movieminis

In difficult times, we often turn to the movies for comfort, for inspiration, for escape, for expression. We have throughout cinema’s history and we will throughout cinema’s future.

Without a shadow of a doubt, 2017 was a difficult year. But it almost seemed like movies responded accordingly. Not only were films great from January to December, but they also often transcended the art form, bleeding into real life with such vividly real emotions. That’s what cinema is meant to do.

Once a year in film wraps up, it seems only appropriate to celebrate it and to celebrate it thoroughly. 2017 is one of those years where it seems necessary, where reflection expands upon the impact that the films have.

We see this celebration in the form of awarding films, and many places and people take part, from critics to Academy voters. And while it’s fun to watch those award shows, they risk becoming frustratingly difficult to engage with. Response to cinema, to what’s “the best” has its objective elements, but it’s also often subjective and personal. That’s why we feel the need to celebrate 2017 our way, as we can only add another layer, a layer that distinctly reflects us.

Our celebration takes the form of the MovieMini Awards, a project we’ve spent more than two months on. We gathered a team. We traversed four rounds of voting. We poured ourselves into our writing. And we dressed it up a little to present it all to you.

Without further ado, here are the MovieMini Awards for the films of 2017:

Performance by an Actor in a Supporting Role: Willem Dafoe — The Florida Project

In much of Sean Baker’s The Florida Project, the oft-menacing Willem Dafoe plays a warmer, more paternal motel manager named Bobby.

In a scene likely to find itself on Dafoe’s Oscar reel, Bobby confronts a pedophile lurking around the motel’s many children. At first, Bobby seems to treat this man with some sympathy, but it becomes apparent that that may have been to avoid rousing suspicion among the kids. As he escorts the pedophile away, anger bubbles behind Dafoe’s facade. Then, when he angrily rebukes the man, we get a sense of how protective Bobby is of the children he’s constantly fighting with and that even now, Bobby’s seen it all before.

Perhaps the movie’s harshest reality is at the end when — spoilers — Moonee (Brooklynn Prince) is about to be separated from her mom. Dafoe, who’s spent so much time trying to help the pair, has no choice but to walk away and separate himself from the situation. He can’t help anymore and that, perhaps more than anything, hurts. He’s not there watching the pain anymore, but we see in his eyes that he’s been changed by all of this. Sure, he’s seen it all before, but that doesn’t mean he can bear to see it again — you just don’t get used to that sort of pain.

— Hooman Yazdanian

Runner-up: Michael Stuhlbarg — Call Me by Your Name

Within Michael Stuhlbarg’s sublime and endlessly warm performance, one brief moment always comes to mind. When Elio, fresh off an agonizing farewell with Oliver, wanders into his father’s study and catches his eye, Stuhlbarg lifts his chin up and breaks out an ear-to-ear smile. So begins the heartbreaking and tender penultimate scene of Call Me By Your Name.

Stuhlbarg’s performance — which is equal parts gentle, edifying and achingly human — leads to one of the most unforgettable monologues in modern film history.  “Right now, there’s sorrow, pain. Don’t kill it, and with it, the joy you’ve felt.” The soft, quiet breaking of Stuhlbarg’s voice is masterful — a perfect ending to a spectacular supporting performance.

— Michelle Lee

3. Jason Mitchell — Mudbound
4. Richard Jenkins — The Shape of Water
5. Armie Hammer — Call Me by Your Name

The Next 5
6. Mark Rylance — Dunkirk
7. Michael Shannon — The Shape of Water
8. Bill Skarsgård — It
9. Tracy Letts — Lady Bird
10. Christopher Plummer — All the Money in the World

Achievement in Makeup & Hairstyling: Ivana Primorac, Kazuhiro Tsuji, David Malinowski, Lucy Sibbick — Darkest Hour

Heavy makeup often becomes an issue for films. When there’s so much work being done, there’s an equally large risk that something will stick out or look visually off, especially when there are other characters without makeup in the same shots. But the prosthetics in the Winston Churchill biopic Darkest Hour are seamless. Gary Oldman, an otherwise thin man, is fully transformed into a rather different type of physicality, a physicality that is integral to defining the character of Churchill. There’s so much humor in Churchill’s bumbling demeanor, and yet there’s so much power and gravitas in it as well. So many layers of the film are pulled off, including Churchill’s interactions with other characters.

The makeup work hits that sweet spot between too much and using an actor that only roughly looks like Churchill, allowing the essence of the man to come through as perfectly as possible.

— Kyle Kizu

Runner-up: Mike Hill, Shane Mahan — The Shape of Water

The work done in The Shape of Water has proved to be a bit of a divide for categorization and judgment. Some deem the Amphibian Man’s exterior as, actually, a costume, it being something actor Doug Jones put on. But we look at it as makeup work, as a sort of large scale prosthetic piece designed to be skin, not costume.

And, in addition to the wonderful period details of the hair of the rest of the cast, the skin of the Amphibian Man is truly outstanding, built from such minute detail to create a creature that feels fully imagined and realized. Each part of the creature feels alive in such majestic ways.

