It’s rare that I find a film so entrancing and hopeful that makes me feel excited about the future of cinema. It’s a most auspicious film debut from director Stephen Dunn which won Best Canadian Feature at the Toronto International Film Festival. You’ve seen coming of age stories before, but Dunn has a completely unique and theatrical language.
The film was reviewed by the New York Times and it was a Critic’s Pick. It plays tonight at 5:00pm and tomorrow at 7:30pm at the Riviera Theatre.
In ‘Closet Monster,’ a Teenager’s Self-Discovery Is Tinged With Danger
By Ken Jaworowski – New York Times
You may find yourself hoping that “Closet Monster” fades to black during one of its few cheerful scenes — that way, the conflicted young man at its center will get a happy ending. This affecting film prompts that kind of concern for its characters. You want them to be safe.
Still, as with all of us, happiness isn’t guaranteed, a fact made clear in Stephen Dunn’s script. Mr. Dunn, who also directed, has created individuals who defy easy branding. Outcomes are far from assured, and there’s a constant sense of danger. That threat, as Saul Bellow said of death, becomes “the dark backing that a mirror needs if we are to see anything.”
We first meet Oscar as a boy struggling to comprehend his parents’ breakup. Soon he witnesses a sadistic assault against another boy. Those events echo years later when, in high school, he’s desperate to escape his home and understand his sexuality.
As in “Mysterious Skin” or “Boyhood,” this coming-of-age story can feel entrancing, particularly with its surreal touches. Oscar talks to his hamster, which speaks back (voiced by an actress — no spoilers — who knows something about the surreal). And Oscar’s imagination occasionally takes flight, and we ride along.
Connor Jessup wonderfully inhabits the teenage Oscar, who observes others while trying to find himself. Aaron Abrams, as his father, and Aliocha Schneider and Sofia Banzhaf, as friends, are just as multilayered. Jack Fulton is heartbreaking as the younger Oscar.
Near the end of “Closet Monster,” Oscar’s mother recalls his difficult birth, explaining that he has rarely been fortunate. It’s a tough scene that may portend his future. Of course, we don’t know if Oscar will be safe, and neither does he. In this film, and in life, that uncertainty is both deeply scary and greatly exciting.
Japanese films failed to make the Golden Lion shortlist at the 73rd Venice Film Festival that wrapped up in September. A question was posed at the Venice Film Festival Press Conference on why Japan is missing out on challenging in the top competition for the second consecutive year.
Also in Cannes and Berlin this year, no Japanese films were shown in competition, meaning they were not in the running for the top prizes at the “Big Three” film festivals.
While experts say Asian films have been losing their foothold in the increasingly competitive film festival circuit, they urge Japanese filmmakers to pursue their ingenuity and attempt a more international perspective.
The Venice festival has given the Golden Lion prize to Akira Kurosawa’s Rashomon and Takeshi Kitano’s Hana-bi, and also showcased films by Kitano, Hayao Miyazaki, Shinya Tsukamoto and other Japanese filmmakers in competition for 13 consecutive years until 2014. Although three of the 21 films showcased in competition in 2008 were from Japan, no Japanese movies have made it to the main competition for the past two years.
“With the number of films produced having increased, the margin for not only Japanese films but also for other Asian movies to be featured at international film festivals has shrunk in recent years,” said Tokyo International Film Festival programming director Yoshihiko Yatabe. “As it stands, it is less of the quality of the works than the fact that organizers can’t get around to reviewing Asian films as South American and North European films are also doing great.”
However, Filipino director Lav Diaz won the Golden Lion for Best Film for his The Woman Who Left at Venice this year.
A forum focusing on the rapidly growing Chinese market was also held on the sidelines.
But Venice festival director Alberto Barbera said the festival had picked up a powerful and beautiful Japanese work in the Orizzonti section for cutting-edge films: Kei Ishikawa’s first feature film Gukoroku–Traces of Sin.
While Ishikawa was presented in Orizzonti, Yasushi Kawamura’s full-CG film Gantz: O–also his first full-length feature–was screened out of the competition at Venice.
