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Interview - Writer-Director Florian Zeller on 'The Father'
- Details
- Written by Matthew Toomey
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The Father was recently nominated for 6 Academy Awards including best picture. Back in November 2020, I had the chance to speak with writer-director Florian Zeller about his terrific movie…
Matt: Your acclaimed play was first performed close to a decade ago. Where did that idea first come from to tackle the subject matter of dementia and to do it in this particular way – through the eyes of the sufferer?
Florian: I was raised by my grandmother, who was like a mother, and she started to suffer from dementia which I was 15 years old. While I have a very personal connection with the issues, I realised early on that everyone is connected to it unfortunately. When the play was on stage in Paris and then in other countries, I was surprised and touched to see the response from the audience was the same everywhere. People were coming to us after every performance to share their own story and I realised there was something cathartic about it. Art has the power to make you feel part of something bigger than yourself and that’s the reason why I wanted to make the film.
Matt: At what point did you envisage that it could also work as a film?
Florian: I kept the narrative of the play which, as you say, is to try to tell the story from the “inside”. I wanted to put the audience in a very specific position as if they were in the middle of a labyrinth trying to figure out where they’re going. I wanted The Father to be an experience as much as a story. I wanted them to know what it’s like to lose your bearings. It was a way for me to play with the audience and try to disorientate them.
All of that is taken from the play but I didn’t want to just film a play. I worked a lot with Christopher Hampton to make it as cinematic as possible. For example, we worked a lot on the sets to increase the feeling of disorientation.
Matt: And you serve as both writer and director here. What lured you into the challenge of directing for the screen (I believe this is your feature film debut) as opposed to handing that responsibility over to someone else?
Florian: From the very beginning, my desire was to direct the film. I was familiar with the material because of the play and I was clear about the emotions I wanted to share. Strangely, I also wanted to do it with Anthony Hopkins from the very beginning. That’s the main reason I did it in English. I’m French and it wasn’t an obvious decision but when I started to dream about the film, the one and only face that came to mind was Anthony’s.
I spoke with my friends at the time and they were laughing at me because I’m French and this is my first feature film. Most of the time, it’s us who close the door on what’s possible but this time, I followed my desire and my intuition and sent the script to Anthony Hopkins through his agent. I waited a bit and one day, I received a call from an unknown number and it was the agent saying Anthony wanted to meet with me. I took a plane to Los Angeles to have breakfast with him and this is how it started.
Matt: How’d you get Olivia Colman on board with the film?
Florian: I have always adored her as an actress. She’s been the queen in my heart for years as I’ve known her through films and series and stage. I really think she’s the greatest actress in the UK. There’s something magical because you love her as soon as you see her on screen. I don’t know how she does it. It’s the same as real life.
I knew this film needed her because it’s not just the story of a man losing his bearings but it’s also the story of his daughter trying to save the situation and face this painful dilemma. What do you do with the people you love when they are starting to suffer from dementia? I needed someone you can instantaneously feel empathy with and she’s a genius for that.
Matt: It’s an interesting setting in that almost all of the movie takes place inside of the apartment but it feels like a character in itself in the way our view of it changes. Can you talk about that and the approach to the cinematography and production design?
Florian: You’re right, it’s like a character. When I wrote the script, I also drew the layout of the apartment and so it was always part of the story. When you start thinking about adapting a play into a film, the first ideas you have is always to write new scenes and stuff outdoors to make it more cinematic. I didn’t want to go that way through. I wanted to stay in the apartment and do the whole film in a single space so that it would be like a mental space.
We are in Anthony’s apartment but step by step, we are making small changes in the background. You can’t tell what’s happened but you know something has happened. We shot the whole film in a studio so it was easy to move walls, change proportions and change colours so you have this strange feeling that you know where you are but at the same time, you’re not quite sure where you are.
Matt: I like the use of music also. It’s quite haunting and reflective in places. Can you tell me about your approach with composer Ludovico Einaudi?
Florian: He’s a fantastic Italian composer. He did a very small composition for us and we also used music taken from a French opera by Georges Bizet. The story is connected to Anthony Hopkins. We were chatting before shooting the film and we discovered we were both in love with an aria taken from The Pearl Fisher by Bizet.
He discovered that piece of music when he was 30 years old and he was touring with a play in the UK. He ran to the piano in the hotel trying to find the melody and everyone in the hotel went nuts because he played it for 3 days. He said he’d always dreamt to make a movie one day with that music in it. It used it 3 times in the movie to fulfil his dream because he’d fulfilled mine by starring in the film.