— Kyle Kizu

3. Deborah LaMia Denaver, Adruitha Lee — I, Tonya

The Next 3
4. Joel Harlow, Cindy Harlow — Logan
5. Paul Engelen, Sarah Alice Hoyle, Lesley Nobile — Phantom Thread
6. Sarah Craig McEathron, Linda Dowds, Sean Sansom — It

Achievement in Costume Design: Mark Bridges — Phantom Thread

Mark Bridges’ remarkable work is vital to Phantom Thread, because if it were not excellent, it’d be hard to buy into the hype surrounding Reynolds Woodcock. As important as it was for Daniel Day-Lewis to inhabit Woodcock, it was crucial for Bridges to do the same. He had to make clothing that Woodcock would, not just clothing from 1955, but clothing this particular man would make at this particular stage of his life. That meant using copious lace with rich colors — hallmarks of the Woodcock brand — and imbuing regal undertones in the many dresses Alma (Vicky Krieps) would fashion. It also meant making a wedding dress that, while beautiful to us, would’ve disappointed Woodcock.

Beyond the dresses, Bridges is responsible for dressing the characters on a daily basis. Before a word is spoken, we know what time period it is. Before Alma speaks to Woodcock in their diner meetcute, we can get a sense of her present state. Her slightly wrinkled, slightly misfit outfit contradicts with Woodcock’s strenuously put together, neat clothing.

So is it cheating to pick the film literally set in the fashion world for best costume design? Honestly, yeah, probably. Do we care? No.

— Hooman Yazdanian

Runner-up: Jennifer Johnson — I, Tonya

Jennifer Johnson absolutely nails the look of the figure skating world in I, Tonya. Johnson’s work was especially important in capturing different stages of Tonya Harding’s life. Early on, before Harding hits it big for the 1994 Olympics, most of Tonya Harding’s clothing was handmade by her. As such, Johnson effectively made Harding’s clothing look homemade and ill-fitting, contrasting with the more prim costumes we see from Harding’s competitors.

Later, as Harding’s star is rising, we see her showing off fancy jewelry she hadn’t donned prior, representing Harding’s own feeling that she was finally making it. In the 1994 Olympics, Harding’s competition outfit looks more than up to snuff with her competitors — finally she belonged. The way Harding was dressed is an important plot point in I, Tonya, and Johnson managed to hit all her marks.

— Hooman Yazdanian

3. Renée April — Blade Runner 2049
4. Lindy Hemming — Wonder Woman
5. Jacqueline Duran — Beauty and the Beast

The Next 5
6. Luis Sequiera — The Shape of Water
7. Stacey Battat — The Beguiled
8. Jeffrey Kurland — Dunkirk
9. Jenny Eagen — Hostiles
10. Michael Kaplan — Star Wars: The Last Jedi

Best Documentary Feature: Icarus

To be honest, it’s hard to say I thought I’d be calling Icarus the best documentary of the year early in the movie. Within 15 minutes, we see a man trying to cheat a cycling race show his dog’s testicles to the doctor helping him dope. What the hell is going on?

The film begins with Bryan Fogel, the documentary’s director, wanting to see how possible it would be to get away with doping in a cycling race. He enlists the help of Dr. Grigory Rodchenkov, who put Fogel on the same regiment he put Russian athletes under, injections in the butt and all. What happens after this weirdness — that’s admittedly still fascinating — is remarkable.

As Russia’s systemic doping was unveiled during filming, Icarus’ focus shifts to the scandal at large, where Rodchenkov is a major player. The movie shows the rampant, state-sanctioned cheating going on in Russia (which now finds itself banned from the upcoming Winter Olympics). More compelling than even that is the light it sheds on Russia’s treatment of anyone who could harm the nation and Vladimir Putin’s reputation.

On a more human level, Fogel delves into Rodchenkov, highlighting his emotional journey and presenting us with a three-dimensional character. Rodchenkov gets an opportunity to shine; we see his sadness, his fears and the traumatic experiences that led him here. We get a sense for his personality through his sense of humor, and in a beautiful scene at the end of the film, we see Rodchenkov frolic with Fogel’s dog on a beach, seemingly happy and free, for now.

A movie that begins with dog testicles, frozen pee and Fogel’s butt turns into a thriller rife with geopolitical conflict and, undoubtedly, one of 2017’s best films.

— Hooman Yazdanian

Runner-up: Jane

From the first minute, Jane is easy to become fascinated with. It’s a look at over 100 hours of never-before-seen footage of the famous Jane Goodall during her journeys with the apes she got so close too. But the documentary is also a sneakily epic and intimate character piece. As the film turns to its second half, we start to get a sense that we’re witnessing such a wholesome portrait of Goodall’s life, of what drove her not only as a scientist, but as a woman in that time and as a human being in general. It’s a soft portrait, but it’s unbelievably powerful. Director Brett Morgen’s control of the archival footage and quiet empathy for Goodall, which comes out in the editing, is nothing short of masterful, and Philip Glass’ score is one of the most beautiful of the year.

