNameTop10.jpg Announcements - The Best Films of 2017 6. CALL ME BY YOUR NAME | Directed by Luca Guadagnino | Release Date: November 22, 2017 Call Me By Your Name documents a life-changing summer for Elio (Timothée Chalamet), a 17-year-old falling in love for the first time in 1983 Italy. Directed by Luca Guadagnino (I Am Love, A Bigger Splash), and adapted for the big screen by the 89-year-old James Ivory, Elio is preparing for the summer with his parents – Mr. and Mrs. Perlman (Michael Stuhlbarg, Amira Casar) - when Oliver (Armie Hammer), a 24-year-old graduate student joins the family for the summer, studying with Elio's father, a college professor of archaeology. Thoughtful, tender, and frank, the movie leaves no stone unturned. Chalamet delivers a star-making turn, extraordinary to watch mature over the course of the film. His cool, unwavering confidence is so fragile, but he pushes forward to pursue something he cannot suppress. Clearly, he rocks Oliver’s world and watching the two of them tiptoe through a most unique courtship is honest and exhilarating. Hammer, never better, is terrific as a man still learning about himself through the eyes of a fearless and brave suitor. In a powerful scene, it is Oliver who lets his guard down first, uttering the phrase which interpolates the film’s title. The film payloads a soul-baring final 20 minutes, which absolutely wrecked me both times I viewed the film. Stuhlbarg perhaps delivers the monologue of the year in a conversation with Elio that is full of envy, empathy, understanding, compassion, and ultimately, acceptance. Then comes a phone call, a conversation, and a warm fire, leading to one of the most memorable end credit sequences I have seen in years. A story of first love: one of discovery, fear, anxiety, and tenderness, as brave as the characters forever impacted by their connections. Call Me By Your Name revisits a moment everyone can relate to: That first love and that first broken heart, in a movie speaking to everyone willing to accept it into their hearts. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514872750612-QHT8QI57IMO8B2XE0BAT/DisasterArtistFeatured.jpg Announcements - The Best Films of 2017 5. THE DISASTER ARTIST | Directed by James Franco | Release Date: December 1, 2017 Leave it to James Franco to tell the story of Tommy Wiseau and The Room. And while thousands of words have already been written about The Room and Wiseau and all the bizarre facts and anecdotes surrounding the making of the film, well documented by Greg Sestero’s book “The Disaster Artist," Franco’s take is a wonderful, endearing, and hilarious look at the dreamers who dream and try to make it in the movie business. Franco stars as the filmmaker with his younger brother, Dave Franco, portraying Sestero. James' performance is fantastic, wearing makeup to alter his look just enough to stand apart from his brother. Wiseau is a man shrouded in mysteries: His age? “Same as you.” Where is he from? “New Orleans.” Is that an accent? “Yeah, New Orleans.” How does he have the money to live the way he lives? “I told you. Money is no problem.” Wiseau’s messy and shambolic trip from script to screen is inspiring and given significant respect because at the end of the day – he did it. He made his movie when no one else would. Properly, Franco, and screenwriters Scott Neustadter and Michael H. Weber, give The Room respect because clearly, the movie has resonated and connected with audiences for more than a decade. No matter if that loves come from mockery, disbelief, or to create a new meme of the moment, people who see The Room love it and embrace it’s existence. That’s not nothing. Respect. Love. Praise. A tipping of the hat. The Disaster Artist pays respect to Wiseau and Sestero, but also finds something of a prolific outsider in James Franco reminding us all why we love the movies so much and why creating art is exhilarating. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514877943866-BONS0MFV2XLD95DKO6ST/BigSick.jpg Announcements - The Best Films of 2017 4. THE BIG SICK | Directed by Michael Showalter | Release Date: June 23, 2017 The Big Sick remains a movie I want to show everyone I know. Written by the husband and wife team of Kumail Nanjiani and Emily V. Gordon, the film documents their real-life story about dating, breaking up, and struggling with the reality of Emily’s sudden and severe lung infection that forces her into a medically induced coma for a period of time. To the couple’s credit, the film never panders to its audience, especially when Emily becomes sick. The film does such a wonderful job of setting up the world these two characters inhabit that we are on the journey right along with Kumail and Emily’s family, who leave their home in North Carolina, to be with her in Chicago, trying to make up for lost time. Witty, funny, endearing, bittersweet, honest and authentic. Initially, we are observers who then become invested in these characters and their lives. We bond with their struggles, challenges, and root for their wins and feel bad for their losses. The ensemble is wonderfully cast, Holly Hunter and Ray Romano, as Emily's parents, are terrific in the film’s second half, Kazan shines in the first hour. Nanjiani steers us through both halves of the film, in a long overdue breakout performance. Bottom line: I simply did not want to let these characters go when the movie ended. The Big Sick is a movie I'm going to love for a long, long time. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514873775711-8IZIW8ZBEYITXU2E12KG/DunkirkFeatured.jpg Announcements - The Best Films of 2017 3. DUNKIRK | Directed by Christopher Nolan | Release Date: July 21, 2017 A war film unlike any other we have seen before, Christopher Nolan's disorienting, exceptional, masterful Dunkirk tells us a World War II story from three different perspectives - by ground, by sea, and by air. Told in a non-linear style, until the three stories converge upon one another unexpectedly, and with breathtaking results, Nolan has left science-fiction and fantastical adventure and gotten gritty. The results are astonishing. Dunkirk doesn't play by conventions. A main character doesn't have a name for the first 30-40 minutes. Discussions of war-time decisions lack context, with most viewers perhaps confused by what is being discussed, since the rescue of 400,000 British military soldiers is not a commonly known tale in the United States. A man, with his sons, navigates a personal yacht with supplies to try and aid in the rescue efforts. Soldiers are forced to band together, never having a thought in questioning loyalty or "sides." And a fighter pilot is in near constant battles with German pilots coming in from seemingly every angle. Nolan places us in the confusing fog of all of these situations. We go from day-to-night and things feel haphazardly constructed, things may seem sequenced wrong. Nolan orchestrates a lyrical cadence to this war. He builds to a final act like a symphonic composer hitting a crescendo at just the right moment. Suddenly, we understand everything that is happening, the stakes feel real, our hearts are in our throats, and we simply hold on and ride this thing out until Nolan decides to take his foot off the accelerator. Dunkirk will likely rank among the best films of the decade as we move past 2017, and Nolan's ability to take us on a journey is unparalleled. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514875167323-MQ08ZECUOCU8VTNSJMDW/LadyBirdTop10.jpg Announcements - The Best Films of 2017 2. LADY BIRD | Directed by Greta Gerwig | Release Date: November 3, 2017 In Greta Gerwig's brilliant, moving, and hilarious Lady Bird, Christine "Lady Bird" McPherson (Saorise Ronan) is 17 years old and ready to begin her senior year at an expensive private Catholic high school in Sacramento, California. The year is 2002, and the country is still reeling from the 9/11 terrorist attacks from the previous year. The tech bubble has burst and older computer savvy employees have either been downsized, excised, or replaced by cheaper, younger workers. As a country, we are in a bit of a funk here, but life perpetually moves along, no matter what. Gerwig's film retains a stunning authenticity about teenage friendships, relationships with parents and the dichotomy of strength and vulnerability that exist within them. When movies and television feature parents and children bickering, oftentimes melodrama is heightened and the reasons behind the arguments appear fantastical in nature. As Lady Bird pinballs her way through a fast-moving senior year, Gerwig places us right in the middle of these moments, allowing us to observe, consider, and reflect. In a way, her camera is also pivoted around on us, aiding us in rekindling our memories from more youthful days, either as the child or the parent caught up in any number of similar situations. Gerwig crafts just the right words to keep the film from veering off course and feeling disingenuous. Lady Bird moved me to tears more than once and speaks volumes about the "push-away" and "pull-close" relationships children develop with their parents. The film had me laughing early and often - thinking, pondering, and wondering if my college pursuits, and those of my wife, were as stressful on our parents. I also reflected on having a daughter around Lady Bird's age, off to college far away from home. The core of this movie gets so much right, it is as insightful as it is affecting. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514875557141-PSBGF8CI60DER2ALGSLL/GetOutTop10.jpg Announcements - The Best Films of 2017 1. GET OUT | Directed by Jordan Peele | Release Date: February 24, 2017 Jordan Peele's directorial debut, Get Out, radiates brilliance. It is a fearless, ambitious, bold psychological suspense/horror film that balances deft comedy flourishes with palpable intensity, moments of honest psychological horror, and great suspense. Quite simply, he has delivered one of the finest debut films of recent memory. Moreover, Get Out is just exceptionally well made in every way. Serving up an outlandish and exaggerated premise, commonplace with domestic horror films, he slowly turns the camera around on us, the viewers, forcing us to ask difficult questions about our perceptions and values, allowing us to openly wonder why we are reacting and responding to the images and developments he places before us. The late author and journalist, Molly Ivins, once wrote that "satire is traditionally the weapon of the powerless against the powerful," and Peele wields his weaponry (a pen, a camera, a voice) with such precision-like skill that it may take a minute before you realize he is wryly showing us who we have been and who we are. Another quote comes to mind from British author Aldous Huxley: "Facts do not cease to exist because they are ignored." Get Out, nearly one year after it's debut, still shakes people up. We are still discussing it in 2018. Come for the horror, stay for the horror of reality. We hear all the time how horror films are a reflection of society at large, and people bend over backwards finding ways to defend and elevate the genre, giving it depth and meaning. Peele walks the walk and if you can't hear his message, perhaps you haven't been listening in the first place. https://www.shouldiseeit.net/announcements/2017/the-best-performances-of-2017 monthly 0.5 2018-12-31 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514829966598-VBW0MHSH6X0IWZYN5NS4/I_Tonya_cast.jpg Announcements - The Best Performances of 2017 1. THE CAST OF "I, TONYA" - Allison Janney, Margot Robbie, Sebastian Stan. Paul Thomas Hauser and Juliette Nicholson (not pictured) "In terms of dealing with the tone, it was one of the biggest challenges, and I didn’t want to judge the characters or just make fun of them, which would have been too easy. There’s comedy, but you also see that, with the domestic violence, Tonya’s kind of immune to it. She’s desensitized to it, and I felt that that also gave more insight into her character. I also shot those scenes both ways too, so I had a choice in the editing. And then it changes to Jeff’s point-of-view, and he breaks the fourth wall about half-way through the movie, so there was a lot to work with in the edit. (Regarding Margot Robbie): It’s such a tightrope to walk in terms of the tone, and she ages from 15 to 46, so there are all the different ages and scenes that are absurdly dark and funny, and scenes that are incredibly emotional. It was the whole kitchen sink, but I knew that Margot could navigate that tricky dance between the humor and the drama, and also keep it grounded and not wink at the audience, and she’s brilliant in the role. (Regarding Allison Janney): Steve (Steven Rogers, screenwriter) actually wrote the role for her. She’s so ferocious and fearless when you consider some of her dialogue is so vile. There were days when she’d say, “Do I have to say the ‘c’ word again?” And I’d say, “Yeah, you do.” But she delivered it all in a way where you still like her." - director Craig Gillespie, Randi Altman's Post Perspective, December 18, 2017 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514830821816-N0SOPTRS4WBWTBRFDJ04/Three_Billboards_Cast.jpg Announcements - The Best Performances of 2017 2. THE CAST OF "THREE BILLBOARDS OUTSIDE EBBING, MISSOURI" - Abbie Cornish, Peter Dinklage, Woody Harrelson, Zeljko Ivanek, Frances McDormand, Sandy Martin, Clarke Peters, Sam Rockwell. Lucas Hedges, Caleb Landry Jones (not pictured). "I’ve got American voices in my head. I couldn’t say that they’re specifically Missouri voices in my head. I know Sam went down and spoke to cops in the state and kind of recorded how they said a lot of the lines in the film. So he kind of tapped into some kind of accuracy about the dialect. But Fran isn’t from there, but she’s Ohio. And Woody’s Texas. So they’re all sort of the region, to a degree, or they understand the sensibility. And they’re all good actors, too. I mean I traveled around America; I have traveled around America a lot and listened to how people speak generally, or how I think they speak. (Regarding Sam Rockwell's racist police officer character): None of these characters are simple heroes and villains, so there’s never a point where you’re saying he’s the hero or he’s even decent at the end. But you can say that he is trying to change and where does that leave us? And that’s all that the film is kind of doing. It’s not saying that he’s a good guy now or that this erases all the violence or any of that stuff. And I guess you also kind of question how many people who are racist wouldn’t ever call themselves racist, too." - director Martin McDonagh, Uproxx, November 7, 2017 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514831364680-X150F8TGZDZCISLX8IR9/CallMeByYourNameChalamet.jpg Announcements - The Best Performances of 2017 3. TIMOTHÉE CHALAMET | Elio | CALL ME BY YOUR NAME "It’s tough because within the context of the story this character plays all his cards and reveals his hand to the person of interest. And in this universe, it so happens the person of interest is feeling the same things. It’s tough to apply that in one’s own life because of the very real phenomenon of rejection. But I love the idea that young guys—particularly Americans because I feel the mental health dialogue is less repressed in Europe the way it is here—will see this movie and see there’s nothing wrong with being themselves. There’s nothing wrong with opening up and playing your cards. In fact, sometimes it can be an attractive and beautiful thing. (On his potential Oscar chances): "What this movie’s been already is so above and beyond I think any of our wildest dreams. The experience of getting to shoot it was the main appeal. And the reception it’s been getting is above and beyond our wildest dreams, anything beyond that would be greatly appreciated too, but I’m really trying not to think about that too much." - Newsweek Magazine, November 24, 2017 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514831552325-J1XF66LCQH7NC6TAY912/DisasterArtistFranco.jpg Announcements - The Best Performances of 2017 4. JAMES FRANCO | as Tommy Wiseau and as Director and Co-Producer | THE DISASTER ARTIST "On the other hand, once he (Tommy Wiseau, creator of source material The Room) then was in production on his movie, he was working in a collaborative medium, and he didn't collaborate. He didn't know how to collaborate. I feel like on The Disaster Artist I was sort of the opposite; what I learned on this movie was how to collaborate, as opposed to what I've been doing with my very artsy, literary projects, like my Cormac McCarthy and William Faulkner projects. On this one, I actually asked for help from Seth Rogen and his production company and people that are really experienced and successful in making unique movies but for bigger audiences. We went to these great writers, Scott Neustadter and Michael Weber, who weren't comedic writers but were great at relationships. And so every step of the way on this movie, I feel like I was going in the opposite direction from Tommy. He wouldn't listen to anybody. Like, dude, you don't need to shoot on 35mm film and HD at the same time. There's no point. He wouldn't listen. “Well, nobody's ever done it before, so I'm going to do it.” Like, Tommy, there's no reason. Why are we shooting green screens for a rooftop in a parking lot when you own the building in San Francisco? We can just go up on the roof of your building. It will be cheaper, and it will look better. "No, this is real Hollywood movie, I have to shoot green screen." He wouldn't listen to anybody. So I feel like in that sense, I was the opposite of Tommy. This was, like, such a huge learning experience for me, because I did want to listen. I did want to be responsible and a team player." - Vox, November 29, 2017 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514831887012-WNUVRZP4OMUJ547NTERY/LadyBirdGerwig.jpg Announcements - The Best Performances of 2017 5. GRETA GERWIG | Writer and Director | LADY BIRD "I don't know any woman who has a simple relationship with their mother or with their daughter. It has a tremendous amount of love — and a tremendous amount of angst. "I'm always interested in how people use language to not say what they mean. I think in so many of the fights with Lady Bird and her mother, what her mother wants to say is, "I'm terrified." And she can't say it because it feels too vulnerable for the myriad of reasons that you can't say you're scared." (On coming up with 'Lady Bird'): "I had been writing all these other scenes and I couldn't find exactly how it all fit together. I felt like I kept hitting a wall. And then I put everything aside and I wrote at the top the page, "Why won't you call me Lady Bird? You promised that you would. And I have no idea where it came from. And I looked at it and I thought, "What's this and who is this person who makes someone call her that?" And then I kept pressing on it and I found this character behind it." "I never really thought about [women's fighting] being different until I had the script for the film and I was going around and I was talking to different financiers about putting money into the film and making it. And most of those people are men. And if they were raised with sisters or if they had daughters, they knew what it was. But if they didn't, they had no idea that that was how women fought — and how they loved, too. I think it was kind of like they were getting to look into a world that they didn't know existed." - NPR, November 16, 2017 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514832480768-CG4SJ8MYFRMDJEHZ77JZ/BigSickEmilyKumail.jpg Announcements - The Best Performances of 2017 6. EMILY V. GORDON and KUMAIL NANJIANI | Screenwriters (and Nanjiani as Kumail) | THE BIG SICK Gordon: "I think what helped us partially is that we had worked together before on a couple of other projects, so we had a pretty good working relationship. I think the thing, especially for me, that I had to adjust to is that in our personal lives, I expect my husband to kind of have my back no matter what, to always support me and be lovely; and then when you go into a business meeting with a spouse, I kind of went in with that same expectation of Oh, whatever I say he should definitely agree with it and be like, "What a great idea." And what's amazing is that my co-worker Kumail has every right to disagree and think that this idea is not great and we need to tweak it, and vice versa. I think that took a little bit of adjusting for both of us to remember that...they are your spouse, of course, but kind of emotionally they aren't. We set up some boundaries, we set up some rules around the house for when and how we can talk about work, but we mostly work really well together. We like making each other laugh." Nanjiani: "I feel like it really brought us together closer partially because what we were writing about was so personal to us but also because reading someone's writing can be a very intimate experience and reading someone's rough drafts can be a very intimate experience. And I would see her typing away at something and then she would send me the file and I would read it, and it just was like a really special, intimate feeling to be like, Oh, she was just sitting there writing it and now I get to read it. Nobody else in the world has read it! I'm the first person in the entire world to read it! And she's such a remarkable, wonderful, empathetic writer. I think it just really made me fall in love with her more." - NPR, July 12, 2017 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514832995948-3QVYLR6NWC8F91Y46QXO/ProfessorMarstonRebeccaHall.png Announcements - The Best Performances of 2017 7. REBECCA HALL | Elizabeth Marston | PROFESSOR MARSTON AND THE WONDER WOMEN "It's a film full of a lot of hope and good feeling toward the whole endeavor of Wonder Woman and what she represents. I think that is a welcome film right now, a film that roots her in her pacifist, feminist origins and talks about a group of people who were idealistic and hopeful and trying to make the world better, and who against all the odds lived their truth. It’s really resonant and wanted right now. There’s a real desire for a film like this. When I read (writer and director Angela Robinson's) script, I was really astounded by her interpretation of the Marstons. Because I’d spent time thinking about it, and thinking how is it even possible to weave all of the broad and sprawling elements of these extraordinary people’s lives into a film? And also, how do you make the film that we need now? How do we make the film that is going to be the most positive now? It would’ve been very easy to make the film that is, you know, salacious. Or, for want of a better phrase, ‘male-gazey?’ And I think there are many many ways for us to incorporate the facts that we have about the Marstons. There are some facts that we know, and there are some facts that we don’t. Which is the case for any group of people who’ve led hidden, secret lives. When I read Angela’s script, I just thought this is it. This is the interpretation that is pure and hopeful and sex-positive and correct for now." - The Mary Sue, October 11, 2017 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514833761084-P62XQHWL2JMO0OOF8D1S/SplitMcAvoy.jpg Announcements - The Best Performances of 2017 8. JAMES MCAVOY | Dennis & The Horde | SPLIT "The thing that was different was the amount of work I had to do. I got the role quite late in the day, so I didn't have a lot of time to prepare, but I had to do nine times the amount of preparation in really less than half the time that I would usually get to prepare one character. Apart from Kevin, all the other personalities that lived within the same body, they had a different kind of genesis than you or I. You know, you or I are born because our parents did the do, and they're born out of a necessity and to perform a pretty specific function within the larger group. That's because they each personify a certain quality or qualities that Kevin has or had. Dennis is the only one that really talks about it. Dennis actually articulates why he came into being, why he was born, when he talks about having to be very neat and tidy, otherwise his mother would physically abuse him, Kevin, so Dennis was born because Dennis was capable of being that neat and tidy person, keeping the mother at bay. I thought that's interesting. That must apply through all of them. So I had to effect the way into each character was finding out, why they were necessary, what they did, what job did they perform in the larger community. What part or what facet of Kevin's original character were they based on primarily. And of course they grow and they swell, and they become much more well-rounded than just that. They're not just one thing. But it is their core. It's their prime driver. You know?" - Den of Geek, January 16, 2017 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514834339886-SXOBMHVA1TZRKWUZHG8X/DunkirkChristopherNolan.jpg Announcements - The Best Performances of 2017 9. CHRISTOPHER NOLAN | Director and Writer | DUNKIRK "It’s one of the great human stories, and it’s one of the most suspenseful situations that I had ever heard of in my life. You have 400,000 men – the entire British army – trapped on the beach at Dunkirk. Their backs to the sea, home is only 26 miles away and it’s impossible to get to. The enemy is closing in, and there’s a choice between annihilation and surrender. I just think it’s the more extraordinarily suspenseful situation. That, I think, speaks to a lot of things that I am interested in with film. I think people who know the story of Dunkirk, in particular, may be surprised by the intensity of the experience. It’s a very suspenseful story and we really try to do justice to that. The pacing is relentless, and the story and action scenes are extraordinarily intense. I think the lean, stripped-down nature of that, and how fast it moves, and what it puts you through in this short space of time… I think it has a different rhythm that I’ve worked in before. I’m an incredible lover of silent films. The challenge of taking on what I call a present-tense narrative – that is to say, we don’t learn a lot about the people we’re experiencing this with. We really just try to live in the moment and experience it with them, and look through their eyes. That was the challenge of the film, and as it is shaping up I think that, for me, is the thing that I challenged myself the most with and I am excited about that." - Fandango, March 30, 2017 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514834649230-7XIFYN54UT94W4MXZOG4/FloridaProjectPrinceVinaite.jpg Announcements - The Best Performances of 2017 10. BROOKLYNN PRINCE, BRIA VINAITE | as Moonee and Halley | THE FLORIDA PROJECT (Regarding 7-year-old star Brooklynn Prince): "There were a few scenes...that were more improv. But for the most part, I have to say, we stuck pretty close to the script, we had limited hours, and Brooklynn is amazing at just learning lines. So she would come to set knowing the scenes and then sometimes if I had time I would let them deviate or I would encourage some improvisation. There were sometimes that were almost fully improv, but obviously she knew what she had to say to sell the perfume. That was literally like we were putting them in a candid camera situation. So I couldn’t even—I couldn’t tell her what to expect because I didn't know what would happen..." (Regarding the debuting Bria Vinaite and discovering her on Instagram): "At the time I was thinking about the character of Halley a lot, and we haven’t cast for her yet. So we were out to some A-listers for that role...but then, I kept going back to Bria’s Instagram saying 'yeah, well they’re not going to be as good as her so….' But we could never cast her because my financiers won’t allow me to but then somebody finally said, 'why don’t we just audition her? You proved in Tangerine that unconventional casting can work.' And I think that’s what allowed me to do it. So we flew her to Orlando. She connected with Brooklynn and it seemed to me like the energy was there. I actually believed them as mother and daughter. [Bria] was really enthusiastic about doing it, but at the same time, she was intimidated. She said, 'Help me' and we said 'we’re gonna give you a crash course in acting for the next month.' So a month leading up to the shoot, she lived down [in Florida] and she was working with my acting coach who worked with the kids and it was just all intensive. It was freakin’ awesome, was what it was. She really really got to that place we needed her to get to." - Sean Baker, director of The Florida Project, Collider, October 13, 2017 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514835300875-CPD6OJVK21Q2LLCG0YEH/GodsOwnCountryJoshOConnor.jpg Announcements - The Best Performances of 2017 11. JOSH O'CONNOR | Johnny Saxby | GOD'S OWN COUNTRY "What’s so beautiful about Francis’s film (Francis Lee, director), is that Gheorghe (Alec Secareanu, co-star) comes in and shows Johnny another way to interact with the landscape. I’d seen a few, I guess, LGBT films, but I think what actually attracted me to the film, regardless of its LGBT nature, was just a love story that ends in a hopeful way. Y’know, even in a lot of heterosexual cinema it’s always kind of miserable. Love doesn’t work and then, if it does work, it’s suddenly a rom-com. I loved that this was an unforgiving, bleak view of someone’s life, but which had hope. You don’t see that in any cinema, let alone LGBT." (On co-star Secareanu): "I think if you’re open — as an actor or as a person — it’s a lot easier. It was just immediately apparent that there was a chemistry there. I don’t quite know how Francis saw that, but you could feel it, yeah.” (On Johnny and Gheorghe as farmers, tending to Johnny's family farm): "I remember Francis saying, ‘You do realise we’ve now made a period film’. Like, this film is now pre-Brexit and how interesting is that? It does add a dimension and I don’t think that’s a bad thing. And hopefully it’s a pro-Europe, pro-immigration film, because you see that Gheorghe comes in and his culture teaches Johnny — the way that he reacts to the land, reacts to animals.” - The Evening Standard, August 24, 2017 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514835320521-9KRWDH0Z3JEY3VQBGZSJ/DarkestHourOldman.jpg Announcements - The Best Performances of 2017 12. GARY OLDMAN | as Prime Minister Winston Churchill | DARKEST HOUR "(Initially) I turned it down. You're stepping into Richard Hardy's shoes, Albert Finney's shoes, Michael Gambon's. And, of course, the silhouette. You look at me, and I probably could have a good crack at Stan Laurel. What I did was to push all of that aside and go to the source material, the [1940] newsreel footage. He’s often thought of as this grumpy curmudgeon born in a bad mood, with a whiskey and a cigar, and he shuffles in. And what I saw, what jumped out of this old, jittery black-and-white footage, was a man who was 65 but moved like a 20-year-old. He moved through space with a fixity of purpose. He had this cherubic face with sort of a naughty schoolboy grin, with a sparkle in his eye. I was born in 1958, and of course Churchill was our hero — I guess our savior. The man who won the war. My mother’s 98, went through the blitz; my dad was in the Royal Navy at the battle of Okinawa. One feels a connection there. But I’m constantly amazed discovering things about Churchill. I was surprised to find when I read the script was just how close we came to losing. Eventually, we didn’t do a deal with Hitler. I could forgive perhaps the Americans for not knowing the history, but I thought it was interesting that in Britain a lot of the people also didn’t know any of the details of the story. That is something to take away from the film, to realize just how perilously close we came right down to the wire." - AARP, November 21, 2017 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514835347979-TKOTDZDJKTW7NO0KE05E/GetOutPeele.jpg Announcements - The Best Performances of 2017 13. JORDAN PEELE | Director and Writer | GET OUT "Every great horror movie comes from a true fear, and ideally it's a universal fear. The tricky nature of this project is that the fear I'm pulling from is very human, but it's not necessarily a universal experience, so that's why the first third of the movie is showing, and not in an over-the-top way, in a sort of real, grounded way, just getting everybody to be able to see the world through my protagonist's eyes and his fears. You know the stereotype of all black people know each other, well I think it probably comes from the fact that we can identify with each other's experience in a way that others may have a harder time. So yes, you see a black person anywhere where you're the only two, it's like there's an instant bond, or there should be, is sort of the feeling. This was an exercise in making a movie that is meant to be inclusive. In any good story, whoever you are, you should be able to relate to the protagonist. At the same time, I had to recognize that black people would be watching this movie and having a different experience than white people would. Often when I thought about a specific scene or a specific moment I'd think, I hope the black audience here is [saying] 'You know what? This is my experience. I've never seen it done in film like this, that's awesome.' And at the same moment I might recognize that there would be a lot of white people who would watch the scene and either recognize these moments as something that maybe they've done, or that they've seen someone do." - NPR, March 15, 2017 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514835368081-G61E8C9SSCMRLKPTNPRW/AndySerkisWarForThePlanetOfTheApes.jpg Announcements - The Best Performances of 2017 14. ANDY SERKIS | Caesar | WAR FOR THE PLANET OF THE APES (On motion-capture acting): "There is no difference from an acting point of view. The approach is no different to a live-action role. It’s not standing in a voice booth for two hours every six months, it’s living with that character day-in and day-out on set for the entire duration of the shoot, living and breathing every single moment, making acting choices that you would do in the conventional sense. The performance is not augmented or changed by a committee of animators. It is honored, and the fidelity is sought to translate that performance. In the past, it’s almost felt like performance capture is kind of like a drug-assisted sport. Now that’s just not true. The performance is the performance. If that character was a human being, it would be an extraordinary journey. But as an ape and having that kind of filter, it’s that times 10 really; because we’re able to look at the human condition through the eyes of apes, it just elevates it into something else." (On playing Caesar in the final film): “I really feel the loss of not being able to play that character anymore. It’s been thrilling at every turn, and a real challenge; a massive challenge with each movie. There are key points along the way where he shifts and they’ve all been incredibly fascinating to chart.” (On the industry embracing motion-capture acting): “It’s absolutely about performance. It’s opening up great avenues for next-generation storytelling. So, I think the acting community really needs to embrace it.” - Deadline | Hollywood, November 21, 2017 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514835382099-ETQU085NEN0BLR2ZIE8K/PersonalShopperStewart.jpg Announcements - The Best Performances of 2017 15. KRISTEN STEWART | Maureen | PERSONAL SHOPPER (On being cast by director Oliver Assayas): "Initially I thought it was because we have an ability to communicate sort of wordlessly. But he said that he needed this person to be someone who was quite remote and somewhat androgynous but also had this vulnerability that was overtly sexualized. There's a real duality to this girl. She was a twin. She's half of a person. She's trying to supplement that loss and figure out who she is within that, and also within this very strange, superficial environment, which is this fashion world that she's drawn to but also repelled by." (On the initial reaction to the film at its Cannes premiere): "It's quite a divisive movie. It's not easy to describe. It's not really easy to even describe your own experience with it sometimes - and that doesn't bother me. It's not that I don't care. It's just that I don't mind being a part of something that is polarizing." (On Assayas calling her the best actress of her generation): "It's not something that would ever push me or pull me in any direction. I really love what I do. I would still keep making the work even if critics didn't like it." - The New York Times, March 9, 2017 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514838209540-41UQIKFO6DCEPIQ73I5B/FrantzBeer.jpg Announcements - The Best Performances of 2017 - PAULA BEER | Anna | FRANTZ https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514838239208-4W79VXWPUF37UNYSZ6XC/WonderstruckBurwell.jpg Announcements - The Best Performances of 2017 - CARTER BURWELL | as Composer | WONDERSTRUCK https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514839363249-266SFQVMI7HQ9GGROGWN/GirlsTripHaddish.jpg Announcements - The Best Performances of 2017 - TIFFANY HADDISH | Dina | GIRLS TRIP https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514841434385-S77XXFHEU7B84HVAYIT3/PhantomThreadCast.jpg Announcements - The Best Performances of 2017 - THE CAST OF "PHANTOM THREAD" | Daniel Day-Lewis, Vicky Krieps, Lesley Manville https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514839415060-17M721JP723QA3DJQIHF/ShapeofWaterHawkins.jpg Announcements - The Best Performances of 2017 - SALLY HAWKINS | Elisa Esposito | THE SHAPE OF WATER https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514840311897-5NOF0H3QGOYFGAN3B46I/WonderWomanJenkinsGadot2.jpg Announcements - The Best Performances of 2017 - PATTY JENKINS as Director and GAL GADOT as Diana | WONDER WOMAN https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514839478664-LXHLV0RJ63HFUA9J45BN/KillingSacredDeerKeoghan.jpeg Announcements - The Best Performances of 2017 - BARRY KEOGHAN | Martin | THE KILLING OF A SACRED DEER https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514839503544-O4DXT1R2GR0BJWBZIBRM/ThankYouForYourServiceKoale.jpg Announcements - The Best Performances of 2017 - BEULAH KOALE | Solo | THANK YOU FOR YOUR SERVICE https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514841384485-7MMZIIZV8XCINGJNGGUH/StepBestof2017.jpg Announcements - The Best Performances of 2017 - AMANDA LIPITZ as Director and CORI, TAYLA, and BLESSIN | STEP https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514838555388-XT6MDAK3WY22CI4JKAQM/DawsonCityBillMorrison.jpg Announcements - The Best Performances of 2017 - BILL MORRISON | as Director | DAWSON CITY: FROZEN TIME https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514838576247-CXW2OJAR52LNEBUWG3YX/QuietPassionCynthiaNixon.png Announcements - The Best Performances of 2017 - CYNTHIA NIXON | Emily Dickinson | A QUIET PASSION https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514838600829-GE6SO3F397I73GDMO3OG/GoodTimePattinson.jpg Announcements - The Best Performances of 2017 - ROBERT PATTINSON | Connie Nikas | GOOD TIME https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514838624614-GG2JEEQF85PTZG0ZHC05/IngridGoesWestPlaza.jpg Announcements - The Best Performances of 2017 - AUBREY PLAZA | Ingrid Thorburn | INGRID GOES WEST https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514838640799-9BUGJ7BHOSXUX6RGU0MF/ItFeatured.jpg Announcements - The Best Performances of 2017 - BILL SKARSGÅRD | Pennywise | IT https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514838686515-FE06URTMRRQZYI1IBEGQ/LoganStewart.jpg Announcements - The Best Performances of 2017 - PATRICK STEWART | Charles | LOGAN https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514839543041-2HW1YP62HUMNCKBS9OU2/ThePostHanksStreep.jpg Announcements - The Best Performances of 2017 - MERYL STREEP as Kay Graham and TOM HANKS as Ben Bradlee | THE POST https://www.shouldiseeit.net/announcements/2017/the-worst-films-of-2017 monthly 0.5 2017-12-31 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514738537185-WGWU71E31COIU0RRRYEL/DarkTower1.jpg Announcements - The Worst Films of 2017 - 10. THE DARK TOWER The Dark Tower is what happens when everyone thinks they are the smartest person in the room, no one listens or relents for the good of the team, and egos and hubris prevail. Also, a reminder to not let Akiva Goldsman come anywhere near your source material.   