Matt: The film premiered back at Sundance and it’s been touted as an awards season contender but clearly this has been a crazy year for films and movie theatres. Has the release and promotion of the film been affected heavily by COVID-19?
Florian: It’s hard to tell because we’re still right in the middle of it but up until now, everything has been virtual. It’s a bit sad but we’re lucky that we can still stay connected to each other in this crazy world and to talk about what we have done. I really hope people get a chance to see this in theatres because making a film is a lot about sharing experiences and emotions.
Interview - Actor Lucas Hedges on 'French Exit'
- Details
- Written by Matthew Toomey
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Lucas Hedges is just 24 years of age but he’s already had the chance to work under directors including Wes Anderson, Jason Reitman, Terry Gilliam, Kenneth Lonergan, Greta Gerwig, Martin McDonagh and Steven Soderbergh. I recently spoke to him about his career to date and his latest performance in Azazel Jacobs’ French Exit…
Matt: Over the weekend, people were reminiscing on social media about the most bizarre moment in Oscars history when Moonlight won best picture and La La Land was read out incorrectly. You were there that night as a nominee for Manchester by the Sea sitting just a few rows back from the front. What’s your memory of how it all played out that crazy night?
Lucas: It’s so funny I was there and it was such a bizarre moment. I remember that everything was going to plan with La La Land winning and then I heard somebody gasp and I saw people running back and forth across the stage. It looked like something bad had happened but I didn’t know what. Then I heard one of the producers say “we lost by the way”.
The night itself up until that point felt artificial. There’s a lot of formality like not trying to step on each other and not getting make-up on each other’s shoulders. The Oscars look much cooler on person than they are in person if I’m being honest. However, that moment just blew a ton of fresh air into the room. Suddenly, every single person was part of a real experience and it was like we were all going through a traumatic incident together.
Matt: They often say that someone is only one great role away from making it in Hollywood and that felt like the case with your superb performance in Manchester by the Sea. Did it open doors as easily as you thought it might?
Lucas: It did but I didn’t appreciate how much of a “golden ticket” it would be. After Manchester by the Sea premiered at Sundance, I thought I’d be going back to drama school and keep studying but the world definitely had different plans for me. I started working a ton and I haven’t really stopped until the past year.
Matt: There are actors like yourself and Timothee Chalamet and Zendaya and Florence Pugh who breakout and go from relative obscurity to people who are Googled a thousand times a second by a knowledge-hungry public. We see it with professional athletes too. Is it easy to still be your natural self or is there pressure to put up some kind of “brand” of what people expect Lucas Hedges to be?
Lucas: I keep getting asked to play these very dramatic roles which is something I’d like to change but I think I’ve done a good job doing projects that haven’t pigeon-holed me too much. It’s a little weird the extent to which people around the world have a relationship with me before I have a relationship with them but that’s also part of the gift of being an actor. It’s nice being known.
People like Timothee and Zendaya feel like superstar-level pop stars at this point whereas my life is more quiet and reserved. That said, I haven’t been in public without a mask on for a whole year. I’ve almost forgotten what it’s like to be recognized which was happening regularly before COVID-19.
Matt: Leading roles are what many dream of but you’ve had the chance to play supporting to the likes of Casey Affleck, Saoirse Ronan, Frances McDormand, Meryl Streep and now Michelle Pfeiffer. What do you see as the secret to creating a great supporting performance?
Lucas: Wanting to be there. I’ve got to love the story I’m in and want to be a part of the movie. I don’t think it’s possible to be good in a movie you don’t want to be in.
Matt: I remember the late Peter O’Toole speaking at the Oscars about how he would draw energy from working with young actors. Without making you sound too egotistical, do you ever get that feeling yourself – that these experienced, iconic actors love working with you as much as you love working with them?
Lucas: I’ve gotten a sense from some of them that I’m fun to work with. Others are more self-sufficient and self-contained and I haven’t felt like I was a huge disruption or inspiration to their acting process. But yeah, I’ve also been good to the extent that I’m in awe of them and that makes it more fun from their perspective to be around me.
Matt: Here in French Exit you’re playing Malcolm Price – a young man sticking by his self-destructive mother who is burning through money and doesn’t seem to have any plan. It’s a very unusual relationship between parent and child and I’ve love to know how you’d describe the connection these two characters share?