— Kyle Kizu

3. Faces Places
4. Kedi
5. Ex Libris: The New York Public Library

The Next 5
6. Abacus: Small Enough to Jail
7. Strong Island
8. City of Ghosts
9. Chasing Coral
10. Batman & Bill

Breakthrough Performance by an Actor or Actress: Timothée Chalamet — Call Me by Your Name

Well, well, well. Someone had themselves quite the year. Timothée Chalamet, the star of the magnificent Call Me By Your Name, undoubtedly delivered one of the best performances in recent years in this film. His expressive face and ultra-specific physicality — whether its his posture, his dancing or the way he falls into Armie Hammer — tell a story, all on their own. In Call Me By Your Name, Chalamet had lengthy close-ups of just his face and he pulled it off better than just about any veteran actor could. His tone-perfect line delivery ties the bow on a  performance that leaves no nits to be picked.

Add to that his brilliance as the scene-stealing, People’s History of the United States-reading bastion of pretension we all know in Lady Bird, and it’s hard not to get excited for his future in the industry.

That’s what made it so disappointing to see that one of his next movies is a starring role in a Woody Allen film. The young actor’s apology gives us some hope that he actually did learn from and recognize the mistake, and can make more mindful decisions going forward. It’d be a shame if he didn’t because he’s got unrivaled potential and we’d love to see him succeed.

— Hooman Yazdanian

Runner-up: Daniel Kaluuya — Get Out

Daniel Kaluuya is ready to be a star. He’s likely been ready for a while and, frankly, it’s telling that he didn’t get a true shot until now. And now that he did get that chance, Kaluuya’s emotionally versatile, wary performance in Get Out earned him an Oscar nomination. His generally perturbed, concerned vibe is perfect for the role, as is his bemused dismissal of the consistent microaggressions hurled his way. Kaluuya’s eyes are extremely expressive — which is all the more harrowing in the context of the film — and they get a chance to do a lot of work in Jordan Peele’s many close-ups.

His accent work is impressively natural as well; Kaluuya so thoroughly inhabited the role that it was legitimately shocking to hear his thick British accent outside of the film. In 2018, the 28-year-old’s much-deserved breakthrough will continue as he is set for roles in Black Panther and Steve McQueen’s next film, Widows.

— Hooman Yazdanian

3. Brooklynn Prince — The Florida Project
4. Vicky Krieps — Phantom Thread
5. Dafne Keen — Logan

The Next 5
6. Ahn Seo-hyun — Okja
7. Mary J. Blige — Mudbound
8. Tiffany Haddish — Girls Trip
9. Betty Gabriel — Get Out
10. Florence Pugh — Lady Macbeth

Achievement in Sound Editing: Richard King, Alex Gibson — Dunkirk

The sound of Dunkirk is about as integral to the cinematic experience as any other aspect. With specifically sound editing, which is the creation of sounds, Dunkirk plants us firmly in the three settings of the film — the cockpit of a Spitfire, the deck of a civilian boat and the beaches of Dunkirk, France.

The sound of most war films is mainly filled with gunfire, and Dunkirk does have plenty of it. But it’s the variety of sounds that is the film’s greatest asset. We not only get bullets launching out of guns, but we get the impact of those bullets, whether they be ripping through the wooden planks of the mole, piercing the side of a boat, pinging off the Spitfire and more. Beyond the guns, though, we also get the roar of a few different airplanes, both fighters and bombers, as well as sounds that build the space of these characters so thoroughly, such as the rattle heard inside a cockpit. The goal of sound is immersion, and the sound editing of Dunkirk accomplishes that goal incredibly.

— Kyle Kizu

Runner-up: Mark Mangini, Theo Green — Blade Runner 2049

The sound editing of Blade Runner 2049 is rather raw and incredibly forceful. The futuristic Los Angeles and Las Vegas feel rather suffocating, claustrophobic and overwhelming, and the intensity with which the sound editing team craft the sounds of the cities and the sounds of the hovers cars and the guns that fill their streets adds immeasurably to those elements and our experience of them. In a world void of nature and much color, the sounds are made to get under our skin and rattle us. Silence permeates much of the film and then, when the actions ramp up, the explosions of the sounds hit hard. Without spectacular sound editing, Blade Runner 2049 wouldn’t be nearly as effective in evoking the humanity the entire film hinges on.