10. THE DARK TOWER (Director: Nikolaj Arcel) The Dark Tower is what happens when everyone thinks they are the smartest person in the room, no one listens or relents for the good of the team, and egos and hubris prevail. Also, a reminder to not let Akiva Goldsman come anywhere near your source material. A boring, confusing, annoying film that never commits to whether it is a horror film, a suspense/thriller, a Young Adult dystopian sci-fi adventure, an action film, or even a supernatural drama with comedic breaks. The sooner everyone involved can put this film in their rearview and move on…the better we all will be. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514739763474-JKTNWFWMO5OWG3N5E0A1/GhostInTheShellFeatured.jpg Announcements - The Worst Films of 2017 9. THE GHOST IN THE SHELL (Director: Rupert Sanders) As visually impressive as it is dead inside, Ghost in the Shell is a dull, empty-headed science-fiction adaptation of the iconic manga series from Japan. Scarlett Johansson spins her wheels in a film that devolves into an exhausting movie that not only acknowledges its white-washing but full on embraces it. The less said here the better.   https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514740088339-IHSHOAP0QTH6ULNKIR8D/TransformersLastKnightFeatured.jpg Announcements - The Worst Films of 2017 8. TRANSFORMERS: THE LAST KNIGHT (Director: Michael Bay) Michael Bay has run out of all you-know-whats to give with the final One Hundred and Fifty-Four Minute Transformers film. Someone apparently showed Bay "Game of Thrones" because he opens his "movie" in 484 A.D. with Merlin, King Arthur, a hidden stable of Transformers and robotic dragons. By the end, your body is numb for the incomprehensible plot, ear-splitting sound effects, and impossible-to-follow battles and action sequences. Can we finally wave Bay-Bye to this cinematic assault on the senses, once and for all? No. A Bumblebee spin-off is coming in 2018. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514740568884-A26CBWI51TNZK1TLYOVT/MummyFeatured.jpg Announcements - The Worst Films of 2017 7. THE MUMMY (Director: Alex Kurtzman) A glimpse into what it might be like watching Tom Cruise direct, as he reportedly used his leverage to take over significant elements of the final product, The Mummy is the movie that killed the Universal Studios' Dark Universe before it ever got started. Cruise finds himself opposite Sofia Boutella in a silly, overlong, action/sci-fi/fantasy that has a half-dead Jake Johnson cracking jokes, Boutella all villainy, and Cruise completely overwhelmed by everything. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514740635658-H26CERB3BMNVZNX1OFOM/CircleFeatured.png Announcements - The Worst Films of 2017 6. THE CIRCLE (Director: James Ponsoldt) Emma Watson, Tom Hanks, and John Boyega get completely lost in a botched thriller (?- this movie kind of defies categorization) about a social media company who become obsessed with access to everyone all the time. Butchered in the editing room, it had to be, full of a wildly swinging pendulum of slow-clap comedy to Young Adult-style subplots to suspense to Millennial angst (or lack thereof) and a historically bad performance from Boyhood's Ellar Coltrane, The Circle is almost so bad it has to be seen to be believed. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514740771173-BFGHWGZI81B5KY7Q6VHB/ByeByeManFeatured.jpg Announcements - The Worst Films of 2017 5. THE BYE BYE MAN (Director: Stacy Title) Oh January horror films are the worst. The Bye Bye Man, based on true events (!), gives us a villainous demon who's name you cannot say or even think about because he will be summoned. Hmm, clever. Nevermind the fact that if you consider the logic of the movie, the fact that you’re even watching a movie using that entity’s name means you’re cursed and…oh, wait. Now I get it. There’s a train symbolizing something never explained. There are scenes were people should be bleeding but can’t because the film is rated PG-13 and blood cannot be shown. The editing is atrocious, the dialogue absurd and absent of any scares. Like any at all. By the end, so much of this movie devolves into these brats saying that they won’t say “it”, that they can’t say “it”, and they even hold their mouths closed with their hands to avoid saying “it,” WHICH DOES NOT MATTER BECAUSE THEY ARE STILL THINKING ABOUT THE VERY THING THEY APPARENTLY CAN’T SAY! https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514740811502-1YNUK4RVLDWPZN4PWUJT/Baywatch1.jpg Announcements - The Worst Films of 2017 4. BAYWATCH (Director: Seth Gordon) Baywatch is the antithesis of fun, funny, entertaining, humorous, joyful, engaging, memorable, and all the rest of any positive superlatives you can throw at it. In a theater full of 20 people, at a Thursday night preshow, four folks walked out by the midway point and no one made a sound, except the one gentleman who laughed uproariously at EVERYTHING. One of the most painful exercises I've had at the movies in years, Baywatch can't even make the idea of Dwayne Johnson and Zac Efron starring together worth watching. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514740864582-6LUN0E7LN935845XOMNY/SnowmanFeatured.png Announcements - The Worst Films of 2017 3. THE SNOWMAN (Director: Tomas Alfredson) The problems run far beyond Tomas Alfredson's coming clean about 10-15% of the script not getting shot. The Snowman is nonsensical garbage, alternating between being predictable and obvious and also making zero sense. This is SyFy-level silliness with a budget. Michael Fassbender looks half-asleep, everyone in Norway speaks English it seems, and a head-turning cast including J.K. Simmons, Chloe Sevigny, Tony Jones, and Val Kilmer (sadly the victim of the worst vocal overdubbing in an English-language movie in years) all succumb to the ineptitude on display. Sure, the snowy landscape looks pretty enough for awhile, but the movie is laugh-out-loud bad and completely impossible to understand, despite “giving us all the clues.” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514740976414-OHMBG6EQRE7A221SSK2L/EmojiMovieFeatured.jpg Announcements - The Worst Films of 2017 2. THE EMOJI MOVIE (Director: Tony Leondis) I could be clever and just use emojis to write this summary, but the movie doesn’t deserve or earn the time spent searching through my phone to find them. By the 8-minute mark of this 80-minute abomination, there are so many questions to be answered with The Emoji Movie that I defy anyone to explain the plot to the degree required, thus spending even one more minute discussing the worst animated movie of the decade. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514741054199-5WJ06RYEFD6QF34O8K3C/FiftyShadesDarkerFeatured.jpg Announcements - The Worst Films of 2017 1. FIFTY SHADES DARKER (Director: James Foley) Marketed and sold largely to women, Fifty Shades Darker is about the most male-driven and male-empathizing trash imaginable. Everything Anastasia (Dakota Johnson) does here placates or attempts to humanize the monster that pulsates within Christian Grey (Jamie Dornan). Sure, she has more of a voice in things this time around, but Niall Leonard’s screenplay and E.L. James’ “book” is all about gratifying Grey over and over again. When she tries to hold him close, he makes her draw “boundaries” on his chest and stomach with red lipstick. When she asks him a question, he gets defensive, apologizes, and half-heartedly smiles. She allows him to do some naughty stuff, but whenever she touches him, he grunts and grimaces and panics in the most ridiculous of ways. Anastasia isn’t a lover or partner to Christian, or even an equal; she’s an expensive human prop he uses to make himself seem and feel normal. Though I had way more fun with this sequel than I ever expected I would, Fifty Shades Darker is not really much of a movie, and certainly not a film empowering or championing women. And after everything that has occurred, in a post-Harvey Weinstein 2017, this movie looks more hollow, shallow, and ugly than ever before. https://www.shouldiseeit.net/announcements/2017/get-out-named-best-picture-of-2017-by-seattle-film-critics-society monthly 0.5 2017-12-31 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514688275684-ZMDKW4TOOMN7AB1UCD72/GetOutFeatured.jpg Announcements - "Get Out" Named Best Picture of 2017 by Seattle Film Critics Society https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514688877200-WA5K6CA5E2SCD9XQM7QB/LadyBirdFeatured.jpg Announcements - "Get Out" Named Best Picture of 2017 by Seattle Film Critics Society Saoirse Ronan in "Lady Bird" https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1514688960791-QKSQPCGOKAYWL7LMKH8R/FloridaProject.jpg Announcements - "Get Out" Named Best Picture of 2017 by Seattle Film Critics Society Willem Dafoe and Brooklynn Prince in "The Florida Project" 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SIFF CINEMA UPTOWN | 1:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527922941011-9AQANPIOCM60BWW8T78M/Shuttle+Life.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - SHUTTLE LIFE PACIFIC PLACE | 1:45 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527922987066-GQ1I468L6C0Q1HE6AA6C/IMG_0438.JPG SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - NONA SIFF CINEMA UPTOWN | 3:15 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527923076231-TX02XTSIWW1Q8X4IZCUK/MomentintheReeds_Still7.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - A MOMENT IN THE REEDS SIFF CINEMA UPTOWN | 3:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527923092175-29TM016JAYCHCE68Q29X/Long+Dumb+Road%2C+The.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - THE LONG DUMB ROAD SIFF CINEMA UPTOWN | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527951937416-ZM5GPT5MCO9N6JO27DPH/Westwood.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - WESTWOOD: PUNK, ICON, ACTIVIST PACIFIC PLACE | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527951521408-DSVMXHRPRCBKRTUKZJMR/DrummerandtheKeeper_Still7.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - THE DRUMMER AND THE KEEPER SIFF EGYPTIAN | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527923258553-T1BDGG3TMGCWBZH9OHXA/ConstructingAlbert_KeyArt.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - CONSTRUCTING ALBERT KIRKLAND PERFORMANCE CENTER | 4:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527952070717-5L02HWPVQKS67GDTM5S6/Supa+Modo.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - SUPA MODO SHORELINE COMMUNITY COLLEGE | 4:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527950528380-1DHRD36IGI34EW3E1FQZ/Hal.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - HAL SIFF CINEMA UPTOWN | 6:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527950541956-2CYD4X57SJRG2VHBRJDF/Waru.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - WARU SIFF FILM CENTER | 6:15 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527951551677-H815B5MPRR74A3CQUQQR/Cook+Off.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - COOK OFF SIFF CINEMA UPTOWN | 9:15 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527951575600-52MR8FT5BMSDO8CNXYZO/Inventing+Tomorrow.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - INVENTING TOMORROW SIFF CINEMA UPTOWN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527951599931-50X2CG9RF11CRTMZI5E4/LeaveNoTrace_KeyArt.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - LEAVE NO TRACE SIFF EGYPTIAN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527950623493-HXRC6EVRDQLZYB8OT2GV/Amateurs.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - AMATEURS PACIFIC PLACE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527950670924-O26KBQC4PY36ZGKIVQQD/Love+And+Shukla.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - LOVE AND SHUKLA KIRKLAND PERFORMANCE CENTER | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527950725678-VJC7UWGKO1KFQELYYXOD/C_est+la+vie.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - C'EST LA VIE SHORELINE COMMUNITY COLLEGE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527950736725-OLLEGGDGGRTODT9OUL25/Greenaway+Alphabet%2C+The+-+a.png SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - THE GREENAWAY ALPHABET SIFF FILM CENTER | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527950749324-5HFNJMB488ZVYMV3TKZ6/Lemonade.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - LEMONADE SIFF CINEMA UPTOWN | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527950777484-YRMBTI3UGT1S5ZLHR7U5/Campeonesdia6-65.JPG SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - CHAMPIONS KIRKLAND PERFORMANCE CENTER | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527950816938-KODNWL8USWA6NZ0ASKS9/LastChild_Still1.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - LAST CHILD SHORELINE COMMUNITY COLLEGE | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527950858608-HNI1AGOMGT89YDYHHR9S/SeriesFest.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - SERIESFEST AWARD WINNERS SIFF CINEMA UPTOWN | 9:00 PM EPISODIC SHORT FILM PRESENTATION https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527950875242-XQFVTW7AYLVJG2A9T3MF/Marlina+The+Murderer+In+Four+Acts.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - MARLINA THE MURDERER IN FOUR ACTS PACIFIC PLACE | 9:15 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527950892963-QRPS24DH5V1C92ZOE6M8/Rough+Draft%2C+A.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - A ROUGH DRAFT SIFF EGYPTIAN | 9:15 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527950948694-TZG5E8SBWDP58O1A6XX0/Pig.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - PIG SIFF CINEMA UPTOWN | 9:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527951039295-3L7HFET5GCO9TMWKG5SY/Field+Guide+to+Evil%2C+The.jpg SIFF - SIFF 2018 - DAY 16 - JUNE 1, 2018 - THE FIELD GUIDE TO EVIL SIFF EGYPTIAN | 11:55 PM https://www.shouldiseeit.net/siff2018/2018/siff-2018-day-14-may-30-2018-5md48 monthly 0.5 2018-05-31 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527716923530-XAPECW21HILQAU7X67M9/This+Is+Home.jpg SIFF - SIFF 2018 - DAY 15 - MAY 31, 2018 - THIS IS HOME SIFF CINEMA UPTOWN | 3:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527716959345-C1H2CURXDA598SL924WB/Gauguin_KeyArt.jpg SIFF - SIFF 2018 - DAY 15 - MAY 31, 2018 - GAUGUIN SIFF CINEMA UPTOWN | 3:45 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527796077761-S9X45JDW5OU9BNRCZFUO/Being+Frank+-+a.jpg SIFF - SIFF 2018 - DAY 15 - MAY 31, 2018 - BEING FRANK: THE CHRIS SIEVEY STORY SIFF CINEMA UPTOWN | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527716978452-L3MKL89SSTGOSJSN1T9U/1985.jpg SIFF - SIFF 2018 - DAY 15 - MAY 31, 2018 - 1985 PACIFIC PLACE | 4:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527794810391-GWL8VV63LM4J7CYVEA54/IMG_0438.JPG SIFF - SIFF 2018 - DAY 15 - MAY 31, 2018 - NONA SIFF CINEMA UPTOWN | 6:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527795531426-N0LU31MS3ZT6A43UNY1R/everyactoflife_terrence_mcnally_and_nathan_lane_c1990.jpg SIFF - SIFF 2018 - DAY 15 - MAY 31, 2018 - EVERY ACT OF LIFE SIFF CINEMA UPTOWN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527795565707-CGX51BFDSZ7OGEYXY5DD/Cuban+Food+Stories.jpg SIFF - SIFF 2018 - DAY 15 - MAY 31, 2018 - CUBAN FOOD STORIES SHORELINE COMMUNITY COLLEGE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527796585056-HL69TZ985H76JD58APNE/The+Widowed+Witch+2.JPG SIFF - SIFF 2018 - DAY 15 - MAY 31, 2018 - THE WIDOWED WITCH LINCOLN SQUARE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527796640552-BFLEAA8PBS7LEE7D8MFE/LoveEducation_Still4.jpg SIFF - SIFF 2018 - DAY 15 - MAY 31, 2018 - LOVE EDUCATION SIFF CINEMA UPTOWN | 6:45 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527795733556-Y96V1ZVN19WY6F0JQDCS/Village+Rockstars.jpg SIFF - SIFF 2018 - DAY 15 - MAY 31, 2018 - VILLAGE ROCKSTARS SIFF EGYPTIAN | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527795757646-DANR6D4CHFCJSBXOGU89/What+Will+People+Say.png SIFF - SIFF 2018 - DAY 15 - MAY 31, 2018 - WHAT WILL PEOPLE SAY PACIFIC PLACE | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527796683148-40NKYDFYDYRTVSBCE9RP/DrummerandtheKeeper_Still7.jpg SIFF - SIFF 2018 - DAY 15 - MAY 31, 2018 - THE DRUMMER AND THE KEEPER KIRKLAND PERFORMANCE CENTER | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527796711053-JQTF6Y0SDO6OIAIDM63X/Nearest+and+Dearest.jpg SIFF - SIFF 2018 - DAY 15 - MAY 31, 2018 - NEAREST AND DEAREST SIFF CINEMA UPTOWN | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527795893449-OU6HOZ8GB404AECVPYK1/Rough+Draft%2C+A.jpg SIFF - SIFF 2018 - DAY 15 - MAY 31, 2018 - A ROUGH DRAFT SHORELINE COMMUNITY COLLEGE | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527795911784-UGCA9PODW4SPEU14OD8X/MomentintheReeds_Still7.jpg SIFF - SIFF 2018 - DAY 15 - MAY 31, 2018 - A MOMENT IN THE REEDS SIFF CINEMA UPTOWN | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527795963222-T4WOL2M4V2SSPX6CGEJI/Ana+Mon+Amour.jpg SIFF - SIFF 2018 - DAY 15 - MAY 31, 2018 - ANA, MON AMOUR LINCOLN SQUARE | 9:15 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527796724447-G8J9745VGD46UOTNM6UU/Rust.jpg SIFF - SIFF 2018 - DAY 15 - MAY 31, 2018 - RUST SIFF EGYPTIAN | 9:15 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527714047216-KK0RYXMJFD0WQ3HZGHJF/Scary+Mother+-+a.jpg SIFF - SIFF 2018 - DAY 15 - MAY 31, 2018 - SCARY MOTHER PACIFIC PLACE | 9:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527796002693-RPU865NJ3I8RWJV090SZ/Mutafukaz+-+a.jpg SIFF - SIFF 2018 - DAY 15 - MAY 31, 2018 - MUTAFU*AZ SIFF CINEMA UPTOWN | 9:30 PM https://www.shouldiseeit.net/siff2018/2018/siff-2018-day-14-may-30-2018 monthly 0.5 2018-05-31 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527714047216-KK0RYXMJFD0WQ3HZGHJF/Scary+Mother+-+a.jpg SIFF - SIFF 2018 - DAY 14 - MAY 30, 2018 - SCARY MOTHER SIFF CINEMA UPTOWN | 3:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527714083372-TIP7N3Y3ZKO2BN7KYAMI/Ryuichi+Sakamoto+Coda+-+FOR+USE.jpg SIFF - SIFF 2018 - DAY 14 - MAY 30, 2018 - RYUICHI SAKAMOTO: CODA SIFF CINEMA UPTOWN | 3:45 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527714092944-DLVUWBL8K4AX6Z9RE2RR/Cinderella+The+Cat.jpg SIFF - SIFF 2018 - DAY 14 - MAY 30, 2018 - CINDERELLA THE CAT SIFF CINEMA UPTOWN | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527714107218-XUD9QY2LAE6SBCAY8E66/Ellen.jpg SIFF - SIFF 2018 - DAY 14 - MAY 30, 2018 - ELLEN PACIFIC PLACE | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527716923530-XAPECW21HILQAU7X67M9/This+Is+Home.jpg SIFF - SIFF 2018 - DAY 14 - MAY 30, 2018 - THIS IS HOME SIFF CINEMA UPTOWN | 6:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527716935200-2BXRS7A0V2VEFKN7SH4K/Prospect.jpg SIFF - SIFF 2018 - DAY 14 - MAY 30, 2018 - PROSPECT SHORELINE COMMUNITY COLLEGE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527716959345-C1H2CURXDA598SL924WB/Gauguin_KeyArt.jpg SIFF - SIFF 2018 - DAY 14 - MAY 30, 2018 - GAUGUIN SIFF CINEMA UPTOWN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527716969020-0EX6RPX9CF4P188M905Q/Razzia.jpg SIFF - SIFF 2018 - DAY 14 - MAY 30, 2018 - RAZZIA LINCOLN SQUARE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527716978452-L3MKL89SSTGOSJSN1T9U/1985.jpg SIFF - SIFF 2018 - DAY 14 - MAY 30, 2018 - 1985 PACIFIC PLACE | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527716991375-14NUNTAMEE1KVIBCUZA8/Long+Dumb+Road%2C+The.jpg SIFF - SIFF 2018 - DAY 14 - MAY 30, 2018 - THE LONG DUMB ROAD SIFF EGYPTIAN | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527717034748-RS9Z5AHTSAA4AS3CFHLH/MademoiselleParadis_KeyArt.jpeg SIFF - SIFF 2018 - DAY 14 - MAY 30, 2018 - MADEMOISELLE PARADIS SIFF CINEMA UPTOWN | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527717038291-CHQ2ZKECTVA7PJ3R19YS/happybirthday_01.jpg SIFF - SIFF 2018 - DAY 14 - MAY 30, 2018 - HAPPY BIRTHDAY SIFF CINEMA UPTOWN | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527717084523-CRD3XDA4KAXYL6P74UG2/Industrial+Accident.jpg SIFF - SIFF 2018 - DAY 14 - MAY 30, 2018 - INDUSTRIAL ACCIDENT - THE STORY OF WAX TRAX! RECORDS SHORELINE COMMUNITY COLLEGE | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527717098842-7FE7U73EJPEAOIEZXB9M/Angels+Wear+White.jpg SIFF - SIFF 2018 - DAY 