At Cannes, Koji Fukada’s Harmonium received the Jury Prize in the Un Certain Regard section.
“In Japan, it is difficult for filmmakers to make auteuristic art films, but it shouldn’t be impossible if they are determined,” said film journalist Atsuko Tatsuta, as to how Japanese films could break into the competition lineup. “They need to gain a more international perspective by collaborating with other countries and making other efforts.”
Jean-Michel Frodon, former editorial director of film magazine Cahiers du Cinema, said that although Japanese filmmakers are making good films, they have yet to earn recognition abroad. He also stressed the importance of showing their presence at other film festivals and promoting their works to overseas audiences.
*Featured photo: The red carpet at the Venice Film Festival in Lido Island, Italy, where all the films want to be competing (The Asahi Shimbun)
The 32nd SBIFF will close with the Lone Scherfig’s romantic comedy THEIR FINEST at the Arlington Theatre on Saturday, February 11 in advance of the film’s March 24 stateside release.
SBIFF Executive Director Roger Durling stated, “Lone’s deeply touching film is authentic, funny and depicts the power that cinema has to bring people together and share their stories. It was the perfect choice to close this year’s festival.”
The year is 1940, Britain. With the nation devastated by the war, the British ministry turns to propaganda films to boost morale at home. Realizing their films could use “a woman’s touch,” the ministry hires Catrin Cole (Gemma Arterton) as a scriptwriter in charge of writing the female dialogue. Although her artist husband looks down on her job, Catrin’s natural flair quickly gets her noticed by charming lead scriptwriter Buckley (Sam Claflin). Catrin and Buckley set out to make an epic feature film based on the Battle of Dunkirk starring pretentious fading movie star Ambrose Hilliard (Bill Nighy). As bombs are dropping all around them, Catrin, Buckley and their colorful cast and crew work furiously to make a film that will warm the hearts of the nation.
The film is produced by Stephen Woolley, Amanda Posey, Finola Dwyer and Elizabeth Karlsen. Christine Langan, Ed Wethered, Robert Norris, Ivan Dunleavy, Peter Watson, Zygi Kamasa and Thorsten Schumacher serve as executive producers. The film is produced by Number 9 Films and Wildgaze Films.
The 32nd Santa Barbara International Film Festival is slated to run February 1st through February 11th, 2017.
About the Santa Barbara International Film Festival
The Santa Barbara International Film Festival is a 501(c)(3) non-profit arts and educational organization dedicated to discovering and showcasing the best in independent and international cinema. Over the past 30 years, SBIFF has become one of the leading film festivals in the United States – attracting 90,000 attendees and offering 11 days of 200+ films, tributes and symposiums, fulfilling their mission to engage, enrich, and inspire the Santa Barbara community through film.
SBIFF continues its commitment to education and the community through free programs like its 10-10-10 Student Filmmaking and Screenwriting Competitions, Mike’s Field Trip to the Movies, National Film Studies Program, AppleBox Family Films, 3rd Weekend and educational seminars. This past June, SBIFF entered a new era with the acquisition of the historic and beloved Riviera Theatre. The theatre is SBIFF’s new home and is the catalyst for program expansion and marks the first time that Santa Barbara has had a 24/7 community center to expand their mission of educational outreach.
The screening of Park Chan-wook’s controversial film, The Handmaiden, about a fragile heiress who falls in love with her maid, opened on Thursday the 2016 QCinema International Film Festival, which will run until Oct. 22.
“I’ve watched the film before, but it has a different effect when seen on the big screen,” QCinema festival director Ed Lejano told the Inquirer shortly after the opening gala at the Gateway Mall
Korean director Park is known for making films with dark humor.
The Handmaiden (Agassi) is set in Korea during the Japanese occupation in the 1930s. Sookee (Kim Tae-ri) is hired by a conman, also called the Count (Ha Jung-woo), to become the maid of Lady Hideko (Kim Min-hee), a Japanese heiress living in a secluded estate with her uncle (Cho Jin-woong), who is plotting to marry her for her wealth.
The Count also wants to marry the heiress for her money, but his plan is foiled when Lady Hideko falls for Sookee.