— Kyle Kizu

3. William Files, Douglas Murray — War for the Planet of the Apes
4. Matthew Wood, Ren Klyce — Star Wars: The Last Jedi
5. Nathan Robitaille — The Shape of Water

The Next 5
6. James H. Mather — Wonder Woman
7. Julian Slater — Baby Driver
8. Matthew Wood, Trey Turner, Christopher Scarabosio — Phantom Thread
9. Shannon Mills, Guillaume Bouchateau — Valerian and the City of a Thousand Planets
10. Choi Tae-young — Okja

Achievement in Sound Mixing: Mark Weingarten, Gregg Landaker, Gary A. Rizzo — Dunkirk

No matter how well sounds are crafted, they oftentimes don’t have as much of an impact if they’re not mixed well. In Dunkirk, the sounds evoke such visceral reactions because of how they’ve been compiled, because of their onslaught. One scene exemplifies this. During the first attack on the mole, gunfire rips through the wood, bombs explode on the hospital ship, the German fighter planes’ horns shriek from above and voices scream as bodies splash into the water. It’s a mix so overwhelming and intense that it becomes genuinely brutalist.

And that brutality is extended to the rest of the film. The volume levels are never off mark, and when they’re loud, they deafen with a purpose. The layers also extend deeply, specifically in the climactic oil scene where the three storylines collide, and the ridiculous sounds of each are mixed to perfection both in their own spaces and in the edited audial flow between those spaces. Dunkirk’s sound mixing truly raises the bar for other war films.

— Kyle Kizu

Runner-up: Glen Gauthier, Christian Cooke, Brad Zoern — The Shape of Water

The Shape of Water’s sound mixing is rather subtle. There aren’t many obvious sound moments, but the sound mixing does go a long way toward building the world that our characters inhabit. Much of the film takes place in the underground government facilities, which is host to advanced technology, a creaking and echoing atmosphere and plenty of water. In fact, it often is with water where the sound of the film does such wonderful work. The sound of water is treated delicately, but also majestically, enhancing so much of the thematic work being done. In the climactic moment, that water pours down as gun shots sound out, the sound mixing as integral to the release of the moment as the writing, performances or any other aspect.

— Kyle Kizu

3. Mac Ruth, Ron Bartlett, Doug Hemphill — Blade Runner 2049
4. Mary H. Ellis, Julian Slater, Tim Cavagin — Baby Driver
5. Stuart Wilson, Ren Klyce, David Parker, Michael Semanick — Star Wars: The Last Jedi

The Next 5
6. Josh Berger, Derek Heir, Tom Johnson, Robert Hein — The Lost City of Z
7. Chris Duesterdiek, Andy Nelson, William Files — War for the Planet of the Apes
8. John Midgley, Adrian Bell, Christopher Scarabosio, David Acord — Phantom Thread
9. Paul Urmson, Brian Tarlecki, José Antonio García — Hostiles
10. Christopher Boyes, Michael Semanick, Vince Caro — Coco

Performance by an Actress in a Supporting Role: Laurie Metcalf — Lady Bird

There are certain supporting performances that are arguably just as key as the lead performances to the film’s success. Whether as a scene-stealing villain such as Heath Ledger’s Joker in The Dark Knight, or Anthony Hopkins psychologically fraught 26-minute “lead” performance in Silence of the Lambs or Jake Gyllenhaal’s essentially co-leading Jack Twist in the emotionally devastating Brokeback Mountain, there are films that rise to their great heights because of the perfect synchronization between a lead and their main supporting actor. And Laurie Metcalf’s role as Lady Bird’s mother Marion is one of these.

While much of the film can be seen as a young woman’s version of Boyhood, in which we watch Christine “Lady Bird” McPherson (Saoirse Ronan) go through her senior of high school, the film’s powerful, lived-in drama comes from the butting heads of Metcalf’s seemingly domineering mother (who is actually very caring towards her daughter, despite her sometimes harsh words) and the free-wheeling and free-spirited Lady Bird.

Metcalf though, unlike some other overbearing motherly performances (specifically, Allison Janney in I, Tonya), brings a bruised humanity to the role. While Marion can tell her daughter she’s not college material, or that her father has been battling depression or that she can’t afford Lady Bird’s New York state college ambitions, there’s always a bracing realism and warmth to her. While the film is told from Lady Bird’s perspective, the film wisely ends with Lady Bird realizing what her “small,” “midwest of California” city of Sacramento meant to her, but more importantly, what her wise mother, perfectly played by Metcalf, meant. Thus, for a film that’s widely considered one of the best coming-of-age stories in cinematic history, it may just be the older woman who’s already come-of-age to only go through a midlife crisis that illustrates what makes Lady Bird so powerful and relatable.

— Levi Hill

Runner-up: Tatiana Maslany — Stronger

In regard to performances of characters experiencing tragedy, it’s easy for actors to overemphasize that tragedy, to make it too much of the focus. But Tatiana Maslany, in the Boston marathon bombing true story Stronger, is incredibly delicate and empathetic in shaping Erin Hurley, the girlfriend of Jeff Bauman (Jake Gyllenhaal), whose legs were amputated after the bombing.

There is certainly focus on the impact that the tragedy has on these human beings, and Maslany is absolutely gripping in those scenes, heartbreakingly bringing the overwhelming emotions to life with such vivid use of her eyes and strain in the rest of her face. But Maslany also handles the soft moments of reconnection with Jeff and the difficult frustration of Jeff’s troubled recovery so well. Her character is so selfless, but also holds her self-worth so strongly, and Maslany lives in that conflict with grace.