Lucas: I think they have a very codependent relationship. Malcolm was sent to boarding school and wasn’t raised by his parents until he was 13. I don’t think he thought of himself as a “real” person and he had no one to validate his existence. His mum then comes into his life and is like a shooting star across the sky.
Despite how bizarre and self-destructive Frances is, she becomes the basis of his life. The two are inseparable to the point when she runs out of money and moves to Paris, he chooses to go with her instead of his fiancé because she feels more real to him than his life independent of her. I think it’s a story of codependence and awe and falling in love with a way of being that reflects a child’s dependence on his mother.
Matt: Your role is one that doesn’t require a lot of dialogue. It’s as much about reacting to Michelle Pfeiffer and her character’s eccentric way of doing things. How do you approach that as an actor? How do you how you to react and carry yourself in those scenes?
Lucas: I did and I didn’t know. I loved the writing so that’s what showed me the way but there were still question marks about the character that I didn’t fully understand. I was willing to accept that because I loved the story so much. To answer your question, what guided me most was the moment-to-moment storytelling laid out so beautifully by writer Patrick deWitt and then the thoughts of our deeply sensitive director Azazel Jacobs.
Matt: And I’ve got to ask – you’re working with one of the best here in Michelle Pfeiffer who picked up a Golden Globe nomination for her performance. Do you have a favourite memory or a favourite learning from the experience?
Lucas: The thing that stands out most about Michelle is how much work she puts in and how these days were built on her back. She carried us every single day without complaining once. It was as if she was as quiet as an extra and it was amazing how little space she took up. She knew what she had to do and she just did it.
Matt: We know COVID-19 has had a huge impact on the film industry and movie theatres. How has it been from your perspective as an actor?
Lucas: I live a pretty isolated, hermit-like lifestyle anyway and so it hasn’t changed my life that much. I’ve missed going to movie theatres. I can’t speak to how it’s changed my life as an actor because I haven’t found a project I wanted to do and I haven’t worked during COVID-19. I do hope to be on a set soon and to find a project that feels right.
Matt: The Golden Globes are today, the Oscars are coming up next month. What have you liked over the past 12 months that you’ve love to see honored?
Lucas: I loved The Dig with Ralph Fiennes and Carey Mulligan. It’s incredible. I really liked Malcolm & Marie and I thought Zendaya and John David Washington were great. Those two stand out to me.
Interview - Director Gregory Kershaw on 'The Truffle Hunters'
- Details
- Written by Matthew Toomey
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The Truffle Hunters is a fascinating documentary that recently made the shortlist (top 15 films) for best documentary feature at the upcoming Academy Awards. I had the chance to speak to one of the film’s two directors, Gregory Kershaw, about the project…
Matt: A documentary about elderly men and their dogs searching for rare truffles in Northern Italy. Where did the idea for his first come from?
Gregory: We stumbled on this world by chance. My filmmaking partner Michael Dweck and I were both obsessed with finding worlds that exist outside the sphere of globalisation and technology. Those worlds that had maintained their identity and maintained their connection with local history and culture.
We didn’t realise it at the time but one summer, we were both separately travelling through the Piedmont region in northern Italy. We were struck by the place and it felt like we were moving through a fairy tale land. It’s spectacular. Every hill top has a little town, there are beautiful vineyards, and there’s a sense that it’s removed from the modern world in that it moves at a different rhythm. It hasn’t been taken over by globalised culture.
As part of our time there, we’d heard about these truffle hunters. They were a secret society of old men who scoured forests in the middle of the night for the while Alba truffle – one of the rarest and most expensive food ingredients in the world. Unlike all other types of truffles, this one can’t be cultivated. It’s beyond the grasp of science and human knowledge. There’s something delicious about that idea.
We then decided to go back and explore. Two weeks later, we finished another project we were working on and we started an exploration process that led us into the 3 year process of making this film.
Matt: It’s one thing to have an idea but it’s another to make it work. A lot of the people we see are very secretive about their work and so how easy was it to convince them to appear on film?
Gregory: Everything in this world is a secret. Even the town keeps the identity of the truffle hunters a secret. Before starting filming, we had to go into these communities and build relationships with people. We’d go to a trattoria where they were serving truffles and we’d ask the owner if we could be introduced to the hunter who provided them. He’d say “I’ve never met him. I just leave some money in a box and a truffle appears the next day.” He’d then go “talk to my cousin who a priest” and then the priest would introduce us to someone else and so on.
Slowly, over a very long time, we were finally introduced to the truffle hunters. They hunt at night because they don’t want anyone to see where they’re going. Even the market place where they sell the truffles is a secret. There are black markets on street corners at 3am in the morning that no one knows about.