The erotic thriller premiered at the 2016 Cannes Film Festival, where it was nominated for Palme d’Or and won for Ryu Seong-hie the Vulcan Award for best production design.
“Director Park is no stranger to QCinema,” said Lejano when he introduced the film. In the 2015 QCinema, Park’s “vengeance trilogy,” consisting of Sympathy for Mr. Vengeance (2002), Oldboy (2003) and Lady Vengeance (2005), was screened.
This year’s closing film is Louie Ignacio’s award-wining drama Area, starring Ai-Ai de las Alas.
“We provide opportunities for more artists to showcase their talent through this annual festival,” said Quezon City Vice Mayor Joy Belmonte in her welcome address.
The finalists in the Circle Competition include Prime Cruz’s Ang Manananggal sa Unit 23B, Howard “HF” Yambao’s Best. Partee. Ever, Bagane Fiola’s Baboy Halas: Wailings in the Forest, Kristian Cordero’s Hinulid (The Sorrows of Sita), Victor Villanueva’s Patay na si Hesus (God is Dead), Roderick Cabrido’s Purgatoryo and Sheron Dayoc’s Women of the Weeping River.
The entries for #QCShorts are Joshua Joven and Kaj Palanca’s Contestant #4, Aedrian Araojo’s Hondo (Deep), Eduardo Dayao’s If You Leave, Gabrielle Tayag’s Pagdating, Inshallah Montero’s Papa’s Shadow, Victor Nierva’s Sayaw sa Butal (Coin Dance) and Janus Victoria’s Viva, Viva Escolta.
QCinema is paying tribute to Filipino director Mike de Leon by screening some of his works (at Robinsons Galleria) and Polish auteur Krzysztof Kieslowski (at Trinoma and UP Town Center). Other venues are Robinsons Galleria and Gateway Mall.
The silent films screened in Japan from the 1920s to ’40s were never completely silent. Katsudo-shashin benshi, or benshi for short, delivered live narration that provided everything an audience might need to appreciate a film — from commentary to translation. Derived from Japan’s many narrative art forms, benshi were an effective way to introduce cinema to Japanese audiences.
Though the era of silent films is gone, the art of narration lives on through a handful of professionals. Ichiro Kataoka is one of the country’s few active benshi, and he will provide narration for Tomiyasu Ikeda’s 1926 classic “Chushingura” at the Tokyo International Film Festival’s Special Night Event at Kabukiza Theatre. The event will also feature narration by guest benshi Ichiro Furutachi and a special performance by kabuki actor Onoe Kikunosuke.
Modern day benshi, Ichiro Kataoka (Photo credit: Dan Szpara)
“I had known about benshi but I thought that it was a long lost profession,” Kataoka tells The Japan Times. “When I was 18, I happened to attend a benshi performance by Midori Sawato and it made me want to learn about being one.”
At age 38, Kataoka has built an impressive career out of the art. The professional benshi has narrated more than 300 films and has been invited to perform at events around the world.
“When I perform overseas, I’m asked to narrate classic Japanese films, but I do films from any country: Japanese, European, American, Chinese, anything,” Kataoka explains. Are non-Japanese films more challenging to narrate than domestic ones?
“There’s a specific pacing with classic Japanese films that makes it easier for benshi, since Japanese silent film directors were aware of the benshi and filmed their work with them in mind. With foreign cinema, mostly European, the director tries to convey as much as possible through the cinematography,” he says.
“At the end of the day whether it’s Japanese or not, the film I’m narrating is old. But I’m a modern person and my audience comprises modern people, so I need to constantly think about how to communicate the old film from one modern person to another — what themes to bring up and what scenes to emphasize — in order to present it as a terrific piece.”
While Kataoka has a compelling tone and presence to him, he says it’s crucial for benshi to understand they don’t have the leading role.
“A good benshi always remembers when to shut up and let the images do the talking,” he says. “Silence can be more powerful than words.”
TICKET GIVEAWAY
Special Night Event at Kabukiza Theatre will be held on Oct. 27 and is sold out. However, The Japan Times has two pairs of tickets to give away to readers. To apply, send a postcard by Oct. 23 with your name, address, postal code, phone number and the word “TIFF” to the Life & Culture section of The Japan Times, 4-5-4 Shibaura, Minato-ku, Tokyo 108-0023. To apply online, visit jtimes.jp/film.