14 - MAY 30, 2018 - ANGELS WEAR WHITE SIFF EGYPTIAN | 9:15 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527717112310-KWTA9LSMZ42L5J8GAHY9/Bleeding+Edge%2C+The.jpg SIFF - SIFF 2018 - DAY 14 - MAY 30, 2018 - THE BLEEDING EDGE SIFF CINEMA UPTOWN | 9:15 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527717149633-URZSGL0J6788QBD9GNUK/Pure+Hearts+-+a.jpg SIFF - SIFF 2018 - DAY 14 - MAY 30, 2018 - PURE HEARTS LINCOLN SQUARE | 9:15 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527717165929-YJHKT4MGDYGTKAJIU5WZ/Tigers+Are+Not+Afraid.jpeg SIFF - SIFF 2018 - DAY 14 - MAY 30, 2018 - TIGERS ARE NOT AFRAID SIFF CINEMA UPTOWN | 9:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527717175800-9NRS58R8242NO2IZ7X9P/Wajib.jpg SIFF - SIFF 2018 - DAY 14 - MAY 30, 2018 - WAJIB PACIFIC PLACE | 9:30 PM https://www.shouldiseeit.net/siff2018/2018/the-most-dangerous-year-siff-2018 monthly 0.5 2018-06-01 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527659484086-MY4LYHUA1A070KE06J29/Most+Dangerous+Year%2C+The.jpg SIFF - The Most Dangerous Year - SIFF 2018 https://www.shouldiseeit.net/siff2018/2018/sadie-siff-2018 monthly 0.5 2018-05-31 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527722343792-UKWQW2C15NZDISN81Z1K/Sadie_film_image.jpg SIFF - Sadie - SIFF 2018 https://www.shouldiseeit.net/siff2018/2018/making-the-grade-siff-2018 monthly 0.5 2018-05-31 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527639577071-8ERYQYKR4F979NPRIXAB/Making+The+Grade.jpg SIFF - Making The Grade - SIFF 2018 https://www.shouldiseeit.net/siff2018/2018/siff-2018-day-13-may-29-2018 monthly 0.5 2018-05-29 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527601428305-SRZH9Y3P3SIR31CYEXP3/LastChild_Still1.jpg SIFF - SIFF 2018 - DAY 13 - MAY 29, 2018 - LAST CHILD SIFF CINEMA UPTOWN | 3:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527603549778-IBQRIW9CDRSU4ZO1CU6V/Skate+Kitchen.jpg SIFF - SIFF 2018 - DAY 13 - MAY 29, 2018 - SKATE KITCHEN SIFF CINEMA UPTOWN | 3:45 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527601446819-J0IS1K1FXFKWTR8YS0SA/Third+Murder.jpg SIFF - SIFF 2018 - DAY 13 - MAY 29, 2018 - THE THIRD MURDER SIFF CINEMA UPTOWN | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527603599205-NZNVQ7QXAD2A104F1BK3/Stills_1.1.62.jpg SIFF - SIFF 2018 - DAY 13 - MAY 29, 2018 - LOTS OF KIDS, A MONKEY, AND A CASTLE PACIFIC PLACE | 4:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527603568102-DX202BYGHBSIIQPZYIGR/Razzia.jpg SIFF - SIFF 2018 - DAY 13 - MAY 29, 2018 - RAZZIA SIFF CINEMA UPTOWN | 6:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527601498983-OPB3IP99NTCO1Y3O0EGT/That+Summer.png SIFF - SIFF 2018 - DAY 13 - MAY 29, 2018 - THAT SUMMER SIFF CINEMA UPTOWN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527603612796-V59EF0VGAXI8BPHQSCEL/Oslo+Diaries%2C+The.jpg SIFF - SIFF 2018 - DAY 13 - MAY 29, 2018 - THE OSLO DIARIES LINCOLN SQUARE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527601650673-5G6G1HBI7IKJXHSUDXYD/Amateurs.jpg SIFF - SIFF 2018 - DAY 13 - MAY 29, 2018 - AMATEURS SHORELINE COMMUNITY COLLEGE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527601694351-65L8S5LXR0TBEZNNXRYF/Most+Dangerous+Year%2C+The.jpg SIFF - SIFF 2018 - DAY 13 - MAY 29, 2018 - THE MOST DANGEROUS YEAR SIFF EGYPTIAN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527601774620-R5YOJ71YFDMFYROHI55Q/Ryuichi+Sakamoto+Coda+-+FOR+USE.jpg SIFF - SIFF 2018 - DAY 13 - MAY 29, 2018 - RYUICHI SAKAMOTO: CODA PACIFIC PLACE | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527601787577-SCGJ8N8SYFTAT3AUZGZ0/Gold+Seekers.jpg SIFF - SIFF 2018 - DAY 13 - MAY 29, 2018 - GOLD SEEKERS SIFF CINEMA UPTOWN | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527601826455-Y8TI1KV0XODNFE8ZYDO1/Ellen.jpg SIFF - SIFF 2018 - DAY 13 - MAY 29, 2018 - ELLEN SIFF CINEMA UPTOWN | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527601847661-IER8Y3KYQYY1FIB2S7J7/Falling.jpg SIFF - SIFF 2018 - DAY 13 - MAY 29, 2018 - FALLING SIFF CINEMA UPTOWN | 8:45 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527601866701-S468XFLVVWMQJREV2JXV/GoingWest_KeyArt.jpg SIFF - SIFF 2018 - DAY 13 - MAY 29, 2018 - GOING WEST LINCOLN SQUARE | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527601878394-AEMTSAKLFAZY74ZXQ31W/Russian+Five%2C+The.jpg SIFF - SIFF 2018 - DAY 13 - MAY 29, 2018 - THE RUSSIAN FIVE SHORELINE COMMUNITY COLLEGE | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527601930905-VQRHT125TOV18TKRMTUM/Shuttle+Life.jpg SIFF - SIFF 2018 - DAY 13 - MAY 29, 2018 - SHUTTLE LIFE PACIFIC PLACE | 9:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527601977081-MK54GYC41VBU5MGAA1IZ/Three+Peaks.jpg SIFF - SIFF 2018 - DAY 13 - MAY 29, 2018 - THREE PEAKS SIFF CINEMA UPTOWN | 9:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527602028816-JNZN3P9ILBR4CIIVMQ36/Mutafukaz+-+a.jpg SIFF - SIFF 2018 - DAY 13 - MAY 29, 2018 - MUTAFUKAZ SIFF EGYPTIAN | 9:30 PM https://www.shouldiseeit.net/siff2018/2018/siff-2018-day-12-may-28-2018 monthly 0.5 2018-05-28 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527522527187-2TJD2M7CXPDKL5LTWDZU/Zombillenium.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - ZOMBILLENIUM SIFF EGYPTIAN | 11:00 AM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527522605449-LCNYG5A22UJ597BJ1IR4/Marlina+The+Murderer+In+Four+Acts.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - MARLINA THE MURDERER IN FOUR ACTS PACIFIC PLACE | 11:00 AM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527522688587-93V3OC1HL1LL1UXS0BI9/AnaiyyunPrayerfortheWhale_Still4.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - LEGENDS OF THE PNW SIFF CINEMA UPTOWN | NOON SHORT FILM PRESENTATION DETAILS HERE https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527522745567-142OQT4V8R0CKQEFBTCA/It+Will+Be+Chaos.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - IT WILL BE CHAOS SIFF CINEMA UPTOWN | 12:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527522770184-UAIFM3SLPYL3MY20BY8T/luk_luk_l.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - LUK'LUK'I SIFF CINEMA UPTOWN | 1:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527522779984-DKF8EX3G6MY7WXEY4BD4/Capture8.JPG SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - MOOMINS AND THE WINTER WONDERLAND SHORELINE COMMUNITY COLLEGE | 1:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527522882914-FA9XWA2SJCE0OVVW7CAN/Bleeding+Edge%2C+The.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - THE BLEEDING EDGE LINCOLN SQUARE | 1:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527522900886-SNV3TPBQAKSW6ACGTB5F/Bold%2C+The+Corrupt....jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - THE BOLD, THE CORRUPT, AND THE BEAUTIFUL SIFF EGYPTIAN | 1:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527522940134-6SPKQJQJ3OQX2TWC20K4/Marilyn.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - MARILYN PACIFIC PLACE | 1:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527523060832-0TBP3ELI48806Y0V4EY1/Roommate_KeyArt.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - FUTUREWAVE SHORTS SIFF CINEMA UPTOWN | 3:00 PM SHORT FILM PRESENTATION DETAILS HERE https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527523100857-KL4DH11IJO8211USDZ5W/FreaksandGeeksTheDocumentary_KeyArt.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - FREAKS AND GEEKS - THE DOCUMENTARY SHORELINE COMMUNITY COLLEGE | 3:15 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527523118853-1WEJTN1FJOXS3DFQI5X0/Bloody+Milk.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - BLOODY MILK LINCOLN SQUARE | 3:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527523189533-K1QVI5J56K7KO5M3WEOJ/Impekable_Still2.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - FLY FILMMAKING CHALLENGE SIFF CINEMA UPTOWN | 3:30 PM SHORT FILM PRESENTATION DETAILS HERE https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527523234196-V40TWX6J1YNU3ZCDFW8O/Time+Trial.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - TIME TRIAL SIFF EGYPTIAN | 3:45 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527523252988-83POAV1BW7O9CMHTPTTH/Cuban+Food+Stories.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - CUBAN FOOD STORIES PACIFIC PLACE | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527523274674-Y0IIBHZNHP0IJHWSEMSM/Bee+Nation.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - BEE NATION SIFF CINEMA UPTOWN | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527525301360-WCCUR51KXYMQ2TB48ZKG/Cook+Off.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - COOK OFF SHORELINE COMMUNITY COLLEGE | 5:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527523308858-57FW0WKJ0KKOC0I8943B/New+Turn.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - NEW TURN SIFF CINEMA UPTOWN | 5:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527525325866-GUT6D9SMX4CEK5R96ERY/No+Bed+Of+Roses.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - NO BED OF ROSES LINCOLN SQUARE | 5:45 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527523475914-XE7UP0LAR969ISJP8YQZ/StealingSilver_still4.png SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - SHORTSFEST CLOSING NIGHT SIFF CINEMA UPTOWN | 6:00 PM SHORT FILM PRESENTATION DETAILS HERE https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527523491801-98JKYHILW2068Q09TWC7/Stills_1.1.62.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - LOTS OF KIDS, A MONKEY, AND A CASTLE PACIFIC PLACE | 6:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527523531460-MR80XLDE3XGR74VRGX9J/VIRUS_TROPICAL_STILL-25_WM.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - VIRUS TROPICAL SIFF EGYPTIAN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527523543926-HFZSMWPXE0FWRZNWLRPF/BelleDeJour_KeyArt.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - BELLE DU JOUR SIFF CINEMA UPTOWN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527523565250-03H1TAZWXPZCC4YCQIPT/Song+Of+Scorpions.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - THE SONG OF SCORPIONS SIFF CINEMA UPTOWN | 8:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527523629692-114FBADVZU7E0WO1BFEQ/_MG_7934.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - BIRDS ARE SINGING IN KIGALI LINCOLN SQUARE | 8:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527523631265-XC3LVYH0E3LI9D0H43I0/Streaker.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - STREAKER SHORELINE COMMUNITY COLLEGE | 8:15 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527523666886-I7YHEBHM2H4CSCHKOK82/Blue+My+Mind+-+b.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - BLUE MY MIND SIFF CINEMA UPTOWN | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527523757517-ZVPXIF7L8LKNELWM7W0D/Being+Frank+-+a.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - BEING FRANK: THE CHRIS SIEVEY STORY SIFF EGYPTIAN | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527523836265-FTK5E5D9T9M48NDIC6B4/mobile_homes-3_h_2017.jpg SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - MOBILE HOMES PACIFIC PLACE | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527525363210-A1X6DXEO2HPA2DPSV6MP/The+Widowed+Witch+2.JPG SIFF - SIFF 2018 - DAY 12 - MAY 28, 2018 - THE WIDOWED WITCH SIFF CINEMA UPTOWN | 9:00 PM https://www.shouldiseeit.net/siff2018/2018/siff-2018-day-11-may-27-2018 monthly 0.5 2018-05-27 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527433341447-0Y5XW3MRVFQOEMNHSXNS/BigBadFoxandOtherTales_Still1.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - THE BIG BAD FOX & OTHER TALES... PACIFIC PLACE | 11:00 AM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527433471710-W34H7HR0R89KVSOCQHBI/CheerUpBaby_KeyArt.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - THE KIDS ARE ALRIGHT? SIFF CINEMA UPTOWN | 12:30 PM SHORT FILM PRESENTATION DETAILS HERE https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527437056499-3E7F666E1X5Z6L1MSISW/WarriorWomen_KeyArt.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - WARRIOR WOMEN SIFF CINEMA UPTOWN | 1:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527433554088-LQEH3OSH79IG1HV8MM0E/Afghan+Cycles.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - AFGHAN CYCLES SHORELINE COMMUNITY COLLEGE | 1:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527433575708-IOXJX3FQP38SACQTMJW6/Waru.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - WARU LINCOLN SQUARE | 1:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527433587170-5CY315MAZOLQFM2JAJFA/Won_t+You+Be+My+Neighbor.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - WON'T YOU BE MY NEIGHBOR? SIFF CINEMA UPTOWN | 1:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527438722287-Y7YUL2OFVCR4ZQ20A8L9/A+Kid+Like+Jake.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - A KID LIKE JAKE PACIFIC PLACE | 1:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527437087596-Z1KEK0URYA8EJHREKFHE/Melanie+Lynskey.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - AN AFTERNOON WITH MELANIE LYNSKEY SIFF EGYPTIAN | 2:30 PM HONORING THE ACTRESS WITH A CAREER RETROSPECTIVE, INTERVIEW AND Q & A https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527433712429-NLSA9JN7RGO76A84ALM0/Sadie_film_image.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - SADIE SIFF EGYPTIAN | 2:30 PM PRESENTED AS PART OF “AN AFTERNOON WITH MELANIE LYNSKEY” https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527433787200-DPH4H11U5GQS3UCVCQLU/nuuca__KeyArt.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - THROUGH HER INDIGENOUS EYES SIFF CINEMA UPTOWN | 3:00 PM SHORT FILM PRESENTATION DETAILS HERE https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527433875764-M0J0TVKC7MVSB0GPPPLA/New+Turn.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - NEW TURN LINCOLN SQUARE | 3:15 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527433892313-494GFQT0Q7B56CNINZ1E/Supa+Modo.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - SUPA MODO SIFF CINEMA UPTOWN | 3:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527433916335-36T5159C2OAJC297MZYG/Captain%2C+The.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - THE CAPTAIN SHORELINE COMMUNITY COLLEGE | 3:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527437109794-89BP4V03P74G8AUDUMWW/Ruben+Blades+Is+Not+My+Name.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - RUBÉN BLADES IS NOT MY NAME SIFF CINEMA UPTOWN | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527437145273-1YPU16RVKAYF3MJ886FJ/Oslo+Diaries%2C+The.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - THE OSLO DIARIES PACIFIC PLACE | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527437333117-5FPO37ZVVDPCQ8EQ374E/Boundaries_Still3.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - BOUNDARIES SIFF CINEMA UPTOWN | 5:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527434161322-H9LAEU713GMJMT2XPO2G/WithThelma_Still2.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - POST-GAY EVERYDAY SIFF CINEMA UPTOWN | 6:00 PM SHORT FILM PRESENTATION DETAILS HERE https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527434230297-2QT8S3TM9EKS2KE8Q48F/Falling.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - FALLING LINCOLN SQUARE | 6:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527434674413-Q1YTX4N0OB4RXIB7BKQW/Village+Rockstars.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - VILLAGE ROCKSTARS SHORELINE COMMUNITY COLLEGE | 6:15 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527434926245-346FQF9A4EQTBO8MD0ZH/Cuban+Food+Stories.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - CUBAN FOOD STORIES SIFF CINEMA UPTOWN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527434949507-CDKTSFNWXG0R29CS8231/LettheSunshineIn_KeyArt.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - LET THE SUNSHINE IN PACIFIC PLACE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527437385344-OJPCXN5T553J3J1RF5O2/Skate+Kitchen.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - SKATE KITCHEN SIFF EGYPTIAN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527437414818-WY576Y8O224CH8HLJ3QZ/Nervous+Translation.png SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - NERVOUS TRANSLATION SIFF FILM CENTER | 7:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527437434890-PV75KVVZ37XNVRVSTMAQ/Marilyn.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - MARILYN SIFF CINEMA UPTOWN | 8:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527435158120-0IIAHXKFKVNRO64CTDUB/luk_luk_l.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - LUK'LUK'I SIFF CINEMA UPTOWN | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527435240225-A47EVJUZV8L0ZWICLSGC/MademoiselleParadis_KeyArt.jpeg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - MADEMOISELLE PARADIS SHORELINE COMMUNITY COLLEGE | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527435254677-Y3AEDLD5AN2FQTZCI7AT/HalfWidow_KeyArt.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - HALF WIDOW LINCOLN SQUARE | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527435281650-WZCFDA1C1S8ZKM7PL5V8/PunchMe_KeyArt.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - WTF?! SIFF CINEMA UPTOWN | 9:00 PM SHORT FILM PRESENTATION DETAILS HERE https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527437462091-YC7A05KMH1JV21XI7Q1B/Charmer_KeyArt.JPG SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - THE CHARMER PACIFIC PLACE | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527435304300-827HAKKCT0QWWZQKUZ5J/Errementari.jpg SIFF - SIFF 2018 - DAY 11 - MAY 27, 2018 - ERREMENTARI: THE BLACKSMITH AND THE DEVIL SIFF EGYPTIAN | 9:30 PM https://www.shouldiseeit.net/siff2018/2018/three-identical-strangers-siff-2018 monthly 0.5 2018-05-26 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527357383311-69SYY17LWJRRGETVFE1X/Three+Identical+Strangers.jpg SIFF - Three Identical Strangers - SIFF 2018 https://www.shouldiseeit.net/siff2018/2018/pick-of-the-litter-siff-2018 monthly 0.5 2018-05-26 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527353324120-T4JCVOE4UGYB66LXTYWK/PickoftheLitter_KeyArt.jpg SIFF - Pick Of The Litter - SIFF 2018 https://www.shouldiseeit.net/siff2018/2018/siff-2018-day-10-may-26-2018 monthly 0.5 2018-05-26 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527347944421-1JPR11PV0ENMUBO3BWZP/Making+The+Grade.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - MAKING THE GRADE SIFF EGYPTIAN | 11:00 AM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527347958259-VC8P2CO45J6N445YDTZG/John+McEnroe....jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - JOHN MCENROE: IN THE REALM OF PERFECTION PACIFIC PLACE | 11:00 AM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527348021213-AXPT3NBES7TB9V38O54N/ShootfortheMoon_KeyArt.png SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - THE FAMILY PICTURE SHOW SIFF CINEMA UPTOWN | 11:30 AM SHORT FILM PRESENTATION DETAILS HERE https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527348044739-VEUR0DOYTWJN9AD3EZKQ/Unarmed+Verses.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - UNARMED VERSES SIFF CINEMA UPTOWN | NOON https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527348072523-LYOKP0VRDPMM5Y4WBNZV/WetheAnimals_KeyArt.JPG SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - WE THE ANIMALS SIFF CINEMA UPTOWN | 12:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527348155674-49CO8YGIRVOTRNZX7Z9Z/Bee+Nation.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - BEE NATION SHORELINE COMMUNITY COLLEGE | 1:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527351384856-WPU49QCWQHPA5FGDLYQ4/LoveEducation_Still4.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - LOVE EDUCATION LINCOLN SQUARE | 1:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527351433115-3U8MMEJ8XNN2SKB9B3OH/Love+Gilda.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - LOVE, GILDA PACIFIC PLACE | 1:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527348261501-BZ7SIDRAJDDZW798XRBC/MademoiselleParadis_KeyArt.jpeg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - MADEMOISELLE PARADIS SIFF EGYPTIAN | 1:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527348276391-O4J17YBWW9JMDNX28KUS/CrossMyHeart_still3.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - ADVENTURES IN THE UNKNOWN SIFF CINEMA UPTOWN | 2:30 PM SHORT FILM PRESENTATION DETAILS HERE https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527348302900-7M9ALAS7RFRJRAGKWU1O/Miseducation+Of+Cameron+Post.