— Kyle Kizu

3. Holly Hunter — The Big Sick
4. Dafne Keen — Logan
5. Mary J. Blige — Mudbound

The Next 5
6. Allison Janney — I, Tonya
7. Tiffany Haddish — Girls Trip
8. Betty Gabriel — Get Out
9. Lesley Manville — Phantom Thread
10. Bria Vinaite — The Florida Project

Best Foreign Language Film: A Fantastic Woman

Sebastian Lelio’s best films have been dedicated to giving women who typically don’t have voices the chance to be the central characters in compassionate character pieces. In Gloria, for example, Leilo created a stunning portrait of an aging woman who still wants to have fun, to be free, to go out, to have sex, to drink and to find love. Where Hollywood rarely, if ever, gives women over 45 a chance to star, let alone in a film actually about the very ordinary life of a woman “of a certain age,” Leilo marvelously details the intimate moments of a life that deserves to be on the big screen.

However, what Lelio accomplishes with A Fantastic Woman might be his most excellent film yet — if much darker than Gloria. A Fantastic Woman follows Marina, a transgender woman working as a waitress and aspiring to be a singer, living her life with Orlando — an older businessman who owns his own textile company. Yet one day, Orlando falls ill, is taken to the emergency room and then dies.

Before even given the time to mourn for her lover’s death, Marina is treated by his family with disdain and as a potential cause of Orlando’s death. To them, she is perverse. However, with the fantastic lead performance of Daniela Vega and Lelio’s considerate direction, the film reveals the lifelong traumas people and society have placed upon her and her want to simply be treated empathetically. And even with these issues, and Lelio’s ever-changing tones (suspense thriller, romantic drama and even a musical), the film and Vega never lose sight of what is at stake for Marina. Thus, the story not only shows a “Fantastic Woman” but becomes a fantastic film of grace and defiance in the face of hate.

— Levi Hill

Runner-up: Loveless

Andrey Zvyagintsev has become known as Russian public enemy #1, despite also being the most internationally acclaimed Russian filmmaker working today. After The Return — Golden Lion winner in 2003 — Zvyagintsev has used simple stories of family disputes as grand metaphors for the societal issues found within contemporary Russia. Loveless, his second Academy Award nominee after Leviathan, is his most scathing film yet.

One day, a young boy  — who has become emotionally distant due to his parent’s diatribic divorce — disappears walking home from school. From here, Zvyagintsev digs into the issues these two parents have, painting a portrait of social malaise and two despicable characters (Boris and Zhenya), asking whether this broken of a relationship and a society even deserve these children to begin with. Loveless is, without a doubt, one of the toughest watches from 2017, but its blunt impact is not easily forgotten.

— Levi Hill

3. Foxtrot
4. The Square
5. Raw

The Next 5
6. First They Killed My Father
7. BPM (Beats Per Minute)
8. On Body and Soul
9. Thelma
10. In the Fade

Best Animated Feature: Coco

Disney-Pixar’s Coco is enthralling in nearly every way. Visually, the film is stunning in its depictions of a small Mexican town where neighbors all know each other, as well as its inventive interpretation of the Land of the Dead. Emotionally, Coco is deeply omnipresent.

When star Miguel (Anthony Gonzalez) is chastised by his family for wanting to be a musician — his great-great grandfather ran away to chase fame as a guitarist — he steals the guitar of the town’s most well-loved musician so that he himself can perform in front of the town to prove his talent. But, the performance is on Día de los Muertos, and those who steal from the graves of the dead on Día de los Muertos find themselves lost in the Land of the Dead, where they require the aid of their ancestors to return to the Land of the Living.

At its core, Coco speaks to narratives of lineage, familial love and finding oneself — and it ties each of these themes together with the thread of familial bonds that transcend time and space — all in the context of a very special holiday, Día de los Muertos, or Day of the Dead.

— Sophie-Marie Prime

Runner-up: The Breadwinner

The Breadwinner is a film that elevates animation in ways directly connected to the art form. The story it tells is harrowing and dark, and the content is often restrained so that the film may appropriate for families, as the film involves families. But it also is always pushing at the glaring social issues inherent to the narrative, specifically the oppression of women in much of Afghanistan’s culture. As visually striking as it is emotionally engaging, the film also shows love for the great parts of that culture, the parts that bond the beautiful family at the story’s core, and the parts that allow the film to also act as an almost fable-esque tale that is distinctly youthful. The Breadwinner is essentially animation, constructing a narrative with such significant real world implications while maintaining a sense of wonder that only animation can hold.