A complaint has been registered at Amboli police station against the Jio MAMI 18th Mumbai Film Festival with Star, where a Pakistani film will be screened later this month.
The Jio MAMI 18th Mumbai Film Festival with Star, which will begin from 20 October, will showcase the 1959 Pakistani film titled Jago Hua Savera, directed by AJ Kardar. The film is being screened in the fest’s ‘Restored Classics’ section, which is headed by Dhobi Ghat director Kiran Rao.
Prithvi Mhaske, who filed the complaint on Saturday, told IANS: “We have filed a complaint at Amboli police station against MAMI film festival which has plans to showcase a Pakistani film at the festival. Our intentions are very clear. We will protest against the festival if they showcase this film. We will be protesting outside Infinity Mall, where the event is taking place.”
Mhaske is the president of Sangharsh Foundation, an NGO in Mumbai.
In his letter to the police, Mhaske said: “The organisers of this event are more likely to flare outrage among people by screening this Pakistani film in their festival. This will just not be acceptable as it will give rise to more tension among the people. Moreover, IMPPA has also decided to ban Pakistani actors from working in Bollywood and also almost all single screen theatres have decided to boycott movies of Pakistani actors. So, why (are) the organisers of the Mumbai Film Festival pouring so much love towards Pakistani actors?”
Mhaske also told PTI, “If the organisers do not stop the film’s screening, my workers will stall (it).”
Senior PI with the Amboli Police Station Bharat Gaikwad said that he had received the complain from Mhaske, and had “summoned both the parties to go into the merits of the application”.
Over 180 films from 54 countries, including features, documentaries, short films are to be showcased at the Mumbai Film Festival.
Jago Hua Savera (Day Shall Dawn) depicts life in a small fishing village in East Bengal (now Bangladesh; then part of Pakistan). It was written by the poet Faiz Ahmad Faiz, and recently restored, with a screening at the Cannes Film Festival.
After the 18 September terrorist attack at the Uri army camp, relations between India and Pakistan have been strained. The Maharashtra Navnirman Sena had issued an ultimatum to Pakistani artistes to leave India and said the party would not let their movies release in India.
The Indian Motion Picture Producers Association passed a resolution banning Pakistanis from working in films being made in India as they were upset that many Pakistani artistes did not condemn the incident.
In retaliation, some Pakistani theatre chain owners banned the screening of Indian films.
Dasho Karma W Penjor, Hon’ble Secretary of Ministry of Information and Communications, Bhutan to lead a nine-member delegation to the Mumbai Film Festival. Jio MAMI with Star Film Festival, in its latest edition, will play host to a 9-member contingent from Bhutan. A versatile team comprising of important members of Department of Information and Media and members from the Bhutan Film Association will represent ‘The Land of the Thunder Dragon’ at the Festival. The objective of this invitation is to help enhance film industry in Bhutan and to engage with film makers, producers and directors to build-up collaborative arrangement and long-term professional working relationships.
Bhutan will also be represented at the festival by Khyentse Norbu’s newest film, ‘Hema Hema: Sing Me a Song While I Wait’. It will be screened as part of the World Cinema category. In this Buddhist-themed, intriguing Bhutanese drama, a group of people don masks and come together in the woods for fifteen days of liberating and transgressive anonymity.
‘Hema Hema: Sing Me a Song While I Wait’ by Khyentse Norbu
Khyentse Norbu is a Bhutanese Buddhist teacher and filmmaker who received worldwide fame in 1999 with his first film, ‘The Cup’.
The Jio MAMI with Star Film Festival has grown strongly with the collaboration from movie fanatics in Southeast Asia and Western filmmakers. It has an excellent mix of award-winning directors, emerging film-makers, experimental shorts, and documentaries. The festival will provide an opportunity for Bhutan to highlight the imaginative work of its filmmakers and resonating performances of its actors.