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - THE MISEDUCATION OF CAMERON POST SIFF CINEMA UPTOWN | 3:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527348314324-ME9T256R773H1F5CP9DY/Cake+General.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - CAKE GENERAL SHORELINE COMMUNITY COLLEGE | 3:15 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527348332421-O6NJIAV1I1JXJ9SINU31/Faces+of+Zandra+Rhodes%2C+The.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - THE FACES OF ZANDRA RHODES SIFF CINEMA UPTOWN | 3:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527348344477-YA4VTXLXM44TGJWCSZG5/On+Borrowed+Time.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - ON BORROWED TIME LINCOLN SQUARE | 3:45 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527348403945-3FWLAGGJW4C1JDRKXUX3/LettheSunshineIn_KeyArt.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - LET THE SUNSHINE IN SIFF EGYPTIAN | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527351460570-D5X8KTNLYSPSPR4GQ68J/THE+PLACE_photo+%2814%29.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - THE PLACE PACIFIC PLACE | 4:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527348542382-W9N4TCCDYL0E86K8I2J3/lastvirgin_still4.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - ¡TAPAS! SIFF CINEMA UPTOWN | 5:30 PM SHORT FILM PRESENTATION DETAILS HERE https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527351527233-9RJ56YA9PLB9D7HI0B12/alg-03132.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - AFTER THE WAR SHORELINE COMMUNITY COLLEGE | 5:45 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527348627517-HMAQ6E6QRAY6IDHQ4D9P/Time+Trial.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - TIME TRIAL LINCOLN SQUARE | 6:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527348725019-EE6M397G1BG8YJGJBZAR/Won_t+You+Be+My+Neighbor.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - WON'T YOU BE MY NEIGHBOR? SIFF CINEMA UPTOWN | 6:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527348641817-IS3MASGK5Q72RWDAW28H/Summer+1993.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - SUMMER 1993 SIFF EGYPTIAN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527351560344-TN5DTM6BUXZFBWFK0Z3I/WarriorWomen_KeyArt.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - WARRIOR WOMEN SIFF CINEMA UPTOWN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527348835761-JCEGHQYQ1FI0VRRVK8IL/A+Kid+Like+Jake.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - A KID LIKE JAKE PACIFIC PLACE | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527351582484-1SGAQ1YWV8FUGDBR897B/InPraiseofNothing_KeyArt.jpeg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - IN PRAISE OF NOTHING SIFF FILM CENTER | 7:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527348866557-ZGVV2VZAORUJPTFGEEUN/Hot+Mess.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - HOT MESS SHORELINE COMMUNITY COLLEGE | 8:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527351605616-9T2COG2MP264CMKT6FKB/It+Will+Be+Chaos.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - IT WILL BE CHAOS SIFF CINEMA UPTOWN | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527349060503-PH4LDJUYO03R31H7NCLC/happybirthday_01.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - HAPPY BIRTHDAY LINCOLN SQUARE | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527349077585-THLFU02N2ZK3AMHB49PI/Bold%2C+The+Corrupt....jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - THE BOLD, THE CORRUPT, AND THE BEAUTIFUL SIFF EGYPTIAN | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527351630946-T1ZMPE7V1P9QY885MY18/Nico+1988.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - NICO, 1988 SIFF CINEMA UPTOWN | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527349199773-L03WIDTU3G14F77V8GA1/Devils+Doorway+-+a.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - THE DEVIL'S DOORWAY PACIFIC PLACE | 9:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527351657425-QIA2JLSNN6T46CNKLQ57/LittleDonnie%28TheTenInchTerror%29_KeyArt.jpg SIFF - SIFF 2018 - DAY 10 - MAY 26, 2018 - TERROR INTERNATIONALE SIFF CINEMA UPTOWN | 9:30 PM SHORT FILM PRESENTATION DETAILS HERE https://www.shouldiseeit.net/siff2018/2018/siff-2018-day-9-may-25-2018 monthly 0.5 2018-05-25 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527280049375-JL7DKQ6PJAWX4V8SNTUR/Angels+Wear+White.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - ANGELS WEAR WHITE PACIFIC PLACE | 11:00 AM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527280062286-5UYCNC55FWE4T58005HJ/Edward+II.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - EDWARD II SIFF CINEMA UPTOWN | 12:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527275212474-768D9365KGEZ9A9ZZAI9/FireinCardboardCity_KeyArt.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - GLOBAL FRAMES SIFF CINEMA UPTOWN | 1:00 PM SHORT FILM PRESENTATION DETAILS HERE https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527275238732-1BE7PVRN03V768SFLSQN/Summer+1993.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - SUMMER 1993 SIFF CINEMA UPTOWN | 1:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527280084974-0DEEP4CWSZC6LTKCY521/Razzia.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - RAZZIA PACIFIC PLACE | 1:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527275333238-T1EYXQ1ZGMF05EB43OWV/firstbloom_KeyArt.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - KEEP IT IN THE FAMILY SIFF CINEMA UPTOWN | 3:30 PM SHORT FILM PRESENTATION DETAILS HERE https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527275347286-YR9F95U7N0628JMP8WYY/Breath.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - BREATH SIFF CINEMA UPTOWN | 3:45 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527280101381-ADUM201TG3LRIA3P81QC/Antonio+Lopez.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - ANTONIO LOPEZ 1970: SEX, FASHION & DISCO PACIFIC PLACE | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527275374267-MOSNYVEHQOD8W74HS2VL/LastSuit_KeyArt.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - THE LAST SUIT SIFF EGYPTIAN | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527275388351-SMIFN1C7DVGCH58FU1R6/Nancy.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - NANCY SIFF CINEMA UPTOWN | 4:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527275430591-3PCULG3W23ICQJ0ECQPF/Unarmed+Verses.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - UNARMED VERSES SIFF CINEMA UPTOWN | 6:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527275440856-8PQ0PZCI068NG4E0WTYE/Something+Useful.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - SOMETHING USEFUL LINCOLN SQUARE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527275500685-ULGFAKAIOY9VMV1MM61N/Miseducation+Of+Cameron+Post.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - THE MISEDUCATION OF CAMERON POST SIFF CINEMA UPTOWN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527275536999-XGKACVWEX1SGZ7U9XR5D/Third+Murder.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - THE THIRD MURDER SIFF EGYPTIAN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527275553633-7JXCO050O6TO1AOOEY53/WetheAnimals_KeyArt.JPG SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - WE THE ANIMALS PACIFIC PLACE | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527275584871-AHSESKOWBRLIWN0TYLTQ/caroline_still2.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - WHO RUNS THE WORLD? SIFF CINEMA UPTOWN | 7:00 PM SHORT FILM PRESENTATION DETAILS HERE https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527280130774-XPNKXPR8Z8G9UTYACUN5/InPraiseofNothing_KeyArt.jpeg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - IN PRAISE OF NOTHING SIFF FILM CENTER | 7:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527280149671-12TRI9NOYQVYMVKR2UBK/2018_20_film.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - ON CHESIL BEACH SHORELINE COMMUNITY COLLEGE | 7:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527280169547-7WMFX50F5OGZEAQGVY34/Skin+So+Soft%2C+A.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - A SKIN SO SOFT SIFF CINEMA UPTOWN | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527275627788-91IESS2525A38M2501YP/Kiss+And+Spell.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - KISS & SPELL LINCOLN SQUARE | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527280189231-P5UVV5YGOJRRUSDRO1L4/TheDriverIsRed_still2.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - ANIMATION4ADULTS SIFF CINEMA UPTOWN | 9:00 PM SHORT FILM PRESENTATION DETAILS HERE https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527275715006-VKG3Q5833A4HP2WUJ1UE/Captain%2C+The.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - THE CAPTAIN SIFF EGYPTIAN | 9:15 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527275747106-WF5OJ97SRNPGOCNI06G9/Waru.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - WARU PACIFIC PLACE | 9:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527275755333-RCFSF7UA9KTMBZAFHY46/Guilty%2C+The.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - THE GUILTY SIFF CINEMA UPTOWN | 9:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527275877975-3ZWBBY2KPEY73VE84Q52/Devils+Doorway+-+a.jpg SIFF - SIFF 2018 - DAY 9 - MAY 25, 2018 - THE DEVIL'S DOORWAY SIFF EGYPTIAN | 11:55 PM https://www.shouldiseeit.net/siff2018/2018/hearts-beat-loud-siff-2018 monthly 0.5 2018-06-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527192964539-TKEAKX6BQNQJ08VGB6ER/Hearts+Beat+Loud.jpg SIFF - Hearts Beat Loud - SIFF 2018 https://www.shouldiseeit.net/siff2018/2018/first-reformed-siff-2018 monthly 0.5 2018-05-24 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527194239084-12CKHEGSJTDJRI8RRFI1/First+Reformed.jpg SIFF - First Reformed - SIFF 2018 https://www.shouldiseeit.net/siff2018/2018/rust-siff-2018-1 monthly 0.5 2018-05-24 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527191218655-9TEZ2XL22P8U5MY0DNAP/Rust.jpg SIFF - Rust - SIFF 2018 https://www.shouldiseeit.net/siff2018/2018/siff-2018-day-8-may-24-2018 monthly 0.5 2018-05-24 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527181945734-R0E1YX8YHA6H8VV47TU8/Ava.jpg SIFF - SIFF 2018 - DAY 8 - MAY 24, 2018 - AVA SIFF CINEMA UPTOWN | 3:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527186686668-E7O2763FFXHM5QS3LCT2/12+Mme+AFRIQUE+et+1er+mMinistre+Plage.jpg SIFF - SIFF 2018 - DAY 8 - MAY 24, 2018 - THE AFRICAN STORM SIFF CINEMA UPTOWN | 3:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527185940372-AFUQAZKYP8XZFRPB0806/Prospect.jpg SIFF - SIFF 2018 - DAY 8 - MAY 24, 2018 - PROSPECT SIFF CINEMA UPTOWN | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527181989517-44BQEQHFXJ8IQUYTVGX4/Streaker.jpg SIFF - SIFF 2018 - DAY 8 - MAY 24, 2018 - STREAKER PACIFIC PLACE | 4:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527182044434-41PBI1029P6GQE741BSL/Something+Useful.jpg SIFF - SIFF 2018 - DAY 8 - MAY 24, 2018 - SOMETHING USEFUL SIFF CINEMA UPTOWN | 6:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527186059467-FI1RPT0UX6OUOKN6SPNF/THE-POETESS_MP-01.jpg SIFF - SIFF 2018 - DAY 8 - MAY 24, 2018 - THE POETESS LINCOLN SQUARE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527184490841-WITWZ1L396N13K7VQ8J9/Faces+of+Zandra+Rhodes%2C+The.jpg SIFF - SIFF 2018 - DAY 8 - MAY 24, 2018 - THE FACES OF ZANDRA RHODES SIFF CINEMA UPTOWN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527184503979-BAH37RJ0OSYPMTFTWJB2/MatangiMayaMIA_KeyArt.jpg SIFF - SIFF 2018 - DAY 8 - MAY 24, 2018 - MATANGI / MAYA / M.I.A. ARK LODGE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527185976282-K4V7GUREXKGV9OP6KRE4/Love+Gilda.jpg SIFF - SIFF 2018 - DAY 8 - MAY 24, 2018 - LOVE, GILDA SIFF EGYPTIAN | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527185555924-QDWQ10OXFPNF5FC3MKKG/OnMondayofLastWeek_KeyArt.jpg SIFF - SIFF 2018 - DAY 8 - MAY 24, 2018 - SHORTSFEST OPENING NIGHT GALA SIFF CINEMA UPTOWN | 7:00 PM DETAILS HERE https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527184811119-DLPQPGQPZMYKJJPJGN9M/Nancy.jpg SIFF - SIFF 2018 - DAY 8 - MAY 24, 2018 - NANCY PACIFIC PLACE | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527186784034-T0YWLQ7DF6YUYZ7Q4J6X/THE+PLACE_photo+%2814%29.jpg SIFF - SIFF 2018 - DAY 8 - MAY 24, 2018 - THE PLACE LINCOLN SQUARE | 8:45 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527186366423-SQIL5HWAC07C5IECYTRR/John+McEnroe....jpg SIFF - SIFF 2018 - DAY 8 - MAY 24, 2018 - JOHN MCENROE: IN THE REALM OF PERFECTION SIFF CINEMA UPTOWN | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527185657358-U55YZYT9IRQVAAC7XE14/mobile_homes-3_h_2017.jpg SIFF - SIFF 2018 - DAY 8 - MAY 24, 2018 - MOBILE HOMES ARK LODGE | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527185694088-P9S59WJD1V4TLUAA2SRQ/Impassenger_KeyArt.jpg SIFF - SIFF 2018 - DAY 8 - MAY 24, 2018 - ALT SHORTS PROGRAM SIFF CINEMA UPTOWN | 9:15 PM DETAILS HERE https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527185769835-KKFSNI9MWBIU2OK39UCL/Breath.jpg SIFF - SIFF 2018 - DAY 8 - MAY 24, 2018 - BREATH SIFF CINEMA UPTOWN | 9:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527186530721-OI770I1LX2U0XZH9V0O8/See+You+Up+There+-+b.jpg SIFF - SIFF 2018 - DAY 8 - MAY 24, 2018 - SEE YOU UP THERE SIFF EGYPTIAN | 9:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527185790409-9O7R9XJ2GBHVBVN37VT8/Valley+Of+Shadows.jpg SIFF - SIFF 2018 - DAY 8 - MAY 24, 2018 - VALLEY OF SHADOWS PACIFIC PLACE | 9:30 PM https://www.shouldiseeit.net/siff2018/2018/siff-2018-day-7-may-23-2018-xhfws monthly 0.5 2018-05-23 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527008724282-YCVWPEYBUMC6AZZ9KBW0/On+Her+Shoulders.jpg SIFF - SIFF 2018 - DAY 7 - MAY 23, 2018 - ON HER SHOULDERS SIFF CINEMA UPTOWN | 3:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527010387477-8P7P3FEO4S5SSYX0ABEV/One+Of+These+Days.jpg SIFF - SIFF 2018 - DAY 7 - MAY 23, 2018 - ONE OF THESE DAYS SIFF CINEMA UPTOWN | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527011050254-KZOOLMF28P9GYF9KB8DT/HardPaint_Still2.jpg SIFF - SIFF 2018 - DAY 7 - MAY 23, 2018 - HARD PAINT PACIFIC PLACE | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527009632786-L1PVNMME2OKUCN17YYK6/PickoftheLitter_KeyArt.jpg SIFF - SIFF 2018 - DAY 7 - MAY 23, 2018 - PICK OF THE LITTER MAJESTIC BAY | 4:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527009644940-VHES0H4RIYTF52X8PKSP/Three+Identical+Strangers.jpg SIFF - SIFF 2018 - DAY 7 - MAY 23, 2018 - THREE IDENTICAL STRANGERS SIFF CINEMA UPTOWN | 4:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527009661413-A6ZA48699RTBYTO5CFDB/Michelin+Stars.jpg SIFF - SIFF 2018 - DAY 7 - MAY 23, 2018 - MICHELIN STARS: TALES FROM THE KITCHEN SIFF CINEMA UPTOWN | 6:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527011000755-8OH7E0QV8BDWOVAHO6DA/Highlander.jpg SIFF - SIFF 2018 - DAY 7 - MAY 23, 2018 - HIGHLANDER SIFF EGYPTIAN | 6:30 PM PRESENTED WITH A LIVE SCORE, PERFORMED BY DJ NICFIT https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527009773773-R6SI4OQ79TUULZK6222W/Ava.jpg SIFF - SIFF 2018 - DAY 7 - MAY 23, 2018 - AVA LINCOLN SQUARE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527009805874-HN65IYVK475LL700XNT5/6+Ezo+bureau.jpg SIFF - SIFF 2018 - DAY 7 - MAY 23, 2018 - THE AFRICAN STORM ARK LODGE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527009976885-0P7QTZFJU2U8XSRM69ZA/MatangiMayaMIA_KeyArt.jpg SIFF - SIFF 2018 - DAY 7 - MAY 23, 2018 - MATANGI / MAYA / M.I.A. SIFF CINEMA UPTOWN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527009989836-H60SXPJJWEOD28NMG4DA/LastSuit_KeyArt.jpg SIFF - SIFF 2018 - DAY 7 - MAY 23, 2018 - THE LAST SUIT SIFF CINEMA UPTOWN | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527010007300-4KE6B61GRJUT5EJEEBIG/Luna.jpg SIFF - SIFF 2018 - DAY 7 - MAY 23, 2018 - LUNA MAJESTIC BAY | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527011074446-55F5O6H0XLNQJ1WZWMY6/Antonio+Lopez.jpg SIFF - SIFF 2018 - DAY 7 - MAY 23, 2018 - ANTONIO LOPEZ 1970: SEX, FASHION & DISCO PACIFIC PLACE | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527010036662-5G2LWXLV91H2HM5SG82V/Death+Of+A+Poetess.jpg SIFF - SIFF 2018 - DAY 7 - MAY 23, 2018 - DEATH OF A POETESS SIFF CINEMA UPTOWN | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527010065274-3RFASDOH8GNG4QWTKGK0/Queerama_Option2.jpg SIFF - SIFF 2018 - DAY 7 - MAY 23, 2018 - QUEERAMA ARK LODGE | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527010088861-F35RGA5MS1F889SDB3Y1/Kiss+And+Spell.jpg SIFF - SIFF 2018 - DAY 7 - MAY 23, 2018 - KISS & SPELL SIFF CINEMA UPTOWN | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527010109427-AP10IZU4XTZ54DIEU20X/Valley+Of+Shadows.jpg SIFF - SIFF 2018 - DAY 7 - MAY 23, 2018 - VALLEY OF SHADOWS MAJESTIC BAY | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527010137483-O2NHLO6JA0IDGAVI6J5U/ikitie_pressi_18.jpg SIFF - SIFF 2018 - DAY 7 - MAY 23, 2018 - THE ETERNAL ROAD LINCOLN SQUARE | 9:15 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527010147322-UFFC1L9I6HZGUFFIU5RI/Nervous+Translation.png SIFF - SIFF 2018 - DAY 7 - MAY 23, 2018 - NERVOUS TRANSLATION PACIFIC PLACE | 9:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527010158332-NBNP8U2VGJ5CMKAUGJZ1/Errementari.jpg SIFF - SIFF 2018 - DAY 7 - MAY 23, 2018 - ERREMENTARI: THE BLACKSMITH AND THE DEVIL SIFF EGYPTIAN | 9:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527010179934-1L9ODZ7LFQ4XSC1DS58J/Sower%2C+The.jpg SIFF - SIFF 2018 - DAY 7 - MAY 23, 2018 - THE SOWER SIFF CINEMA UPTOWN | 9:30 PM https://www.shouldiseeit.net/siff2018/2018/tigers-are-not-afraid-siff-2018 monthly 0.5 2018-05-22 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526679959708-TKX551HUA92D98RZN35W/Tigers+Are+Not+Afraid.jpeg SIFF - Tigers Are Not Afraid - SIFF 2018 https://www.shouldiseeit.net/siff2018/2018/death-of-a-poetess-siff-2018 monthly 0.5 2018-05-22 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527020375673-UL6X9L8JU6D2K84MYZDV/Death+Of+A+Poetess.jpg SIFF - DEATH OF A POETESS - SIFF 2018 https://www.shouldiseeit.net/siff2018/2018/streaker-siff-2018 monthly 0.5 2018-05-22 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1527020289399-8R8U3HHXEWPT1L7IT6JG/Streaker.jpg SIFF - STREAKER - SIFF 2018 https://www.shouldiseeit.net/siff2018/2018/siff-2018-day-6-may-22-2018 monthly 0.5 2018-05-22 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526871431873-EZWAL8QPAE6QGS0YQXNE/Other+Side+of+Everything%2C+The.jpg SIFF - SIFF 2018 - DAY 6 - MAY 22, 2018 - THE OTHER SIDE OF EVERYTHING SIFF CINEMA UPTOWN | 3:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526871450352-WFR52YSAPY9BZW5C0QD1/I+Am+Not+A+Witch.jpg SIFF - SIFF 2018 - DAY 6 - MAY 22, 2018 - I AM NOT A WITCH SIFF CINEMA UPTOWN | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526873671412-6YSW7HCKMU0UV75LCBDF/ManofIntegrity_KeyArt.jpg SIFF - SIFF 2018 - DAY 6 - MAY 22, 2018 - A MAN OF INTEGRITY SIFF CINEMA UPTOWN | 4:15 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526871512086-XSZFPU9QGJW6KB0I45XQ/Looking+For.jpg SIFF - SIFF 2018 - DAY 6 - MAY 22, 2018 - LOOKING FOR? PACIFIC PLACE | 4:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526873437452-8OCK22M1K75HWF97UM3I/Three+Peaks.jpg SIFF - SIFF 2018 - DAY 6 - MAY 22, 2018 - THREE PEAKS MAJESTIC BAY | 4:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526871644369-N9NQ6LHA534Z3ZHX56Q7/On+Her+Shoulders.jpg SIFF - SIFF 2018 - DAY 6 - MAY 22, 2018 - ON HER SHOULDERS SIFF CINEMA UPTOWN | 6:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526871677283-XUB80Q28U666OCKVETBW/SOUFRA+Film+Still_Women+In+Kitchen.jpg SIFF - SIFF 2018 - DAY 6 - MAY 22, 2018 - SOUFRA ARK LODGE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526871777519-R5PR1G7M881C99NYL042/Making+The+Grade.jpg SIFF - SIFF 2018 - DAY 6 - MAY 22, 2018 - MAKING THE GRADE SIFF CINEMA UPTOWN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526873698010-G8FFT8RLELWA1NE38JU2/See+You+Up+There+-+b.jpg SIFF - SIFF 2018 - DAY 6 - MAY 22, 2018 - SEE YOU UP THERE LINCOLN SQUARE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526871895437-XX2UFXAU1HX5BIPA2JX5/On+Borrowed+Time.jpg SIFF - SIFF 2018 - DAY 6 - MAY 22, 2018 - ON BORROWED TIME PACIFIC PLACE | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526871945980-7AA5XRINIBGP0ZQRJGV9/Three+Identical+Children.jpg SIFF - SIFF 2018 - DAY 6 - MAY 22, 2018 - THREE IDENTICAL