— Kyle Kizu

3. Loving Vincent
4. The LEGO Batman Movie
5. Cars 3

Performance by an Actor or Actress in a Specialty Role: Andy Serkis as Caesar — War for the Planet of the Apes

Andy Serkis has been innovating ever since his performances as Gollum in The Lord of the Rings trilogy nearly two decades ago. That became a turning point for motion capture, but it’s really been the new Planet of the Apes trilogy and performance capture where Serkis has changed our idea of what acting is and what it means to perform. Truly, in the Apes trilogy, we are seeing Serkis’ performances; we are seeing him bring the character of Caesar to life. Visual effects may realize the ape exterior, but it is Serkis’ performances that realize his interiority.

In War for the Planet of the Apes, Serkis not only offers his most emotional turn in this technological phenomenon yet, but also one of the most emotional turns of any performer of the year. With War, director and co-writer Matt Reeves sets out to specifically test Caesar, to bend and break his character so that his morals come directly into conflict with what’s needed to save the apes. Serkis hits on this conflict heavily, painting Caesar as a tragic figure, but also as an epic one. Precisely because of the sometimes heartbreaking and sometimes visceral, rage-filled facial expressions in the raw close-ups of Caesar, War is elevated intangibly and turned into a gripping blockbuster, a vast epic and an intimate character piece all at once. It is no coincidence that Andy Serkis’ Caesar will be remembered as one of the greatest characters put to film in the 21st century.

— Kyle Kizu

Runner-up: Doug Jones as Amphibian Man — The Shape of Water

Doug Jones has made quite a career for himself, notably starring in many of Guillermo del Toro’s films, including as the notorious Pale Man in Pan’s Labyrinth. Jones’ work as The Asset, or Amphibian Man, in The Shape of Water is among the best he’s ever done. His handle of sensuality, innocence and intimidation are essential to the characterization of this mysterious creature. The way he sits, hoping to get back on Giles’ (Richard Jenkins) good side after eating one of his cats, exhibits his humanity. His embrace for humans after so much betrayal at their hands is heartwarming, while his protective vengeance is satisfying. Jones makes his Amphibian Man a feeling being, and he makes us believe it’s all possible.

— Hooman Yazdanian 

3. Saara Chaudry as Parvana — The Breadwinner
4. Anthony Gonzalez as Miguel — Coco
5. Gael García Bernal as Héctor — Coco

The Next 5
6. Taika Waititi as Korg — Thor: Ragnarok
7. Robert Gulaczyck as Vincent van Gogh — Loving Vincent
8. Will Arnett as Batman — The LEGO Batman Movie
9. Andy Serkis as Supreme Leader Snoke — Star Wars: The Last Jedi
10. Michael Cera as Robin — The LEGO Batman Movie

Achievement in Production Design: Dennis Gassner, Alessandra Querzola — Blade Runner 2049

With Arrival, Denis Villeneuve distinguished himself as a director who can, in collaboration with a brilliant production designer and set decorator, design sets the way physical space/light artists do. And with Blade Runner 2049, and production designer Dennis Gassner and set decorator Alessandra Querzola, he only furthers this notion.

Blade Runner 2049 is, quite simply, jaw dropping, Much of that comes from Roger Deakin’s photography, but an equal if not greater portion comes from the production design. Undoubtedly influenced by the light and space artist James Turrell, like Arrival was, the sets are often beacons of light, mostly artificial but often natural. Here is where the designs elevate to thematic significance. The world of Blade Runner 2049 is void of nature and color much like the original, hence the focus on spaces that bring in light. But this is a future 30 years removed from the original, and where the original was gritty, this world has attempted to smooth out the surfaces, to make perfect a world without nature and natural color — hence the brilliant, jarring, forceful shapes of the sets.

Production design and set decoration can often feel merely like dressing, like pretty layers simply for the sake of pretty layers. But Blade Runner 2049 is the epitome of design working on unmatched levels.

— Kyle Kizu

Runner-up: Paul Denham Austerberry, Shane Vieau, Jeff Melvin — The Shape of Water

The production design of The Shape of Water works like nearly every other element of the film, evoking a quiet, majestic beauty. The sets of Elisa (Sally Hawkins) and Giles’ (Richard Jenkins) apartments are so deeply decorated, elegantly colored, delicately aged and thoroughly lived in that they, alone, would’ve pushed this craftsmanship up this far on the list, but the film also lays out the underground facilities and much of the exteriors with such period strength. Good production design for period films is an accomplishment in and of itself, but The Shape of Water is also distinctly a fantasy film, a Guillermo del Toro fantasy film with just as much flourish in the production design of that aspect as well. The film becomes a visual genre delight through its sets.

— Kyle Kizu

3. Nathan Crowley, Gary Fettis — Dunkirk
4. Rick Heinrichs, Richard Roberts — Star Wars: The Last Jedi
5. Mark Tildesley, Véronique Melery — Phantom Thread

The Next 5
6. James Chinlund, Amanda Moss Serino — War for the Planet of the Apes
7. Aline Bonetto, Anna Lynch-Robinson — Wonder Woman
8. Jean-Vincent Puzos, Maria Andrea Rangel, Naomi Moore — The Lost City of Z
9. Sarah Greenwood, Katie Spencer — Darkest Hour
10. Claude Paré, Rosalie Board — It

Achievement in Visual Effects: Joe Letteri, Dan Lemmon, Daniel Barrett, Joel Whist — War for the Planet of the Apes

Similarly to Andy Serkis’ performances in this trilogy, the visual effects have been sorely under-awarded. But enough is enough. The clear, unmatched, inarguable standout of the year in this craft category is the trilogy’s final installment, War for the Planet of the Apes.