Festival Director, Jio MAMI with Star Film Festival, Anupama Chopra said, “Bhutan is one of my favorite places on the planet and it gives me great pleasure to have the Bhutanese delegation at our festival. It’s an honor for us. I hope this is the beginning of an enduring cultural exchange.”
The contingent will comprise of:
Mr. Dasho Karma W Penjor- The Honorable Secretary of Ministry of Information and Communications
Mr. Thinley Dorji- Librarian, Department of Information and Media
Mr. Phub Wangdi- Assistant Information and Media, Department of Information and Media
And members from the Bhutan Film Association:
Mr. Tashi Gyeltshen- Filmmaker
Mr. Thukten Yeshi- Film Writer & Director/ Consultant
Mr. Pema Rinzin- Filmmaker, Sound Designer, Editor, Cinematographer & Archer
If you are by any chance a film buff you’d be aware of your favourite time of the year – the 18th Jio MAMI Mumbai Film Festival. You’d also no doubt be really confused about what films to watch considering the sheer volume of amazing films put together by the lovely people of Jio MAMI.
Fret not. Listed below is a handy guide to make note of 15 films you should absolutely, under no circumstance, miss at the festival.
Under The Shadow
Director: Babak Anvari Country: Iran
By far the most exciting film at the fest, Babak Anvari’s film contains a mysterious spooky entitypestering a mother and her daughter during the fag end of the Iran-Iraq war in 1988. The film has been gathering some serious buzz ever since it premiered in Sundance back in January. It’s also UIK’s official entry to the Oscars — which bodes well for fans of intelligent horror cinema.
The Lure
Director: Agnieszka Smoczynska Country: Poland
Set in a Warsaw nightclub and full of weird lurid visuals, The Lure chronicles two mermaid sisters who arrive on land to explore the ‘human’ side of the world, and clash when they fall for the same human. Things get stranger when we discover the mermaids also have vampiric tendencies. The film created quite a buzz in Sundance where it won a Jury Prize.
Personal Shopper
Director: Oliver Assayas Country: France
It seems like this year’s MAMI has turned into the Fantastic Fest (what could possibly be better than that) because this is the third acclaimed horror film to watch out for. Oliver Assayas who totally bowled us over two years ago with The Clouds of Sils Maria is back with a spooky story with an undercurrent of social commentary.
Assayas’ regular Kristen Stewart plays Maureen, an assistant to a fashion mogul in Paris who contacts a spirit of some sort. Festival darling Assayas picked up the Best Director award at Cannes earlier this year.
Old Stone
Director: Johnny Ma Country: China
We know China can be a weird place, and debut director Johnny Ma explores yet another bizarre quirk of the country: if you help someone in a car accident and take him to the hospital, you are liable to pay their rehabilitation fees for the rest of their life. The protagonist of the film, a cab driver finds himself in such a scenario in a film that bagged Ma the award for the best debut film at the Toronto International Film Fest earlier this year.
Graduation
Director: Cristian Mungiu Country: Romania
Graduation puts 4 Months 3 Weeks 2 Days director Mungiu back to his roots – in the underbelly of Cluj. The film follows a surgeon who for some reason is a target by unknown pranksters, and whose daughter is mugged and assaulted on her way to her exams.
With handheld cameras, bleak blue tones, and the exploration of grassroots corruption, Mungiu’s latest has been heralded as a return to form for a filmmaker whose previous film Beyond the Hills was criticized for being too self indulgent. Mungiu bagged the Directors trophy at Cannes for this film.
Things To Come
Director: Mia Hansen Love Country:France
Fast emerging as one of the most exciting filmmakers of this generation, Hansen Love’s new film follows a 50 year old woman who needs to come to terms with dealing with life after a divorce. Hansen Love bagged the Silver Bear for Best Director in Berlin, but her amazing work in her previous film Eden is enough reason to be excited for this one.
My Life As A Courgette
Director: Claude Barras Country: Switzerland
Celine Sciamma who earlier wrote the magnificent Girlhood teams up with director Barras for a stop motion animation about a 9-year-old boy who is put in an orphanage after his alcoholic mother dies — for which he may or may not be responsible.