It took a lot of time to build up those relationships. Luckily, we were filming in a part of Italy where the food is fantastic and the wine is plentiful so we had a lot of long meals with them. We followed the hunters all day and observing the rhythm of their lives and letting them know we loved their world and we wanted to express it on film.
Matt: The conversations between some of these characters feel so open and candid. Was it easy to achieve that given they would have known cameras were on them?
Gregory: Something was different about filming in this region and a lot of it had to do with the lack of technology in the lives of these people. There are so many places in the world were people know what a film is and when you put a camera in front of them, they’re not quite themselves. They start performing and putting on their idea of what it means to be a documentary or reality television show.
The people we were filming don’t watch TV and they don’t have an iPhone in their pocket. They’re not constantly consuming media. It was a remarkable thing. Once we started rolling the camera, they would seem to forget about us almost immediately and would just go about their daily lives.
We shot the film in a very unique way in that it was just one shot per day. That’s unheard of in a documentary. They love to talk in this region and they use a local dialect. We’d just set the camera up and let it roll. Sometimes they’d talk for up to 3 hours where they’d talk about everything going on in their lives. We’d just take a tiny snippet to use in the film that helped tell the story and highlight the magic qualities of this world we’d discovered.
Matt: It’s not often I say this about a documentary but the cinematography is quite striking. Set cameras in precise locations as we watch these characters converse. Can you speak a little about that and how the shots were framed?
Gregory: We wanted to bring a deliberate perspective to the filmmaking. It’s a documentary but we wanted to capture more than just the facts. We wanted to go deeper and find a “subjective truth” and translate the feeling of this place to the audience.
It’s like when you have your phone and you’re just snapping pictures. You can take a photo of some place and use it to remember the fact you were there. For example, it’ll show there was a building there and it’s capturing the “objective truth”. For us, we wanted to create images that felt like the place and took you into them and made you feel the same thing we did.
It took us a lot of time to construct those images but at the same time, we’re filming a documentary so we needed to be free enough to capture reality as it was happening in front of us. That’s part of the reason why the film took 3 years to make. We were so deeply intertwined in the lives of these people that we’d wait until the moment was right before putting a camera in front of them.
Matt: You’ve made the short list for best documentary feature at the Academy Awards and some are tipping the film will receive a nomination. What are your thoughts on that?
Gregory: We hope so and our fingers are crossed. The reception of this film has been astonishing. We premiered it over a year ago at Sundance and we finished it the day for its premiere. Michael and I had seen it with our sound mixer and that was it. We hadn’t shown it to anyone else and so we had no idea what to expect at Sundance. Luckily, we had an incredible reaction from people who connected with it.
The film is a celebration of the human spirit and we wanted to make it because we fell in love with the place and these people. They have a joy, a happiness, an exuberance for life we wanted to share with the audience. This past year has been challenging for so many people in so many different ways and we wanted to give people something to celebrate and show there’s still beauty and hope left in this world.
Brisbane Film Critics Select 'Nomadland' As Best Of 2020
- Details
- Written by Matthew Toomey
Since 2011, I have been pulling together a list of the best movies of the year according to the Brisbane-based critics who I run into regularly at preview screenings. Those films to have topped prior year lists have been Drive in 2011, Argo in 2012, Gravity in 2013, Boyhood in 2014, Mad Max: Fury Road in 2015, La La Land in 2016, Get Out in 2017, The Favourite in 2018, and Parasite in 2019.
To come up with an overall top 10, I’ve used a simple points system and applied it to the list of each critic. It is as follows:
- 3 points for the top film on each list.
- 2 points for the films ranked between 2nd and 5th on each list.
- 1 point for the films ranked between 6th and 10th on each list.
If two films finished on the same score, the film that appeared on the greater number of top 10 lists is ranked higher (as an indication of wider approval).
There’s no denying 2020 was a peculiar year in the world of cinema. With theatres closed and the U.S. box-office down 80% due to the impact of COVID-19, streaming services became a necessary refuge for movie lovers. For that reason, this year’s top 10 list includes movies released in Australian cinemas and also those made available on streaming platforms. The expanded options created more divergence amongst critics with no film featuring on more than 50% of the lists submitted.
Chloé Zhao’s Nomadland was released in the final week of 2020 and earned enough votes to be Brisbane critics’ top film of the year. It was closely followed by the direct-to-streaming Sound of Metal and the Oscar-winning World War I drama 1917.