STRANGERS SIFF EGYPTIAN | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526873722766-2MRUDJ0GCTYCBCQGKZV9/First+Reformed.jpg SIFF - SIFF 2018 - DAY 6 - MAY 22, 2018 - FIRST REFORMED SIFF CINEMA UPTOWN | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526871817129-AA852CM9H8SDRATRN8W9/Mountain.jpg SIFF - SIFF 2018 - DAY 6 - MAY 22, 2018 - MOUNTAIN MAJESTIC BAY | 7:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526873742181-NUY17QHOQP6H0Y33FEWZ/Rust.jpg SIFF - SIFF 2018 - DAY 6 - MAY 22, 2018 - RUST ARK LODGE | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526873765253-FJUWGFLUH5L5UENLICXL/Edward+II.jpg SIFF - SIFF 2018 - DAY 6 - MAY 22, 2018 - EDWARD II SIFF CINEMA UPTOWN | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526872369850-B8UDHKQMRE16IILU1M6J/ikitie_pressi_18.jpg SIFF - SIFF 2018 - DAY 6 - MAY 22, 2018 - THE ETERNAL ROAD SIFF CINEMA UPTOWN | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526872499479-PI8WHGKPNFGL1RXJM7DS/GodardMonAmour_KeyArt.jpg SIFF - SIFF 2018 - DAY 6 - MAY 22, 2018 - GODARD MON AMOUR MAJESTIC BAY | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526873040492-9WTY7U2MLX5QFJE9C5XA/Lemonade.jpg SIFF - SIFF 2018 - DAY 6 - MAY 22, 2018 - LEMONADE LINCOLN SQUARE | 9:15 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526872507049-Z4EYGTKT01F1LR5RIPO9/Industrial+Accident.jpg SIFF - SIFF 2018 - DAY 6 - MAY 22, 2018 - INDUSTRIAL ACCIDENT - THE STORY OF WAX TRAX! RECORDS SIFF EGYPTIAN | 9:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526873798832-TQF3LZVQS2D6I0W7OL11/HardPaint_Still2.jpg SIFF - SIFF 2018 - DAY 6 - MAY 22, 2018 - HARD PAINT PACIFIC PLACE | 9:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526872520720-SUL6AKCFFAOEDEZW5N0H/Streaker.jpg SIFF - SIFF 2018 - DAY 6 - MAY 22, 2018 - STREAKER SIFF CINEMA UPTOWN | 9:30 PM https://www.shouldiseeit.net/siff2018/2018/summer-1993-siff-2018 monthly 0.5 2018-05-22 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526948001124-5A4JW72EYXILO0IY62HZ/Summer+1993.jpg SIFF - Summer 1993 - SIFF 2018 https://www.shouldiseeit.net/siff2018/2018/afghan-cycles-siff-2018 monthly 0.5 2018-05-22 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526946772018-U16T53SS3ZLGRBWRFM9U/Afghan+Cycles.jpg SIFF - Afghan Cycles - SIFF 2018 https://www.shouldiseeit.net/siff2018/2018/ogn6jsy37lrk9elhrmvcbff135bi4v monthly 0.5 2018-05-21 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526941643849-GGM1C0NJMT9GJ446NBLW/AmericanAnimals.jpg SIFF - American Animals - SIFF 2018 https://www.shouldiseeit.net/siff2018/2018/siff-2018-day-5-may-21-2018 monthly 0.5 2018-05-22 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526868884187-CRN3WDGMQF86VZ23E8V3/Skin+So+Soft%2C+A.jpg SIFF - SIFF 2018 - DAY 5 - MAY 21, 2018 - A SKIN SO SOFT SIFF CINEMA UPTOWN | 3:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526867687902-PFSKFTKW6GAP6WCX3SFV/Afghan+Cycles.jpg SIFF - SIFF 2018 - DAY 5 - MAY 21, 2018 - AFGHAN CYCLES SIFF CINEMA UPTOWN | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526867757070-M22S1DFXS8J1XHL763BN/Luna.jpg SIFF - SIFF 2018 - DAY 5 - MAY 21, 2018 - LUNA SIFF CINEMA UPTOWN | 4:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526868956867-ABL5MHVJ96PRVGABKAR4/Green+Days+By+The+River.jpg SIFF - SIFF 2018 - DAY 5 - MAY 21, 2018 - GREEN DAYS BY THE RIVER PACIFIC PLACE | 4:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526867887214-XY34ZCP7U2A3BK3XGNT8/Scotch+A+Golden+Dream.jpg SIFF - SIFF 2018 - DAY 5 - MAY 21, 2018 - SCOTCH - A GOLDEN DREAM MAJESTIC BAY | 4:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526867961723-UOOWLIQXP9ZR72PTRGPV/One+Of+These+Days.jpg SIFF - SIFF 2018 - DAY 5 - MAY 21, 2018 - ONE OF THESE DAYS SIFF CINEMA UPTOWN | 6:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526869096276-OAG2M8NTLP1NIGRV6LIM/Disobedience.jpg SIFF - SIFF 2018 - DAY 5 - MAY 21, 2018 - DISOBEDIENCE ARK LODGE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526868000665-8T86PPCY2MKP5MZIZB0Y/THE-POETESS_MP-01.jpg SIFF - SIFF 2018 - DAY 5 - MAY 21, 2018 - THE POETESS SIFF CINEMA UPTOWN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526868056443-NS2UO6C3WL5WPPFWKUL3/Michelin+Stars.jpg SIFF - SIFF 2018 - DAY 5 - MAY 21, 2018 - MICHELIN STARS: TALES FROM THE KITCHEN LINCOLN SQUARE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526869399534-HN5Z18E2H4DDWYJDCYCX/See+You+Up+There+-+b.jpg SIFF - SIFF 2018 - DAY 5 - MAY 21, 2018 - SEE YOU UP THERE SIFF CINEMA UPTOWN | 6:45 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526869927216-JMQ35B1ISU5UTUYAQ1K9/WarriorWomen_KeyArt.jpg SIFF - SIFF 2018 - DAY 5 - MAY 21, 2018 - WARRIOR WOMEN MAJESTIC BAY | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526868190063-FS44WZKC8U7ATCZP71D8/Looking+For.jpg SIFF - SIFF 2018 - DAY 5 - MAY 21, 2018 - LOOKING FOR? PACIFIC PLACE | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526868208742-BATIP5E2ZQJ1H0I7MOKR/Mountain.jpg SIFF - SIFF 2018 - DAY 5 - MAY 21, 2018 - MOUNTAIN SIFF EGYPTIAN | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526868246861-6HFWQR13I5N7JSHHJ4H7/GARBAGE+BTS55.jpg SIFF - SIFF 2018 - DAY 5 - MAY 21, 2018 - GARBAGE SIFF CINEMA UPTOWN | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526868396522-W7RAVJIV4I4N4OBASMHF/That+Summer.png SIFF - SIFF 2018 - DAY 5 - MAY 21, 2018 - THAT SUMMER ARK LODGE | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526868424366-CE0JZXELI86BIAWZZEG1/FakeTattoos_KeyArt.jpg SIFF - SIFF 2018 - DAY 5 - MAY 21, 2018 - FAKE TATTOOS SIFF CINEMA UPTOWN | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526868508223-0L2KEM03PDLCSWKKRHKZ/I+Am+Not+A+Witch.jpg SIFF - SIFF 2018 - DAY 5 - MAY 21, 2018 - I AM NOT A WITCH SIFF EGYPTIAN | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526869717582-TMSHMYWCO54TCGX0MJGV/ManofIntegrity_KeyArt.jpg SIFF - SIFF 2018 - DAY 5 - MAY 21, 2018 - A MAN OF INTEGRITY MAJESTIC BAY | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526868617143-YBF644ZEBX9HQU1EKYO3/Song+Of+Scorpions.jpg SIFF - SIFF 2018 - DAY 5 - MAY 21, 2018 - THE SONG OF SCORPIONS LINCOLN SQUARE | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526869783503-GWKN7BTEOEHSRUG64FZH/Beast.jpg SIFF - SIFF 2018 - DAY 5 - MAY 21, 2018 - BEAST PACIFIC PLACE | 9:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526868683569-62ROMZB2MIPXUG9R6VH4/Bloody+Milk.jpg SIFF - SIFF 2018 - DAY 5 - MAY 21, 2018 - BLOODY MILK SIFF CINEMA UPTOWN | 9:30 PM https://www.shouldiseeit.net/siff2018/2018/siff-2018-day-4-may-20-2018 monthly 0.5 2018-05-21 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526838841038-1FJNOG0ZT8P9SWJ2AQT4/Looking+For+Oum+Kulthum.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - LOOKING FOR OUM KULTHUM PACIFIC PLACE | 11:00 AM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526838859944-PVVPE20KTXK0EGEPG9AH/Capture8.JPG SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - MOOMINS AND THE WINTER WONDERLAND SIFF CINEMA UPTOWN | 11:30 AM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526841049787-VOWOV7IDBJYNSKBUPY17/Greenaway+Alphabet%2C+The+-+a.png SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - THE GREENAWAY ALPHABET SIFF CINEMA UPTOWN | 12:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526841065183-FT9EB7UUHWAUE4UQNXUH/Catwalk.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - CATWALK: TALES FROM THE CAT SHOW CIRCUIT SIFF CINEMA UPTOWN | 1:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526841083686-9LNXYD6FDNW1TWOMZ2E4/BelleandSebastianFriendsforLife.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - BELLE AND SEBASTIAN, FRIENDS FOR LIFE LINCOLN SQUARE | 1:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526841101870-L3U4H4Q8XKKX27C2DCF5/Hearts+Beat+Loud.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - HEARTS BEAT LOUD MAJESTIC BAY | 1:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526838967431-VHK2XK778KFH5ID0N7VT/AmericanAnimals.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - AMERICAN ANIMALS PACIFIC PLACE | 1:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526838992803-5W8BTBO7P47FZ7R7YVOH/Cake+General.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - CAKE GENERAL SIFF EGYPTIAN | 1:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526841119709-ALV4SAOXPFQ15QJ8X5XW/Death+Of+A+Poetess.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - DEATH OF A POETESS ARK LODGE | 1:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526841136316-ZK3PU292FY8I7BSKWLJH/Sansho+The+Bailiff.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - SANSHO THE BAILIFF SIFF CINEMA UPTOWN | 2:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526839157589-NPLSKSIUHN4ZCY772MDN/Maki%27la.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - MAKI'LA SIFF CINEMA UPTOWN | 3:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526839169286-JD1YQFUDPH3WPIMHPF8S/FakeTattoos_KeyArt.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - FAKE TATTOOS ARK LODGE | 3:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526839185812-55SQNBKI6AA8GWBG4OQA/Under+The+Tree.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - UNDER THE TREE SIFF CINEMA UPTOWN | 3:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526841169097-8JHJDXWGTBFRHMWWS161/Schumann%27s+Bar+Talks.jpeg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - SCHUMANN'S BAR TALKS MAJESTIC BAY | 3:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526839326965-7AAAZZS67V7H5VFN31A9/People+Republic+of+Desire.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - PEOPLE'S REPUBLIC OF DESIRE LINCOLN SQUARE | 3:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526841186844-5R0XCTYAD56XKVOC3VHD/Blindspotting.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - BLINDSPOTTING SIFF EGYPTIAN | 4:15 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526839363462-PVX1L06TU31063IYFX8S/Return_KeyArt.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - THE RETURN PACIFIC PLACE | 4:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526839383321-76QT4MH62FHAU31KRGUJ/Suleiman+Mountain.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - SULEIMAN MOUNTAIN SIFF CINEMA UPTOWN | 5:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526839466256-9XOH3LP9ADE2JPAR3JG2/Supa+Modo.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - SUPA MODO ARK LODGE | 6:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526839517099-NIW41Z2OA1DP3MM6RQE6/Afghan+Cycles.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - AFGHAN CYCLES SIFF CINEMA UPTOWN | 6:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526839530332-339CSVC30V7L91ANJTSP/Russian+Five%2C+The.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - THE RUSSIAN FIVE MAJESTIC BAY | 6:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526839542052-K49U5RIRUR22AZ06JETE/Butterflies.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - BUTTERFLIES LINCOLN SQUARE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526839560228-CTNNAEGF40XFL52P6IS2/Most+Unknown%2C+The.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - THE MOST UNKNOWN SIFF CINEMA UPTOWN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526841256808-660FQD8D3ILSEVIXQK1X/Disobedience.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - DISOBEDIENCE SIFF EGYPTIAN | 6:45 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526839677894-WXK07KDC7P0UV7YSY9CP/GodardMonAmour_KeyArt.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - GODARD MON AMOUR PACIFIC PLACE | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526841304864-ZB3FGPIE909YAAIAR2QK/Green+Days+By+The+River.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - GREEN DAYS BY THE RIVER SIFF CINEMA UPTOWN | 8:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526841324821-VD54NZ50K7PBUYOTOSTK/Beast.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - BEAST ARK LODGE | 8:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526841345736-YPJKPN3ZK6NZFEBOM02B/Team+Hurricane.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - TEAM HURRICANE SIFF CINEMA UPTOWN | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526839826573-0M5XFDYP71OANC6Q43EO/What+Will+People+Say.png SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - WHAT WILL PEOPLE SAY MAJESTIC BAY | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526841375311-YXR5AI1U5JMIKIY8XNRY/GARBAGE+BTS15.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - GARBAGE LINCOLN SQUARE | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526839934703-1IRUEX9OPIK8ARX619JL/RacerandtheJailbird_KeyArt.jpeg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - RACER AND THE JAILBIRD SIFF CINEMA UPTOWN | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526839936125-I1J3EKPEGMQW6JDGTW9O/Sower%2C+The.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - THE SOWER PACIFIC PLACE | 9:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526841428622-FP8IG6GQISZAFR58QSPG/THE+PLACE_photo+%2814%29.jpg SIFF - SIFF 2018 - DAY 4 - MAY 20, 2018 - THE PLACE SIFF EGYPTIAN | 9:30 PM https://www.shouldiseeit.net/siff2018/2018/siff-2018-day-2-may-18-2018-27-films-tpzdf monthly 0.5 2018-05-19 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526747629752-N9QVRPXKV8FZFDA9SQA2/Eight+Hours+Don_t+Make+A+Day.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - EIGHT HOURS DON'T MAKE A DAY (COMPLETE SERIES) SIFF FILM CENTER | 10:00 AM 478 MINUTES TWO 20-MINUTE INTERMISSIONS INCLUDED https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670825935-R305VKORTVRXVDMFWXH3/FreaksandGeeksTheDocumentary_KeyArt.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - FREAKS & GEEKS: THE DOCUMENTARY SIFF EGYPTIAN | 11:00 AM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526751034924-8SHIABWGY1JYL83X2OKO/Shakedown.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - SHAKEDOWN PACIFIC PLACE | 11:00 AM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526751061265-S77I3ZG9QAE63G61QKKP/BelleandSebastianFriendsforLife.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - BELLE AND SEBASTIAN, FRIENDS FOR LIFE SIFF CINEMA UPTOWN | 11:30 AM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670642421-ZDO5FLM4LW9FFQGJPPH1/alg-03132.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - AFTER THE WAR SIFF CINEMA UPTOWN | NOON https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670730111-VXK121VJPOVWNJDUCSBL/Sweet+Country.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - SWEET COUNTRY SIFF CINEMA UPTOWN | 12:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526748048721-K1HI1T0ONG1BS1E24OD8/Most+Unknown%2C+The.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - THE MOST UNKNOWN LINCOLN SQUARE | 1:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526748071474-ZHX6YAJLR6NZG2GZS0BV/Capture8.JPG SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - MOOMINS AND THE WINTER WONDERLAND MAJESTIC BAY | 1:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526748133203-BKPYR9UZR90RMF4JE1DH/Gold+Seekers.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - GOLD SEEKERS SIFF EGYPTIAN | 1:15 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670992518-M31KO04X4YHISIRKP7ZX/Butterflies.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - BUTTERFLIES SIFF CINEMA UPTOWN | 1:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526671019142-LE9ADYLC95KGHEW5LFOA/Dead+Pigs.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - DEAD PIGS PACIFIC PLACE | 1:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526748256428-BQI2FQ8JC45AJZX9Q3JD/Valley+Of+Shadows.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - VALLEY OF SHADOWS ARK LODGE | 1:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670504752-BD36J7OKB2XUHQMCEDBK/I+Miss+You+When+I+See+You.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - I MISS YOU WHEN I SEE YOU SIFF CINEMA UPTOWN | 2:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670763260-ISOB1SQMFO681Y9U2O4J/Hot+Mess.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - HOT MESS MAJESTIC BAY | 3:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526669663271-LH79WSQQIL6AM6JB76JV/GospelAccordingtoAndre_KeyArt.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - THE GOSPEL ACCORDING TO ANDRÉ LINCOLN SQUARE | 3:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526751092956-36Y5QHSJSZ29N2BNGK6K/Catwalk.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - CATWALK: TALES FROM THE CAT SHOW CIRCUIT SIFF CINEMA UPTOWN | 3:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526669963745-9JW1XP1VD0CKOTALQ43C/Team+Hurricane.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - TEAM HURRICANE ARK LODGE | 3:45 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526751119190-ZYAHWZ724SRFWIDPVAP4/ManofIntegrity_KeyArt.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - A MAN OF INTEGRITY SIFF CINEMA EGYPTIAN | 3:45 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526671067161-Z8ONFLKVU01MYB57SMGY/GoingWest_KeyArt.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - GOING WEST PACIFIC PLACE | 4:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526748950267-FGYU7COO9G5HWZW12UNM/Cake+General.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - CAKE GENERAL MAJESTIC BAY | 5:30 PM PARTY TO FOLLOW AT NORDIC MUSEUM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526749026853-VTLONUOEXL3MMK6SCU42/Russian+Five%2C+The.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - THE RUSSIAN FIVE SIFF CINEMA UPTOWN | 5:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526749122226-RWI8DZ7CK3EMANM687X9/Maki%27la.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - MAKI'LA ARK LODGE | 6:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526749166961-78MZIRA1W3AZBCAT5420/People+Republic+of+Desire.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - PEOPLE'S REPUBLIC OF DESIRE SIFF CINEMA UPTOWN | 6:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526749267127-T2OBRE60S0I3FD97AY4W/Looking+For+Oum+Kulthum.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - LOOKING FOR OUM KULTHUM LINCOLN SQUARE | 6:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526749323315-Z89LUMA0JSF7UO4BYOWX/Return_KeyArt.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - THE RETURN PACIFIC PLACE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526751182224-2ESS43E4I77F722XAJAO/Blindspotting.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - BLINDSPOTTING SIFF CINEMA EGYPTIAN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526751211862-CRUA7LH0TCHCETOBEGUR/Hearts+Beat+Loud.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - HEARTS BEAT LOUD SIFF CINEMA UPTOWN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526751243460-76Z1PE8HUT60X2B6SGYU/Greenaway+Alphabet%2C+The+-+a.png SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - THE GREENAWAY ALPHABET SIFF CINEMA UPTOWN | 8:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526750258293-9CP3PV5PKAFNQ6058PXR/Blue+My+Mind+-+b.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - BLUE MY MIND ARK LODGE | 8:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526751228245-N6EO9Y7BWZV9KHC1TC9H/Cook+Off.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - COOK OFF SIFF CINEMA UPTOWN | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526750348876-SJWZVXPXGQZ57B7L7GQX/Bold%2C+The+Corrupt....jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - THE BOLD, THE CORRUPT, AND THE BEAUTIFUL LINCOLN SQUARE | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526750413624-9EW1ZEHMBF896EDQF85D/Industrial+Accident.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - INDUSTRIAL ACCIDENT - THE STORY OF WAX TRAX! RECORDS MAJESTIC BAY | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526751261674-IAZBZT3JD94LDT08Y5TS/Prospect.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - PROSPECT SIFF EGYPTIAN | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670255483-PL0NYI7P2JBY2YXQCZ03/Storyof72_KeyArt.