Elle
Director: Paul Verhoeven Country: France
The filmmaker behind some of the most nihilistic films of all time like Robocop, Total Recall and Starship Troopers returns after years with Elle, another nasty takedown of the society we live in. This time the story follows a rich video game honcho named Michelle (Isabelle Huppert) who is attacked by a masked man at her Parisian home.
Like all Verhoeven’s previous films, Elle is supposed to present moral dilemmas with a satirical bite and a layer of icily dark commentary on sex, violence and, in this case, video games. It’s France official entry to the Oscars.
Sand Storm
Director: Elite Zexer Country: Israel
Winning the Grand Jury prize at Sundance, Elite Zexer’s film which is set in Southern Israel follows a Bedouin woman dealing with everyday sexism and not so casual misogyny of the region after her husband is about to be married to a second, much younger woman. That should be an interesting watch because it’s a topic that folks in India can unfortunately relate to all too well.
Hounds Of Love
Director: Ben Young Country: Australia
In case you’re looking for a serial killer movie, debut filmmaker Ben Young presents a highly intriguing one with Hounds of Love, which introduces us to a serial killer couple whose latest kidnapping victim realizes that the only way to escape is by getting the two psychos to turn against each other.
One other little aspect to convince you to see this film is that the many audience members at the Venice Film Festival walked out because they couldn’t stomach what was happening on the screen.
The War Show
Director: Andreas Dalsgaard, Obaidah Zytoon Country: Syria – Denmark
The War Show is supposed to be a blistering account of the Arab Spring seen through the eyes of radio host Obaidah Zytoon who began filming the state of things during and after the protests.
The Lovers And The Despot
Director: Rob Cannan and Ross Adam Country: Britain
It’s pretty obvious how demented and scary North Korea is, and it seems there’s no dearth of bizarre stories to come out of the country. This documentary brings us the real life story of a filmmaker couple who was kidnapped by Kim Jong II and were forced to make films in the country because the great dictator was a film buff.
Lantouri
Director: Reza Dormishian Country: Iran
Yet another fascinating film from Iran, we’re taken through three intertwining stories: one which follows a gang of thugs that attacks and kidnaps young children from families that gained their wealth through financial wrongdoings, another which chronicles a journalist who is not allowed to voice his opinion and the third which follows a prostitute who turns into a thug.
Clash
Director: Mohamed Diab Country: Egypt
After garnering acclaim for his film Cairo 678, Egyptian filmmaker Mohamed Diab is back with another interesting story that puts various characters in a single location – a police riot car during the raging bloody streets of Cairo when the Muslim brotherhood president Morsi was overthrown and the country went nuts.
After The Storm
Director: Hirokazu Koreeda Country: Japan
Like Father Like Son filmmaker Koreeda returns with another film with similar themes of isolation in the Japanese society. The film follows a writer struggling to live up to the success of his first novel and dealing with vices such as gambling and ego. While researching his next book he begins to spy on his ex wife who is now seeing another man. Reality hits him when he discovers that their son, in the custody of his mother is perfectly happy without him. The film has naturally received glowing reviews everywhere it’s screened.
The Salesman
Director: Asghar Farhadi Country: Iran
It’s Farhadi’s new film — that’s all you need to know.
Other Notable Mentions:
Swiss Army Man: A delightful tale of a suicidal man whose life is saved by a farting corpse.
The Wailing: Yet another engrossing watch from Korean maestro Hong Jin Na about a Korean village going through a turmoil after a Japanese man encroaches their territory.
Neruda: The new film from Pablo Larrain which has been garnering some terrific buzz.
Madly: A short anthology featuring directorial works fromAnurag Kashyap,Gael Garcia Bernal, Mia Wasikowska, Natasha Khan, Sion Sono and Sebastian Silva.
Death in Sarajevo: Danis Tanovic’s new film.
I, Daniel Blake: Festival darling Ken Loach’s latest which is sure to have insanely long lines – make sure you get to the screening hall early.
The Santa Barbara International Film Festival’s Virtuosos Award is going off tonight at the Arlington Theater in Santa Barbara at 8PM!