The overall top 10 includes two horror-thrillers (The Invisible Man and Possessor), a Pixar animated feature (Soul), a Polish drama (Corpus Christi), a quirky crime-comedy (Kajillionaire), an American indie with non-professional actors (Never Rarely Sometimes Always), and an Aaron Sorkin legal drama with a huge cast (The Trial of the Chicago 7).
It’s a superb list of films and hopefully you get the chance to see as many as possible.
On that note, here are the top 10 movies of 2020 according to Brisbane critics…
Brisbane Film Critics - Top 10 of 2020
1. Nomadland
2. Sound of Metal
3. 1917
4. Soul
5. The Trial of the Chicago 7
6. Never Rarely Sometimes Always
7. Kajillionaire
8. The Invisible Man
9. Corpus Christi
10. Possessor
You can view a table of all the votes and final scores by clicking here.
A big thanks to all the critics who were able to contribute. Hopefully we'll do it again next year!
You can check out information on all the Brisbane critics (along with their choices for the best and worst of 2020) below.
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Top 10 Released Films: | |
1. | Never Rarely Sometimes Always |
2. | Corpus Christi |
3. | The Invisible Man |
4. | Little Women |
5. | Les Misérables |
6. | Ma Rainey's Black Bottom |
7. | The Bee Gees: How Can You Mend a Broken Heart? |
8. | Soul |
9. | The Trial of the Chicago 7 |
10. | A Hidden Life |
Best Australian Film: | |
Babyteeth | |
Best Animated Film: | |
Soul | |
Best Documentary: | |
The Bee Gees: How Can You Mend a Broken Heart? | |
Best Performance: | |
Elizabeth Moss (The Invisible Man) | |
Worst Film: | |
After We Collided | |
Most Surprised To Enjoy: | |
Happiest Season |
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Top 10 Released Films: | |
1. | Nomadland |
2. | Never Rarely Sometimes Always |
3. | Small Axe |
4. | American Utopia |
5. | Kajillionaire |
6. | Possessor |
7. | Babyteeth |
8. | Sound of Metal |
9. | The Lighthouse |
10. | Corpus Christi |
Best Australian Film: | |
Babyteeth | |
Best Animated Film: | |
Wolfwalkers | |
Best Documentary: | |
American Utopia | |
Best Performance: | |
Chadwick Boseman (Ma Rainey's Black Bottom) | |
Worst Film: | |
After We Collided | |
Most Surprised To Enjoy: | |
Go! |
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Top 10 Released Films: | |
1. | The Current War |
2. | Mank |
3. | The Trial of the Chicago 7 |
4. | The Translators |
5. | Where'd You Go, Bernadette |
6. | Bombshell |
7. | Just Mercy |
8. | 1917 |
9. | City of Lies |
10. | Tenet |
Best Australian Film: | |
The Furnace | |
Best Animated Film: | |
The Croods 2: A New Age | |
Best Documentary: | |
Brazen Hussies | |
Best Performance: | |
Sacha Baron Cohen (The Trial of the Chicago 7) | |
Worst Film: | |
Unhinged | |
Most Surprised To Enjoy: | |
Becky |
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Top 10 Released Films: | |
1. | Nomadland |
2. | Possessor |
3. | The Peanut Butter Falcon |
4. | Sound of Metal |
5. | Waves |
6. | Soul |
7. | Monsoon |
8. | Never Rarely Sometimes Always |
9. | The Trial of the Chicago 7 |
10. | 1917 |
Best Australian Film: | |
The Invisible Man | |
Best Animated Film: | |
Soul | |
Best Documentary: | |
The Bee Gees; How Can You Mend a Broken Heart? | |
Best Performance: | |
Sidney Flanagan (Never Rarely Sometimes Always) | |
Worst Film: | |
The War with Grandpa | |
Most Surprised To Enjoy: | |
Irresistible |
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Top 10 Released Films: | |
1. | Kajillionaire |
2. | American Utopia |
3. | Never Rarely Sometimes Always |
4. | Nomadland |
5. | Mangrove |
6. | Proxima |
7. | Moonlit Winter |
8. | And Then We Danced |
9. | The Assistant |
10. | Dark Waters |
Best Australian Film: | |
In My Blood It Runs | |
Best Animated Film: | |
Wolfwalkers | |
Best Documentary: | |