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - THE STORY OF '72 LINCOLN SQUARE | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526750700963-ROW4DZWZGAVZ3595NIU3/AmericanAnimals.jpg SIFF - SIFF 2018 - DAY 3 - MAY 19, 2018 (34 FILMS and 1 SERIES) - AMERICAN ANIMALS SIFF CINEMA UPTOWN | 9:00 PM https://www.shouldiseeit.net/siff2018/2018/siff-2018-day-2-may-18-2018-27-films monthly 0.5 2018-05-19 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526669567769-M7CUCQZHL6UW6K7AQJLU/Suleiman+Mountain.jpg SIFF - SIFF 2018 - DAY 2 - MAY 18, 2018 (27 FILMS) - SULEIMAN MOUNTAIN PACIFIC PLACE | 11:00 AM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526669593772-2I0JQK6PYPA47WLX2LBX/ikitie_pressi_18.jpg SIFF - SIFF 2018 - DAY 2 - MAY 18, 2018 (27 FILMS) - THE ETERNAL ROAD PACIFIC PLACE | 1:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526669963745-9JW1XP1VD0CKOTALQ43C/Team+Hurricane.jpg SIFF - SIFF 2018 - DAY 2 - MAY 18, 2018 (27 FILMS) - TEAM HURRICANE SIFF CINEMA UPTOWN | 3:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670122092-VRW5E9DZI94I8GPOMAAO/RacerandtheJailbird_KeyArt.jpeg SIFF - SIFF 2018 - DAY 2 - MAY 18, 2018 (27 FILMS) - RACER AND THE JAILBIRD SIFF CINEMA UPTOWN | 3:45 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670096430-O5J2I2DYF62OO1TZXRF2/First+Reformed.jpg SIFF - SIFF 2018 - DAY 2 - MAY 18, 2018 (27 FILMS) - FIRST REFORMED SIFF EGYPTIAN | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670170090-N0L9YPQUKFVQRRUJJTVC/Charmer_KeyArt.JPG SIFF - SIFF 2018 - DAY 2 - MAY 18, 2018 (27 FILMS) - THE CHARMER SIFF CINEMA UPTOWN | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526669663271-LH79WSQQIL6AM6JB76JV/GospelAccordingtoAndre_KeyArt.jpg SIFF - SIFF 2018 - DAY 2 - MAY 18, 2018 (27 FILMS) - THE GOSPEL ACCORDING TO ANDRÉ PACIFIC PLACE | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670255483-PL0NYI7P2JBY2YXQCZ03/Storyof72_KeyArt.jpg SIFF - SIFF 2018 - DAY 2 - MAY 18, 2018 (27 FILMS) - THE STORY OF '72 LINCOLN SQUARE | 4:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670469127-EO7F788IBU26DQZMXLUF/Inventing+Tomorrow.jpg SIFF - SIFF 2018 - DAY 2 - MAY 18, 2018 (27 FILMS) - INVENTING TOMORROW MAJESTIC BAY | 4:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670504752-BD36J7OKB2XUHQMCEDBK/I+Miss+You+When+I+See+You.jpg SIFF - SIFF 2018 - DAY 2 - MAY 18, 2018 (27 FILMS) - I MISS YOU WHEN I SEE YOU SIFF CINEMA UPTOWN | 6:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670613530-4WXO4VIQ62WY3C82G9LS/Boundaries_Still3.jpg SIFF - SIFF 2018 - DAY 2 - MAY 18, 2018 (27 FILMS) - BOUNDARIES LINCOLN SQUARE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670642421-ZDO5FLM4LW9FFQGJPPH1/alg-03132.jpg SIFF - SIFF 2018 - DAY 2 - MAY 18, 2018 (27 FILMS) - AFTER THE WAR SIFF CINEMA UPTOWN | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670763260-ISOB1SQMFO681Y9U2O4J/Hot+Mess.jpg SIFF - SIFF 2018 - DAY 2 - MAY 18, 2018 (27 FILMS) - HOT MESS PACIFIC PLACE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670730111-VXK121VJPOVWNJDUCSBL/Sweet+Country.jpg SIFF - SIFF 2018 - DAY 2 - MAY 18, 2018 (27 FILMS) - SWEET COUNTRY ARK LODGE | 6:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670810588-UQMZZTYKMS3OZH7344MS/Children+Act%2C+The.jpg SIFF - SIFF 2018 - DAY 2 - MAY 18, 2018 (27 FILMS) - THE CHILDREN ACT SIFF EGYPTIAN | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670825935-R305VKORTVRXVDMFWXH3/FreaksandGeeksTheDocumentary_KeyArt.jpg SIFF - SIFF 2018 - DAY 2 - MAY 18, 2018 (27 FILMS) - FREAKS & GEEKS: THE DOCUMENTARY SIFF CINEMA UPTOWN | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670895908-DI79G2Z3IEJRTJO6PXG9/Guilty%2C+The.jpg SIFF - SIFF 2018 - DAY 2 - MAY 18, 2018 (27 FILMS) - THE GUILTY MAJESTIC BAY | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670921735-XJCTA8BL1NVJ8K8L347H/Other+Side+of+Everything%2C+The.jpg SIFF - SIFF 2018 - DAY 2 - MAY 18, 2018 (27 FILMS) - THE OTHER SIDE OF EVERYTHING SIFF FILM CENTER | 7:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526670992518-M31KO04X4YHISIRKP7ZX/Butterflies.jpg SIFF - SIFF 2018 - DAY 2 - MAY 18, 2018 (27 FILMS) - BUTTERFLIES SIFF CINEMA UPTOWN | 8:30 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526671019142-LE9ADYLC95KGHEW5LFOA/Dead+Pigs.jpg SIFF - SIFF 2018 - DAY 2 - MAY 18, 2018 (27 FILMS) - DEAD PIGS PACIFIC PLACE | 9:00 PM https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1526671067161-Z8ONFLKVU01MYB57SMGY/GoingWest_KeyArt.jpg SIFF - SIFF 2018 - DAY 2 - MAY 18, 2018 (27 FILMS) - GOING WEST MAJESTIC BAY | 9:00 PM 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https://www.shouldiseeit.net/siff2018/tag/Sadie monthly 0.5 https://www.shouldiseeit.net/siff2018/tag/Beast monthly 0.5 https://www.shouldiseeit.net/siff2018/tag/Anne-Marie+Duff monthly 0.5 https://www.shouldiseeit.net/siff2018/tag/Milad+Alami monthly 0.5 https://www.shouldiseeit.net/siff2018/tag/Tony+Hale monthly 0.5 https://www.shouldiseeit.net/siff2018/tag/Beat+Schlatter monthly 0.5 https://www.shouldiseeit.net/siff2018/tag/The+Russian+Five monthly 0.5 https://www.shouldiseeit.net/siff2018/tag/Megan+Griffiths monthly 0.5 https://www.shouldiseeit.net/siff2018/tag/Cyrus+Habib monthly 0.5 https://www.shouldiseeit.net/siff2018/tag/Spencer+Reinhard monthly 0.5 https://www.shouldiseeit.net/siff2018/tag/Tiffany+Dolmseth+Kelly monthly 0.5 https://www.shouldiseeit.net/festival-coverage daily 0.75 2025-05-27 https://www.shouldiseeit.net/festival-coverage/2025/color-book-siff-2025 monthly 0.5 2025-06-01 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/27d8f6a1-3f37-4d21-ad17-ec0df88973ab/ColorBook.jpg Festival Coverage - Color Book - SIFF 2025 - Make it stand out COLOR BOOK Director: David Fortune 98 Minutes https://www.shouldiseeit.net/festival-coverage/2025/sorry-baby-siff-2025 monthly 0.5 2025-06-01 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/c5e9811e-4777-454d-a0db-34b8173c5298/SorryBaby.jpg Festival Coverage - Sorry, Baby - SIFF 2025 - Make it stand out SORRY, BABY Director: Eva Victor 103 Minutes https://www.shouldiseeit.net/festival-coverage/2025/good-boy-siff-2025 monthly 0.5 2025-05-31 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/2540aabd-a255-4728-912c-3433f0fbd7c5/GoodBoy.jpg Festival Coverage - Good Boy - SIFF 2025 - Make it stand out GOOD BOY Director: Ben Leonberg 73 Minutes https://www.shouldiseeit.net/festival-coverage/2025/twinless-siff-2025 monthly 0.5 2025-06-01 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/958721c1-08e0-40bc-a565-e69cea2d8d86/Twinless.jpg Festival Coverage - Twinless - SIFF 2025 - Make it stand out TWINLESS Director: James Sweeney 100 Minutes https://www.shouldiseeit.net/festival-coverage/2025/summers-camera-siff-2025 monthly 0.5 2025-05-31 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/add514e2-94ec-4479-96ff-d6b664056cb0/SummersCamera.png Festival Coverage - Summer's Camera - SIFF 2025 - Make it stand out SUMMER’S CAMERA Director: Divine Sung 82 Minutes https://www.shouldiseeit.net/festival-coverage/2025/cat-town-usa-siff-2025 monthly 0.5 2025-05-22 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/20080df7-bddb-4b0d-85e1-127683aea86b/CatTownUSA_2.jpg Festival Coverage - Cat Town, U.S.A. - SIFF 2025 - Make it stand out CAT TOWN, USA Director: Jonathan Napolitano 73 Minutes https://www.shouldiseeit.net/festival-coverage/2025/invention-siff-2025 monthly 0.5 2025-05-22 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/cc56f8ad-d404-4ac3-86df-71a9cf55107f/Invention_3.png Festival Coverage - Invention - SIFF 2025 - Make it stand out INVENTION Director: Courtney Stephens 72 Minutes https://www.shouldiseeit.net/festival-coverage/2025/wolf-land-siff-2025 monthly 0.5 2025-05-22 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/3dd32cc9-d0b2-4e49-8c28-86561bddaac4/WolfLand.jpg Festival Coverage - Wolf Land - SIFF 2025 - Make it stand out WOLF LAND Director: Sarah Hoffman 72 Minutes https://www.shouldiseeit.net/festival-coverage/2025/remaining-native-siff-2025 monthly 0.5 2025-05-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/6025a7e5-9c73-4ebd-bee3-ad02f66c4759/Remaining+Native_3.9.1_Edited_v2.png Festival Coverage - Remaining Native - SIFF 2025 - Make it stand out REMAINING NATIVE Director: Paige Bethmann 88 Minutes https://www.shouldiseeit.net/festival-coverage/2025/new-jack-fury-siff-2025 monthly 0.5 2025-05-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/57b1707f-0dac-42d1-8ae3-b125e72ad183/NewJackFury.jpg Festival Coverage - New Jack Fury - SIFF 2025 - Make it stand out NEW JACK FURY Director: Lanfia Wal 84 Minutes https://www.shouldiseeit.net/festival-coverage/2025/chain-reactions-siff-2025 monthly 0.5 2025-05-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/679f9fcd-8761-413f-aaa6-ca81830e5e35/ChainReactions.jpg Festival Coverage - Chain Reactions - SIFF 2025 - Make it stand out CHAIN REACTIONS Director: Alexandre O. Philippe 101 Minutes https://www.shouldiseeit.net/festival-coverage/2025/drowned-land-siff-2025 monthly 0.5 2025-05-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/7ed78ebf-b42a-485f-9c39-693456f0b555/Drowned+Land_Charlotte_cred+Charles+Elmore.png Festival Coverage - Drowned Land - SIFF 2025 - Make it stand out DROWNED LAND Director: Colleen Thurston 86 Minutes https://www.shouldiseeit.net/festival-coverage/2024/chasing-time-siff-2024 monthly 0.5 2024-05-15 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/4632eca9-383a-4a39-b6c3-6914f47bc53b/Chasing_Time_1.jpg Festival Coverage - Chasing Time - SIFF 2024 - Make it stand out CHASING TIME Director: Sarah Keo, Jeff Orlowski-Yang 39 Minutes https://www.shouldiseeit.net/festival-coverage/2024/i-saw-the-tv-glow-siff-2024 monthly 0.5 2024-05-15 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/b1f6df58-312e-4840-a41b-7fb8dbd4343e/TV+GLOW_01.jpg Festival Coverage - I Saw The TV Glow - SIFF 2024 - Make it stand out I SAW THE TV GLOW Director: Jane Schoenbrun 100 Minutes https://www.shouldiseeit.net/festival-coverage/2024/evil-does-not-exist-siff-2024 monthly 0.5 2024-05-15 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/51bb743e-036f-4f93-adc0-f2efbebb31f0/Courtesy+of+Sideshow_JanusFilms3.jpg Festival Coverage - Evil Does Not Exist - SIFF 2024 - Make it stand out EVIL DOES NOT EXIST Director: Ryûsuke Hamaguchi 106 Minutes https://www.shouldiseeit.net/festival-coverage/2024/the-primevals-siff-2024 monthly 0.5 2024-05-15 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/0b791911-165f-4b8a-9e03-246b5c69d039/The+Primevals.jpg Festival Coverage - The Primevals - SIFF 2024 - Make it stand out THE PRIMEVALS Director: David Allen 91 Minutes https://www.shouldiseeit.net/festival-coverage/2024/in-our-day-siff-2024 monthly 0.5 2024-05-15 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/cd37d974-d177-47f9-bd43-098b1d923d37/%5Bin+our+day%5Dkey+still_02.jpg Festival Coverage - In Our Day - SIFF 2024 - Make it stand out IN OUR DAY Director: Hong Sang-soo 83 Minutes https://www.shouldiseeit.net/festival-coverage/2024/tim-travers-amp-the-time-travelers-paradox-siff-2024 monthly 0.5 2024-05-15 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/532fe8a0-f3c2-4083-b27d-1b40d2b3644e/Sam+as+four+Tims.png Festival Coverage - Tim Travers & the Time Travelers Paradox - SIFF 2024 - Make it stand out TIM TRAVERS & THE TIME TRAVELERS PARADOX Director: Stimson Snead 110 Minutes https://www.shouldiseeit.net/festival-coverage/2024/luther-never-too-much-siff-2024 monthly 0.5 2024-05-15 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/53bc229f-e497-4546-8920-1b69b113cc43/SIFF+-+Luther+Vandross.png Festival Coverage - Luther: Never Too Much - SIFF 2024 - Make it stand out LUTHER: NEVER TOO MUCH Director: Dawn Porter 101 Minutes https://www.shouldiseeit.net/festival-coverage/2024/so-this-is-christmas-siff-2024 monthly 0.5 2024-05-14 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/cdab0616-57ce-47b3-b2cc-8079d6683da4/SIFF+-+SoThisIsChristmas.jpg Festival Coverage - So This Is Christmas - SIFF 2024 - Make it stand out SO THIS IS CHRISTMAS Director: Ken Wardrop 90 Minutes https://www.shouldiseeit.net/festival-coverage/2024/all-your-faces-siff-2024 monthly 0.5 2024-05-14 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/460a9fe3-8e5c-4623-8e5a-c6af6f67f4cd/SIFF+-+AllYourFaces.jpg Festival Coverage - All Your Faces - SIFF 2024 - Make it stand out ALL YOUR FACES Director: Jeanne Henry 118 Minutes https://www.shouldiseeit.net/festival-coverage/2024/thelma-siff-2024 monthly 0.5 2024-05-14 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/d3ddb3d1-bbbd-496d-983c-02c2a1898dc4/1.JuneFredHero.jpg Festival Coverage - Thelma - SIFF 2024 - Make it stand out THELMA Directors: Josh Margolin 97 Minutes https://www.shouldiseeit.net/festival-coverage/2024/the-50th-seattle-international-film-festival-returns-across-the-city-from-may-9-19-2024 monthly 0.5 2024-04-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/e8e8d037-420c-4d86-8df6-f41bf1b01d04/SIFF+-+FEST24_1600x900.jpg Festival Coverage - THE 50TH SEATTLE INTERNATIONAL FILM FESTIVAL RETURNS ACROSS THE CITY FROM MAY 9-19, 2024! - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/d3ddb3d1-bbbd-496d-983c-02c2a1898dc4/1.JuneFredHero.jpg Festival Coverage - THE 50TH SEATTLE INTERNATIONAL FILM FESTIVAL RETURNS ACROSS THE CITY FROM MAY 9-19, 2024! - Make it stand out June Squibb stars in “Thelma”, SIFF’s Opening Night Film https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/c57b30a9-26c7-46c9-8873-06aa39f0cf2b/image0+%283%29.jpeg Festival Coverage - THE 50TH SEATTLE INTERNATIONAL FILM FESTIVAL RETURNS ACROSS THE CITY FROM MAY 9-19, 2024! - Make it stand out Colman Domingo stars in “Sing Sing”, SIFF’s Closing Night feature. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/f21afe85-97ce-41e2-9547-7d12b83a72b1/MB_JPEG_20240312.00153556.jpeg Festival Coverage - THE 50TH SEATTLE INTERNATIONAL FILM FESTIVAL RETURNS ACROSS THE CITY FROM MAY 9-19, 2024! - Make it stand out “Moloka’i Bound” has its World Premiere as part of the cINeDIGENOUS film collection at SIFF this year. https://www.shouldiseeit.net/festival-coverage/2024/2024-childrens-film-festival-seattle-preview monthly 0.5 2024-02-02 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/b402646b-ba9c-460a-97f4-20442fd734b9/CFFS+-+NWFF+2024.png Festival Coverage - 2024 Children's Film Festival Seattle Preview! - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/c3e24a5e-0ab2-4def-8776-d40b24714d4f/CFFS+-+WALL-E.jpg Festival Coverage - 2024 Children's Film Festival Seattle Preview! - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/5992e532-46e4-4d96-8a47-9ac6f72c9356/CFFS+-+Headspace.png Festival Coverage - 2024 Children's Film Festival Seattle Preview! - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/f4fa7f94-dd36-4423-91c6-6378a132a3ff/CFFS+-+Homeschooled.png Festival Coverage - 2024 Children's Film Festival Seattle Preview! - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/f3c32952-2cc0-48e3-9360-f8beefe6eacf/CFFS+-+Mountain+Boy.png Festival Coverage - 2024 Children's Film Festival Seattle Preview! - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/d204de1d-452b-48e2-9def-ed57bd9aa8d5/CFFS+-+The+Inventor.png Festival Coverage - 2024 Children's Film Festival Seattle Preview! - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/59dccae5-ee3f-4898-a638-06d8858b999b/CFFS+-+NWFF+Logo.png Festival Coverage - 2024 Children's Film Festival Seattle Preview! - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.shouldiseeit.net/festival-coverage/2023/copa-71-siff-docfest-2023 monthly 0.5 2023-10-10 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/3e1d964b-bee8-4598-b718-0d110305085d/SIFFDocFest23_Copa71_1080x1080.jpg Festival Coverage - Copa 71 - SIFF DocFest 2023 - Make it stand out COPA 71 Directors: James Erskine, Rachel Ramsay 90 Minutes https://www.shouldiseeit.net/festival-coverage/2023/maestra-siff-docfest-2023 monthly 0.5 2023-10-10 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/adea0672-983a-4353-8fd3-13fe6d30db9c/SIFFDocFest23_Maestra_1080x1080.jpg Festival Coverage - Maestra - SIFF DocFest 2023 - Make it stand out MAESTRA Director: Maggie Contreras 88 Minutes https://www.shouldiseeit.net/festival-coverage/2023/free-money-siff-2023 monthly 0.5 2023-05-21 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/128d93c4-7904-4595-8833-52b514be5189/Free+Money_still_02-2.png Festival Coverage - Free Money - SIFF 2023 - Make it stand out FREE MONEY 77 Minutes Director: Lauren DeFilippo, Sam Soko https://www.shouldiseeit.net/festival-coverage/2023/satan-wants-you-siff-2023 monthly 0.5 2023-05-20 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/122346cd-cc23-47a5-8ad8-18ec6df0d3d0/Satan+Wants+You_still_01.jpg Festival Coverage - Satan Wants You - SIFF 2023 - Make it stand out SATAN WANTS YOU 88 Minutes Director: Sean Horlor, Steve J. Adams https://www.shouldiseeit.net/festival-coverage/2023/monica-siff-2023 monthly 0.5 2023-05-20 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/a20f9a8a-b7cc-4055-bc69-4cf6e18ff8f4/Monica+-+Still+6+%281%29.jpg Festival Coverage - Monica - SIFF 2023 - Make it stand out MONICA 106 Minutes Director: Andrea Pallaoro https://www.shouldiseeit.net/festival-coverage/2023/egghead-amp-twinkie-siff-2023 monthly 0.5 2023-05-13 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/31676f09-68e0-4d0c-bcb7-59ece0bd5397/Egghead+%26+Twinkie_Still_08.jpg Festival Coverage - Egghead & Twinkie - SIFF 2023 - Make it stand out EGGHEAD & TWINKIE 87 Minutes Director: Sarah Kambe Holland https://www.shouldiseeit.net/festival-coverage/2023/20-days-in-mariupol-2023 monthly 0.5 2023-05-13 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/4bdb8b39-00a8-47a7-8cbf-f142ddc41b4c/20+Days+in+Mariupol_still_04.jpg Festival Coverage - 20 Days In Mariupol (2023) - Make it stand out 20 DAYS IN MARIUPOL 95 Minutes Director: Mstyslav Chernov https://www.shouldiseeit.net/festival-coverage/2023/the-mattachine-family-siff-2023 monthly 0.5 2023-05-13 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/a4d758c8-9a96-4c33-ae49-c2414a15ccac/Mattachine+Family_still_01.png Festival Coverage - The Mattachine Family - SIFF 2023 - Make it stand out THE MATTACHINE FAMILY 99 Minutes Director: Andy Vallentine https://www.shouldiseeit.net/festival-coverage/2023/year-of-the-fox-siff-2023 monthly 0.5 2023-05-13 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/637730d7-6f4b-4b07-9c4b-9de6ff554be7/Year+of+the+Fox_still+01.jpg Festival Coverage - Year Of The Fox - SIFF 2023 - Make it stand out YEAR OF THE FOX 97 Minutes Director: Megan Griffiths https://www.shouldiseeit.net/festival-coverage/2023/chile-76-siff-2023 monthly 0.5 2023-05-13 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/d7920f50-c749-4cb0-955e-5f1fe14d3477/Chile+76_Still_07.jpg Festival Coverage - Chile '76 - SIFF 2023 - Make it stand out CHILE ‘76 95 Minutes Director: Manuela Martelli https://www.shouldiseeit.net/festival-coverage/2023/anu-siff-2023 monthly 0.5 2023-05-13 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/0461155f-77a9-4f2f-8249-4b0cd36771fb/ANU_still_02.png Festival Coverage - ANU - SIFF 2023 - Make it stand out ANU 80 Minutes Director: Sudeshna Sen https://www.shouldiseeit.net/festival-coverage/2023/desperate-souls-dark-city-and-the-legend-of-midnight-cowboy-siff-2023 monthly 0.5 2023-05-13 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/dae8b94f-c166-42eb-9bdc-649f2efffcf0/Desperate+Souls%2C+Dark+City+and+the+Legend+of+Midnight+Cowboy_still_01.png Festival Coverage - Desperate Souls, Dark City and the Legend of Midnight Cowboy - SIFF 2023 - Make it stand out DESPERATE SOULS, DARK CITY AND THE LEGEND OF MIDNIGHT COWBOY 101 Minutes Director: Nancy Buirski https://www.shouldiseeit.net/festival-coverage/2023/far-away-from-home-lejos-de-casa-cffs-2023 monthly 0.5 2023-02-04 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/2ef6cab1-72f3-4a28-beca-c56afaf0004a/LejosdeCasa+-+CFFS+2023.jpg Festival Coverage - Far Away From Home (Lejos de Casa) - CFFS 2023 - Make it stand out FAR AWAY FROM HOME (LEJOS DE CASA) 80 Minutes Director: Carlos Hernández Vázquez https://www.shouldiseeit.net/festival-coverage/2023/journey-to-yourland-cffs-2023 monthly 0.5 2023-02-04 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/8ec05739-5b51-4620-92df-d1e1de50710d/JourneyToYourland1.PNG Festival Coverage - Journey to Yourland - CFFS 2023 - Make it stand out JOURNEY TO YOURLAND 85 Minutes Director: Paul Budinský https://www.shouldiseeit.net/festival-coverage/2023/missing-link-cffs-2022 monthly 0.5 2023-02-04 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1555088707688-2N2K5QVNK4WEXDL7M3OQ/MissingLinkFeatured.jpg Festival Coverage - Missing Link - CFFS 2023 - Make it stand out MISSING LINK 93 Minutes Director: Chris Butler https://www.shouldiseeit.net/festival-coverage/2022/still-working-9-to-5-siff-docfest-2022 monthly 0.5 2022-10-16 