With years of further development from the first, the visual effects team envisions the apes in their most photorealistic manner yet. The hairs, both individual and packed together, are palpable and tangible, and the rough skin, often shot in harrowing, raw close-up, looks weathered in ways that only truly lived in skin often does.

But the apes aren’t all that the visual effects can boast about. The film is host to wondrous production design, and the extension that the visual effects provide — such as in the opening action sequence or in the mostly CGI cave home that gets raided early on in the film — is purely breathtaking.

The team even developed a system for the creation of trees in the forests that the characters traverse. Rather than model them one by one like done in the past, the team uses the system, titled Totara, to develop trees in groups and allow factors such as competition for sunlight and the age of separate trees in relation to how they grow next to each other to determine the ultimate layout of a forest.

On so many levels, the visual effects of War for the Planet of the Apes functions in ways that the craft should — enhancing character and enhancing the characters’ interactions with their setting. It is a genuinely groundbreaking picture from a visual effects standpoint.

— Kyle Kizu

Runner-up: Scott Stokdyk, Martin Hill, Philippe Rebours, François Dumoulin — Valerian and the City of a Thousand Planets

Valerian and the City of a Thousand Planets will never get accused of having too compelling a story and especially not of having good acting. But the visuals are worth the price of admission alone. They just about had to be too, given this movie’s groan-inducing line delivery and dialogue.

The unique (in a good way) character design, sweeping landscapes of spectacular worlds, captivating opening sequence and especially notable market design help make Luc Besson’s latest film a visual masterpiece. Unfortunately, it couldn’t go beyond that.

— Hooman Yazdanian

3. John Nelson, Paul Lambert, Richard R. Hoover, Gerd Nefzer — Blade Runner 2049
4. Andrew Jackson, Andrew Lockley, Scott Fisher, Paul Corbould — Dunkirk
5. Dennis Berardi, Shane Mahan, Trey Harrell, Kevin Scott — The Shape of Water

The Next 5
6. Ben Morris, Mike Mulholland, Chris Corbould, Neal Scanlan — Star Wars: The Last Jedi
7. Erik-Jan De Boer, Stephen Clee, Lee Jeon Hyoung, Joon Hyung Kim — Okja
8. Christopher Townsend, Guy Williams, Jonathan Fawkner, Dan Sudick — Guardians of the Galaxy Vol. 2
9. Bill Westenhofer, Frazer Churchill, Alex Wuttke, Mark Holt — Wonder Woman
10. Charley Henley, Ferran Domenech, Christian Kaestner, Neil Corbould — Alien: Covenant

Achievement in Film Editing: Lee Smith — Dunkirk

How Lee Smith was passed on for an Academy Award nomination for his work on Inception is baffling. But there is nothing that can take away from what he’s accomplished with Christopher Nolan’s most challengingly structured film since that mind bending thriller. The fact that Dunkirk works at all on a narrative level is a testament to how good its film editing is. And the fact that Dunkirk’s narrative does not simply just work, but becomes something emotionally profound and entirely singular points to its film editing as something genuinely special.

The first moment that the film editing comes into focus for the audience is a stark, forceful cut from Cillian Murphy’s soldier as a composed leader to him as a shivering, broken man.

But that moment is simply one layer. The entire structure of the film is continuously working to offer us a perspective of the grand event taking place. Running them on the time scales that he does, Nolan, and Smith in the execution of those scales, forces us into absorbing the intense, distinctly human efforts of the soldiers, pilots, generals and, most importantly, civilians. Running them chronologically would vastly limit the emotional possibilities.

On more of a technical level, running them chronologically would also rid the film of the immense tension it holds. Composer Hans Zimmer utilizes the Shepard Tone illusion in his music to craft a sense of never-ending rising tension. Nolan constructed the screenplay in the same manner and intended to construct the film under that guiding illusion as well. Lee Smith executes the edits with that idea of a constant rise in the narrative stakes. When there’s a release in one storyline, the stakes of another are amped up. The whole film, in turn, becomes a masterpiece of suspense.

Dunkirk’s greatest and most stunning, borderline indescribable moment of film editing comes in its climax, the oil scene. It’s here where the three storylines collide, but the climax fascinatingly plays out of order. Smith underscores their collision with an effectively overbearing force, but he also disorients us with the composition of the entire sequence while never losing our focus through the coherence in that very composition. It is extraordinary editing that only comes from a film editor with a complete grasp on what “cinematic” means, and intention to break its rules and extend its possibilities.