Time | |
Best Performance: | |
Vanessa Kirby (Pieces of a Woman) | |
Worst Film: | |
Where'd You Go, Bernadette | |
Most Surprised To Enjoy: | |
Shirley |
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Top 10 Released Films: | |
1. | Corpus Christi |
2. | Shirley |
3. | The Lighthouse |
4. | Kajillionaire |
5. | Seberg |
6. | La Belle Epoque |
7. | Soul |
8. | The Translators |
9. | 1917 |
10. | Da 5 Bloods |
Best Australian Film: | |
Rams | |
Best Animated Film: | |
Soul | |
Best Documentary: | |
The Mystery of D.B. Cooper | |
Best Performance: | |
Elizabeth Moss (Shirley) | |
Worst Film: | |
Trolls World Tour | |
Most Surprised To Enjoy: | |
Bill & Ted Face the Music |
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Top 10 Released Films: | |
1. | Dick Johnson is Dead |
2. | First Cow |
3. | Nomadland |
4. | Da 5 Bloods |
5. | The Trial of the Chicago 7 |
6. | American Utopia |
7. | Sound of Metal |
8. | Possessor |
9. | Queen & Slim |
10. | Babyteeth |
Best Australian Film: | |
In My Blood It Runs | |
Best Animated Film: | |
Soul | |
Best Documentary: | |
Dick Johnson is Dead | |
Best Performance: | |
Frances McDormand (Nomadland) | |
Worst Film: | |
Antebellum | |
Most Surprised To Enjoy: | |
Sonic the Hedgehog |
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Top 10 Released Films: | |
1. | Hamilton |
2. | 1917 |
3. | Da 5 Bloods |
4. | Love and Monsters |
5. | The Outpost |
6. | The Rental |
7. | Palm Springs |
8. | The Invisible Man |
9. | Greenland |
10. | Get Duked! |
Best Australian Film: | |
Relic | |
Best Animated Film: | |
Wolfwalkers | |
Best Documentary: | |
Crock of Gold: A Few Rounds with Shane MacGowan | |
Best Performance: | |
Delroy Lindo (Da 5 Bloods) | |
Worst Film: | |
Ava | |
Most Surprised To Enjoy: | |
Freaky |
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Top 10 Released Films: | |
1. | Dogs Don't Wear Pants |
2. | Swallow |
3. | Waves |
4. | Portrait of a Lady on Fire |
5. | 1917 |
6. | In Fabric |
7. | Sound of Metal |
8. | Possessor |
9. | Nomadland |
10. | Miss Juneteenth |
Best Australian Film: | |
True History of the Kelly Gang | |
Best Animated Film: | |
Soul | |
Best Documentary: | |
Class Action Park | |
Best Performance: | |
Riz Ahmed (Sound of Metal) | |
Worst Film: | |
Tenet (most disappointing) | |
Most Surprised To Enjoy: | |
Butt Boy |
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Top 10 Released Films: | |
1. | Sound of Metal |
2. | Nomadland |
3. | The Trial of the Chicago 7 |
4. | Soul |
5. | The King of Staten Island |
6. | The Invisible Man |
7. | Bad Boys for Life |
8. | Onward |
9. | Palm Springs |
10. | The Lodge |
Best Australian Film: | |
A Sunburnt Christmas | |
Best Animated Film: | |
Soul | |
Best Documentary: | |
The Speed Cubers | |
Best Performance: | |
Riz Ahmed (Sound of Metal) | |
Worst Film: | |
My Spy | |
Most Surprised To Enjoy: | |
A Sunburnt Christmas |
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Top 10 Released Films: | |
1. | Uncut Gems |
2. | Little Women |
3. | 1917 |
4. | The Invisible Man |
5. | The Lighthouse |
6. | Tenet |
7. | I'm Thinking of Ending Things |
8. | Soul |
9. | A Beautiful Day in the Neighbourhood |
10. | Borat Subsequent Moviefilm |
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Top 10 Released Films: | |
1. | Queen & Slim |
2. | Tenet |
3. | The Last Black Man in San Francisco |
4. | Soul |
5. | Sound of Metal |
6. | Palm Springs |
7. | Babyteeth |
8. | Let Him Go |
9. | Mank |
10. | The Devil All the Time |
Best Australian Film: | |
Babyteeth | |
Best Animated Film: | |
Soul | |
Best Documentary: | |
American Street Kid | |
Best Performance: | |
Riz Ahmed (Sound of Metal) | |
Worst Film: | |
Artemis Fowl | |
Most Surprised To Enjoy: | |
Bad Boys for Life |
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