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/c17e33e8-4313-4d3b-8e03-da117e3bb04b/Still+Working+9+to+5.PNG Festival Coverage - Still Working 9 To 5 - SIFF DocFest 2022 - Make it stand out STILL WORKING 9 TO 5 96 Minutes Directors: Camille Hardman, Gary Lane https://www.shouldiseeit.net/festival-coverage/2022/chop-amp-steele-siff-docfest-2022 monthly 0.5 2022-10-13 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/571ef6ac-a527-4a23-8529-45f591a127b1/Chop+and+Steele+DocFest.PNG Festival Coverage - Chop & Steele - SIFF DocFest 2022 - Make it stand out CHOP & STEELE 77 Minutes Director: Ben Steinbauer Co-Director: Berndt Mader https://www.shouldiseeit.net/festival-coverage/2022/come-back-anytime-siff-docfest-2022 monthly 0.5 2022-10-12 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/4e8696ac-5f07-4264-a159-0d830e6c9cc0/ComeBackAnytime+SIFF+DocFest.jpg Festival Coverage - Come Back Anytime - SIFF DocFest 2022 - Make it stand out COME BACK ANYTIME 81 Minutes Director: John Daschbach https://www.shouldiseeit.net/festival-coverage/2022/exposure-siff-docfest-2022 monthly 0.5 2022-10-12 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/fe0e30af-0f85-4f54-9831-0e7bd830e26e/Exposure+-+SIFF+DocFest.jpg Festival Coverage - Exposure - SIFF DocFest 2022 - Make it stand out EXPOSURE 89 Minutes Director: Holly Morris https://www.shouldiseeit.net/festival-coverage/2022/incredible-but-true-nbff-2022 monthly 0.5 2022-08-07 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/cbaf6620-73b3-4b8e-aa2a-b9a824d57af6/IncredibleButTrueFeatured.PNG Festival Coverage - Incredible But True - NBFF 2022 - Make it stand out INCREDIBLE BUT TRUE 74 Minutes Director: Quentin Dupieux Written by: Quentin Dupieux https://www.shouldiseeit.net/festival-coverage/2022/swallowed-nbff-2022 monthly 0.5 2022-08-07 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1dd9ca62-bfe9-4462-ae67-641b77e22945/SwallowedFeatured.PNG Festival Coverage - Swallowed - NBFF 2022 - Make it stand out SWALLOWED 92 Minutes Director: Carter Smith Written by: Carter Smith https://www.shouldiseeit.net/festival-coverage/2022/sirens-nbff-2022 monthly 0.5 2022-08-07 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/3aabd1e1-5738-4762-9b8f-47bcd59e3f74/SirensFeatured.jpg Festival Coverage - Sirens - NBFF 2022 - Make it stand out SIRENS 78 Minutes Director: Rita Baghdadi Written by: Rita Baghdadi https://www.shouldiseeit.net/festival-coverage/2022/i-love-my-dad-nbff-2022 monthly 0.5 2022-08-07 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/01da0139-09df-42e2-bf67-c91d7875a533/ILoveMyDadFeatured.jpg Festival Coverage - I Love My Dad - NBFF 2022 - Make it stand out I LOVE MY DAD 96 Minutes Director: James Morosini Written by: James Morosini https://www.shouldiseeit.net/festival-coverage/2022/cha-cha-real-smooth-siff-2022 monthly 0.5 2022-04-23 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/ac9f9728-b265-41cd-b7d5-7a9117e4042c/ChaChaRealSmooth.jpg Festival Coverage - Cha Cha Real Smooth - SIFF 2022 - Make it stand out CHA CHA REAL SMOOTH 107 Minutes Director: Cooper Raiff Written by: Cooper Raiff https://www.shouldiseeit.net/festival-coverage/2022/sweetheart-deal-siff-2022 monthly 0.5 2022-04-21 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/4004bf32-dc53-4a56-9b95-cfceea919a2e/SweetheartDeal.jpg Festival Coverage - Sweetheart Deal - SIFF 2022 - Make it stand out SWEETHEART DEAL 98 Minutes Director: Elisa Levine, Gabriel Miller Written by: Karen KH Sim https://www.shouldiseeit.net/festival-coverage/2022/inu-oh-siff-2022 monthly 0.5 2022-04-21 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/a1bf2720-60ba-46d7-a7dc-d5323ff106e5/InuOh.jpg Festival Coverage - Inu-Oh - SIFF 2022 - Make it stand out INU-OH 97 Minutes Director: Masaaki Yuasa Written by: Akiki Nogi; adapted from the novel “Tales from the Heiki: INU-OH” by Hideo Furukawa https://www.shouldiseeit.net/festival-coverage/2022/nothing-compares-siff-2022 monthly 0.5 2022-06-05 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/a06f8d77-9829-4c62-8622-297ce32099e5/NothingCompares.jpg Festival Coverage - Nothing Compares - SIFF 2022 - Make it stand out NOTHING COMPARES 97 Minutes Director: Kathryn Ferguson Written by: Eleanor Emptage, Kathryn Ferguson, Michael Mallie https://www.shouldiseeit.net/festival-coverage/2022/ill-show-you-mine-siff-2022 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/f33a6ce9-6a34-4854-846f-a9e947735c7e/IllShowYouMine.jpg Festival Coverage - I'll Show You Mine - SIFF 2022 - Make it stand out I’LL SHOW YOU MINE 102 Minutes Director: Megan Griffiths Written by: Tiffany Louquet, Elizabeth Searle, David Shields https://www.shouldiseeit.net/festival-coverage/2022/aheds-knee-siff-2022 monthly 0.5 2022-04-20 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/5da031f5-6a1f-46f3-8998-33d23685d10c/AhedsKnee.jpg Festival Coverage - Ahed's Knee - SIFF 2022 - Make it stand out AHED’S KNEE 109 Minutes Director: Nadav Lapid Written by: Nadav Lapid & Haim Lapid https://www.shouldiseeit.net/festival-coverage/2022/the-duke-siff-2022 monthly 0.5 2022-04-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/b667b1b4-64bf-42e8-9436-7b9044290299/Duke.jpg Festival Coverage - The Duke - SIFF 2022 - Make it stand out THE DUKE 96 Minutes Director: Roger Michell Written by: Richard Bean, Clive Coleman https://www.shouldiseeit.net/festival-coverage/2022/one-second-champion-siff-2022 monthly 0.5 2022-04-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/f422c2da-81c5-4ac2-88cc-d7d9fc47caa8/OneSecondChampion.jpg Festival Coverage - One Second Champion - SIFF 2022 - Make it stand out ONE SECOND CHAMPION 98 Minutes Director: Chiu Sin-Hang Written by: Ashley Cheung, Ryan Wai-Chun Ling, Ho Siu-Hong https://www.shouldiseeit.net/festival-coverage/2022/zero-fks-given-siff-2022 monthly 0.5 2022-04-16 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/467be32f-e178-4e50-82c3-17c9ee74faa4/ZFG.jpg Festival Coverage - Zero F**ks Given - SIFF 2022 - Make it stand out ZERO F**KS GIVEN 115 Minutes Director: Julie Lecoustre, Emmanuel Marre Written by: Julie Lecoustre, Emmanuel Marre, in collaboration with Mariette Désert https://www.shouldiseeit.net/festival-coverage/2022/only-in-theaters-siff-2022 monthly 0.5 2022-04-16 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/ade9d8e2-87de-4d59-b0c1-e6c809f9e3d9/OnlyinTheaters.jpg Festival Coverage - Only In Theaters - SIFF 2022 - Make it stand out ONLY IN THEATERS 94 Minutes Director: Raphael Sbarge https://www.shouldiseeit.net/festival-coverage/2021/the-hidden-life-of-trees-siff-docfest-2021 monthly 0.5 2021-10-11 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1633919164668-QX9S2UCEPZ1P8OCOLWVD/HiddenLifeofTreesImage.jpg Festival Coverage - The Hidden Life of Trees - SIFF DocFest 2021 - Make it stand out THE HIDDEN LIFE OF TREES Director: Jörg Adolph, Jan Haft https://www.shouldiseeit.net/festival-coverage/2021/try-harder-siff-docfest-2021 monthly 0.5 2021-10-11 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1633917831300-44TFXN5IEX8ZHQMHJ84T/TryHarderImage.jpg Festival Coverage - Try Harder! - SIFF DocFest 2021 - Make it stand out TRY HARDER! Director: Debbie Lum https://www.shouldiseeit.net/festival-coverage/2021/storm-lake-siff-docfest-2021 monthly 0.5 2021-10-11 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1633128873461-AVTSAMCNBZ2AGV8IE4P6/StormLakeImage.jpg Festival Coverage - Storm Lake - SIFF DocFest 2021 - Make it stand out STORM LAKE Director: Beth Levison, Jerry Risius https://www.shouldiseeit.net/festival-coverage/2021/a-ha-the-movie-siff-docfest-2021 monthly 0.5 2021-10-11 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1633117129345-QXMW71OSTDVLZP5QOLZU/AhaImage.PNG Festival Coverage - A-ha: The Movie - SIFF DocFest 2021 - Make it stand out A-HA THE MOVIE Director: Thomas Robsahm, Aslaug Holm https://www.shouldiseeit.net/festival-coverage/2021/the-blazing-world-north-bend-film-festival-2021 monthly 0.5 2021-07-22 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1626929595856-62K0VI1JWC4W3GZA14HM/NBFF+2021+-+Blazing+World.jpg Festival Coverage - The Blazing World - North Bend Film Festival 2021 - Make it stand out THE BLAZING WORLD Director: Carlson Young https://www.shouldiseeit.net/festival-coverage/2021/cryptozoo-north-bend-film-festival-2021 monthly 0.5 2021-07-18 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1626640446897-C91KJMDLOM8IZYNQWM8N/NBFF+2021+-+Cryptozoo.jpg Festival Coverage - Cryptozoo - North Bend Film Festival 2021 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.shouldiseeit.net/festival-coverage/2021/were-all-going-to-the-worlds-fair-north-bend-film-festival-2021 monthly 0.5 2021-07-18 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1626639065631-ZWEBXVKGW7B0HVRSLBZ8/NBFF+2021+-+We+Are+All+Going.jpeg Festival Coverage - We're All Going To The World's Fair - North Bend Film Festival 2021 - Make it stand out WE’RE ALL GOING TO THE WORLD’S FAIR Director: Jane Schoenbrun https://www.shouldiseeit.net/festival-coverage/2021/swan-song-north-bend-film-festival-2021 monthly 0.5 2021-07-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1626482737062-OU4XG6JH1YQD0J1AJFAY/NBFF+2021+-+Swan+Song.jpeg Festival Coverage - Swan Song - North Bend Film Festival 2021 - Make it stand out SWAN SONG Director: Todd Stephens https://www.shouldiseeit.net/festival-coverage/2021/tailgate-north-bend-film-festival-2021 monthly 0.5 2021-07-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1626482557944-I4AAN4SN3PN4T4A4LNS6/NBFF+2021+-+Tailgate.jpg Festival Coverage - Tailgate - North Bend Film Festival 2021 - Make it stand out TAILGATE Director: Lodewijk Crijns https://www.shouldiseeit.net/festival-coverage/2021/code-name-nagasaki-north-bend-film-festival-2021 monthly 0.5 2021-07-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1626482355355-5WUF6256FGMRR5HOD8AL/NBFF+2021+-+Code+Name+Nagasaki.jpg Festival Coverage - Code Name: Nagasaki - North Bend Film Festival 2021 - Make it stand out CODE NAME: NAGASAKI Director: Frederik S. Hana https://www.shouldiseeit.net/festival-coverage/2021/superior-north-bend-film-festival-2021 monthly 0.5 2021-07-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1626481978783-7P8IOFMS4OHPSV8XSL1I/NBFF+2021+-+Superior.jpeg Festival Coverage - Superior - North Bend Film Festival 2021 - Make it stand out SUPERIOR Director: Erin Vassilopoulos https://www.shouldiseeit.net/festival-coverage/2021/ayar-nbff-2021 monthly 0.5 2021-07-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1626480838665-QOZ2DUI63DZN021AYQ84/NBFF+2021+-+Ayar.jpg Festival Coverage - Ayar - North Bend Film Festival 2021 - Make it stand out AYAR Director: Floyd Russ https://www.shouldiseeit.net/festival-coverage/2021/who-we-are-a-chronicle-of-racism-in-america-siff-2021 monthly 0.5 2021-04-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1618684510969-4S56RZ8FP5470CJ99KGE/WhoWeAreFeatured.jpg Festival Coverage - Who We Are: A Chronicle of Racism in America - SIFF 2021 WHO WE ARE: A CHRONICLE OF RACISM IN AMERICA Director: Emily Kunstler, Sarah Kunstler Written by: Jeffery Robinson https://www.shouldiseeit.net/festival-coverage/2021/in-the-same-breath-siff-2021 monthly 0.5 2021-04-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1618676928234-BNN0AKY3Y6LN558HOYK5/InTheSameBreathFeatured.PNG Festival Coverage - In The Same Breath - SIFF 2021 IN THE SAME BREATH Director: Nanfu Wang https://www.shouldiseeit.net/festival-coverage/2021/all-those-small-things-siff-2021 monthly 0.5 2021-04-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1618546381657-7MJ7ITFMN8IRP4QHK3OA/AllThoseSmallThingsFeatured.jpg Festival Coverage - All Those Small Things - SIFF 2021 ALL THOSE SMALL THINGS Director: Andrew Hyatt Written by: Andrew Hyatt https://www.shouldiseeit.net/festival-coverage/2021/east-of-the-mountains-siff-2021 monthly 0.5 2021-04-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1618531350247-EVPUNU62NKV4JPX0DUCD/EastOfTheMountainsFeatured.jpg Festival Coverage - East of the Mountains - SIFF 2021 EAST OF THE MOUNTAINS Director: S.J. Chiro Written by: Thane Swigart, based on the novel by David Guterson https://www.shouldiseeit.net/festival-coverage/2021/downstream-to-kinshasa-siff-2021 monthly 0.5 2021-04-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1618529785309-HFF67DTSYXCKJ0EK47J3/DownstreamToKinshasaFeatured.PNG Festival Coverage - Downstream to Kinshasa - SIFF 2021 DOWNSTREAM TO KINSHASA Director: Dieudo Hamadi Written by: Dieudo Hamadi https://www.shouldiseeit.net/festival-coverage/2021/all-sorts-siff-2021 monthly 0.5 2021-04-16 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1618523297038-UHRFWQN9R0A86HKK2AKO/AllSortsSIFF.PNG Festival Coverage - All Sorts - SIFF 2021 ALL SORTS Director: J. Rick Castañeda Written by: J. Rick Castañeda https://www.shouldiseeit.net/festival-coverage/2020/dinner-in-america-nightstream-2020-film-festival monthly 0.5 2020-10-12 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1602449974997-UVLFW6Q1GE28R0L7TBHO/image-asset.jpeg Festival Coverage - Dinner In America - NIGHTSTREAM 2020 Film Festival DINNER IN AMERICA Director: Adam Rehmeier Written by: Adam Rehmeier https://www.shouldiseeit.net/festival-coverage/2020/bloody-hell-nightstream-2020-film-festival monthly 0.5 2020-10-12 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1602478656870-XTD2S95IN8PQW70212UB/Bloody+Hell+Featured.PNG Festival Coverage - Bloody Hell - NIGHTSTREAM 2020 Film Festival BLOODY HELL Director: Alister Grierson Written by: Robert Benjamin https://www.shouldiseeit.net/festival-coverage/2020/an-unquiet-grave-nightstream-2020-film-festival monthly 0.5 2020-11-19 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1602361010334-A9KR6I2JZSLUA6E9XL2S/UnquietGrave_Widescreen.jpg Festival Coverage - An Unquiet Grave - NIGHTSTREAM 2020 Film Festival AN UNQUIET GRAVE Director: Terence Krey Written by: Christine Nyland, Terence Krey https://www.shouldiseeit.net/festival-coverage/2020/survival-skills-nightstream-2020-film-festival monthly 0.5 2020-11-19 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1602359210089-M1D0CO1QXPSXHNWI3LIX/SurvivalSkills_Widescreen.jpg Festival Coverage - Survival Skills - NIGHTSTREAM 2020 Film Festival SURVIVAL SKILLS Director: Quinn Armstrong Written by: Quinn Armstrong https://www.shouldiseeit.net/festival-coverage/2020/it-cuts-deep-nightstream-2020-film-festival monthly 0.5 2020-10-12 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1602356995361-ZI4DB25U47QNZFK2RSJZ/ItCutsDeep_Widescreen.jpg Festival Coverage - It Cuts Deep - NIGHTSTREAM 2020 Film Festival IT CUTS DEEP Director: Nicholas Payne Santos Written by: Nicholas Payne Santos https://www.shouldiseeit.net/festival-coverage/2020/anything-for-jackson monthly 0.5 2020-10-12 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1602353000383-9QHME87E0537CKYGCCKK/AnythingForJackson_Widescreen.jpg Festival Coverage - Anything For Jackson - NIGHTSTREAM 2020 Film Festival ANYTHING FOR JACKSON Director: Justin G. Dyck Written by: Keith Cooper https://www.shouldiseeit.net/festival-coverage/2019/go-back-to-china-2019-issaquah-international-film-festival monthly 0.5 2019-09-14 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1568496912329-MG3TOIOQFH66AXFKLYBJ/Go+Back+to+China+-+Issaquah+Featured.jpg Festival Coverage - Go Back to China - 2019 Issaquah International Film Festival GO BACK TO CHINA Director: Emily Ting Written by: Emily Ting https://www.shouldiseeit.net/festival-coverage/2019/sune-vs-sune-issaquah-international-film-festival monthly 0.5 2019-09-14 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1568493949815-NC598PBX8STQ4W3V1ZER/Sune+vs+Sune+-+Issaquah+Featured.jpg Festival Coverage - Sune Vs. Sune - 2019 Issaquah International Film Festival SUNE VS. SUNE Director: Jon Holmberg Written by: Jon Holmberg, Daniella Mendel-Erik (writing); Jon Holmberg, Daniella Mendel-Erik, Sören Olsson, Sara Young (storyline). Based on the book series “Sune” by Anders Jacobsson and Sören Olsson. https://www.shouldiseeit.net/festival-coverage/2019/extra-ordinary-north-bend-film-festival-2019 monthly 0.5 2019-08-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1566066104431-VX4ND1KR1558USQ93BVD/ExtraOrdinaryFeatured.jpg Festival Coverage - Extra Ordinary - North Bend Film Festival 2019 EXTRA ORDINARY Director: Mike Ahern, Enda Loughman Written by: Mike Ahern, Enda Loughman, with additional writing by Demian Fox, Maeve Higgins Release Date: September 27, 2019 https://www.shouldiseeit.net/festival-coverage/2019/koko-di-koko-da-north-bend-film-festival-2019 monthly 0.5 2019-08-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1565985185999-HCYTYS35Y4MMIBO0L6UJ/koko-di+koko-da+Featured.jpg Festival Coverage - Koko-di Koko-da - North Bend Film Festival 2019 KOKO-DI KOKO-DA Director: Johannes Nyholm Written by: Johannes Nyholm Release Date: TBD https://www.shouldiseeit.net/festival-coverage/2019/the-incredible-shrinking-wknd-nbff-2019-capsule-review monthly 0.5 2019-08-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1565902218051-5HA2IA94H29996I2RB3X/IncredibleShrinkingWKNDFeatured.jpg Festival Coverage - The Incredible Shrinking WKND - North Bend Film Festival 2019 THE INCREDIBLE SHRINKING WKND Director: Jon Mikel Caballero Written by: Jon Mikel Caballero Release Date: TBD https://www.shouldiseeit.net/festival-coverage/2019/the-sound-of-silence-siff-2019-capsule-review monthly 0.5 2019-05-18 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1558191669128-ODIHRXQAQRAZK402YQX2/Sound+Of+Silence+Featured.jpg Festival Coverage - The Sound of Silence - SIFF 2019 Capsule Review THE SOUND OF SILENCE Director: Michael Tyburski Written by: Ben Nabors, Michael Tyburski Based on the short film, written by Ben Nabors https://www.shouldiseeit.net/festival-coverage/2019/running-with-beto-siff-2019-capsule-review monthly 0.5 2019-05-18 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1558190014532-4R407ZYZ2ES8YMVNBA2Z/RunningWithBetoFeatured.jpg Festival Coverage - Running With Beto - SIFF 2019 Capsule Review RUNNING WITH BETO Director: David Modigliani https://www.shouldiseeit.net/festival-coverage/2019/monos-nw7da monthly 0.5 2019-05-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1558076906992-VHUCWCPQEJY5Y7R1F0UG/MonosSIFF.jpg Festival Coverage - Monos - SIFF 2019 Capsule Review MONOS Director: Alejandro Landes Written by: Alejandro Landes, Alexis Dos Santos https://www.shouldiseeit.net/festival-coverage/2019/3-faces-zx7rw monthly 0.5 2019-05-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1558033077137-43GL2M9R8QKWOJFFNNTX/3+Faces+FEatured.jpg Festival Coverage - 3 Faces - SIFF 2019 Capsule Review 3 FACES Director: Jafar Panahi Written by: Jafar Panahi, Nader Saeivar https://www.shouldiseeit.net/festival-coverage/2019/sprinter-n6km9 monthly 0.5 2019-05-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1558027126888-5AQP7OFTOUWY0O772LQL/Sprinter_Large.jpg Festival Coverage - Sprinter - SIFF 2019 Capsule Review SPRINTER Director: Storm Saulter Written by: Robert A. Maylor, Storm Saulter https://www.shouldiseeit.net/festival-coverage/2019/the-woman-who-loves-giraffes monthly 0.5 2019-05-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1558074492734-L31A4U0DX65D8YV4QELC/WomanWhoLovesGiraffesSIFF.jpg Festival Coverage - The Woman Who Loves Giraffes - SIFF 2019 THE WOMAN WHO LOVES GIRAFFES Director: Alison Reid Written by: Alison Reid https://www.shouldiseeit.net/festival-coverage/2019/banana-split monthly 0.5 2019-05-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1558031128887-NKLO374K71NJ8TIKH06U/BananaSplit_Large.jpg Festival Coverage - Banana Split - SIFF 2019 BANANA SPLIT Director: Benjamin Kasulke Written by: Hannah Marks, Joey Power https://www.shouldiseeit.net/festival-coverage/2019/human-nature monthly 0.5 2019-05-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1558072265965-K0F477EV40W2WIN8QGHS/HumanNAtureSIFF2019.jpg Festival Coverage - Human Nature - SIFF 2019 HUMAN NATURE Director: Adam Bolt Written by: Adam Bolt, Regina Sobel https://www.shouldiseeit.net/festival-coverage/2019/who-let-the-dogs-out monthly 0.5 2019-05-17 https://images.squarespace-cdn.com/content/v1/59558e53be65943ed29f505b/1558075979607-X3WKYVLI6CTGAMTT32WQ/WhoLetTheDogsOutSIFF.jpg Festival Coverage - Who Let The Dogs Out? - SIFF 2019 WHO LET THE DOGS OUT? 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