SBIFF Executive Director Roger During noted,
“This year has been monumental in the breadth of talent breaking through in distinct and emotional roles. We are excited to honor both new and familiar faces, and look forward to celebrating them and their contribution to the craft.”
This year’s recipients include Aaron Taylor Johnson (Nocturnal Animals), Dev Patel (Lion), Janelle Monáe (Hidden Figures, Moonlight), Mahershala Ali (Moonlight), Naomie Harris (Moonlight), Ruth Negga (Loving), Simon Helberg (Florence Foster Jenkins), and Stephen Henderson (Fences). The Award presentation, which will be moderated for the seventh year by Dave Karger, will take place February 4, 2017 at the Arlington Theatre at the 32nd edition of the festival, which runs February 1 to February 11, 2017.
The diverse group will be recognized for their breakthrough roles in 2016 and careers thus far. Aaron Taylor Johnson delivers a fearless and menacing performance as the villainous sociopath Ray Marcus in the psychological thriller Nocturnal Animals. Based on the true story of Saroo Brierley, Dev Patel brings an emotional sentimentality and soulful depth to his role in Lion. Janelle Monáe has had a banner year with star-making performances as Mary Jackson in the biographical drama Hidden Figures along with the brilliantly crafted Moonlight, in which she brings sensitivity and sincerity to the role of Teresa. In Moonlight, Mahershala Ali gives a captivating and moving turn as Juan, a man struggling to find his place in the world, and Naomie Harris mesmerizes with her touching and harrowing performance as the mother of a young man navigating his sexuality. Ruth Negga delivers a mesmerizing and resilient portrayal of Mildred Loving in the biographical drama, Loving. Simon Helberg won critical raves and audiences’ hearts with his charming performance opposite Meryl Streep as Cosme McMoon – the very expressive pianist in Florence Foster Jenkins. After decades on Broadway, renowned character actor Stephen Henderson reprises the role of Jim Bono in Denzel Washington’s upcoming Fences, which earned the actor a Tony nomination.
Virtuosos Award
honoring:
Aaron Taylor Johnson (Nocturnal Animals)
Dev Patel (Lion)
Janelle Monáe (Hidden Figures, Moonlight)
Mahershala Ali (Moonlight)
Naomie Harris (Moonlight)
Ruth Negga (Loving)
Simon Helberg (Florence Foster Jenkins)
and Stephen Henderson (Fences)
Moderated by Dave Karger Saturday February 4, 2017
Arlington Theatre
Prior recipients for the award include Alicia Vikander, Joel Edgerton, Elizabeth Banks, Paul Dano, O’Shea Jackson Jr., Géza Röhrig, Jacob Tremblay, Chadwick Boseman, Ellar Coltrane, Logan Lerman, David Oyelowo, Rosamund Pike, J.K. Simmons, Jenny Slate, Ann Dowd, Elle Fanning, Ezra Miller, Eddie Redmayne, Omar Sy, Quvenzhane Wallis, Demian Bichir, Rooney Mara, Melissa McCarthy, Shailene Woodley, Andy Serkis, Patton Oswalt, Andrew Garfield, John Hawkes, Lesley Manville, Hailee Steinfeld, Jacki Weaver, Emily Blunt, Carey Mulligan, Saoirse Ronan, Gabourey Sidibe, Michael Stuhlbarg, Casey Affleck, Marion Cotillard, Viola Davis, Rosemarie DeWitt, Sally Hawkins, Richard Jenkins, Melissa Leo, James McAvoy, Ellen Page, Amy Ryan, Michael Shannon, Michael B. Jordan, Brie Larson, Jared Leto, and June Squibb.
(Source: press release sbiff.org)
Dear Cinephiles,
SBIFF Executive Director Roger Durling stated, “Lone’s deeply touching film is authentic, funny and depicts the power that cinema has to bring people together and share their stories. It was the perfect choice to close this year’s festival.”
Jago Hua Savera (Day Shall Dawn) depicts life in a small fishing village in East Bengal (now Bangladesh; then part of Pakistan). It was written by the poet Faiz Ahmad Faiz, and recently restored, with a screening at the Cannes Film Festival.