— Kyle Kizu

Runner-up: Mako Kamitsuna — Mudbound

There’s a tension in the storytelling of Mudbound. It attempts to constantly utilize purely novelistic features, such as narration and overt symbolism, to maintain the literary beauty of the piece while it also attempts to render the story as something specifically cinematic.

The simultaneous success of these two layers is due to plenty of brilliant work from various departments, but one of the most integral is the film editing. Mako Kamitsuna’s control of pacing is extremely tight, doling out the emotional beats not necessarily smoothly, but on an intensely affecting wave of progression. Kamitsuna does wonders for each character, but also for the piece in balancing those characters. She evokes the deeply personal while also painting the journey of so many different people and turning the film into a sprawling epic.

— Kyle Kizu

3. Jonathan Amos, Paul Machliss — Baby Driver
4. Joe Walker — Blade Runner 2049
5. Walter Fasano — Call Me By Your Name

The Next 5
6. Nick Houy — Lady Bird
7. Gregory Plotkin — Get Out
8. Dylan Tichenor — Phantom Thread
9. Sean Baker — The Florida Project
10. Alan Baumgarten, Elliot Graham, Josh Schaeffer — Molly’s Game

Achievement in Cinematography: Hoyte van Hoytema — Dunkirk

Hoyte van Hoytema’s cinematography for Dunkirk may not pop quite like Roger Deakins’ lensing on Blade Runner 2049 does, and for that reason, we expect this to be an unpopular pick. But picking the one that pops the most would be a cop out. It should be about the service the cinematography provides to the film’s story and to the cinematic experience. In that light, while it was close, we firmly believe in our winner.

The simple existence of some of the imagery in Christopher Nolan’s war epic is something not to be underappreciated, as van Hoytema and his crew literally invented rigs that could lock the IMAX cameras onto the exteriors of Spitfires. So much of the aerial photography wouldn’t be possible before this film, which represents visual storytellers pushing cinematic boundaries to explore the power of the cinematic image.

The aerial portion might be van Hoytema’s greatest accomplishment on this film, the difficulty of it unimaginable. But the rest of the Dutch-Swedish photographer’s work is transfixing. In no other film will we find an IMAX camera carried handheld like a GoPro. These shots transport us, immerse us within the film. We feel the Dunkirk beach and live on it because van Hoytema is literally running on it, carrying the IMAX camera next to his head. It’s not necessarily flashy cinematography, but it’s just as striking as any other imagery of the year.

Even without flash or pop, van Hoytema is still able to leave us with haunting iconography, epitomized in the tranquility of a Spitfire coasting over Dunkirk and in the defiance of that same Spitfire crackling as it burns.

— Kyle Kizu

Runner-up: Roger Deakins — Blade Runner 2049

Even the best director is only as good as the crew that works with them, and luckily for Blade Runner 2049 helmer Denis Villeneuve, his crew contained arguably one of the best cinematographers working today: Roger Deakins. From the orange-laden dunes of a desolate Las Vegas to the grungy, dilapidated iron works in a massive factory, the landscapes and spaces of Blade Runner 2049 are gorgeously captured by Deakins’ keen eye for visual storytelling. Every set, environment and piece of architecture is meticulously angled, without feeling overtly staged, as Deakins is able to imbue even the most kinetic sequences with a harrowing stillness. After DP’ing two previous films with Villeneuve, Deakins’ third with the director might be his cinematic magnum opus.

— Sanjay Nimmagudda

3. Dan Laustsen — The Shape of Water
4. Rachel Morrison — Mudbound
5. Swayambhu Mukdeeprom — Call Me by Your Name

The Next 5
6. Darius Khondji — The Lost City of Z
7. The Camera Crew — Phantom Thread
8. Andrew Droz Palermo — A Ghost Story
9. Masanobu Takayanagi — Hostiles
10. Alexis Zabe — The Florida Project

Achievement in Music Written for Motion Pictures (Original Score): Jonny Greenwood — Phantom Thread

Phantom Thread is twisted and psychological, subtle and calculated. Jonny Greenwood’s score fills a baseline-level role of enhancing an already complex narrative, while at the same time standing alone to fill the haunting silences between the characters with suspicion, passion and condemnation.

In truth, as gorgeous and sinewy as Paul Thomas Anderson’s direction, and the performances of Daniel Day-Lewis and Vicky Krieps are, Greenwood’s score alone tells the story of Phantom Thread just as well. Dances on piano keys and stringed orchestras communicate infatuation, tenderness, frustration and internal chaos with precision and cutting honesty.

It does so, however, without negating the inherent frivolity and bliss felt when Day-Lewis and Krieps are seen walking near a beachy cliff together. Greenwood’s composition is so exacting, that, after seeing the film, one can picture its imagery just by listening to “Alma” or “Phantom Thread III.” The score of the film is a study in the same themes as its acting performances: love, manipulation, control and obsession.

— Sophie-Marie Prime

Runner-up: Hans Zimmer — Dunkirk

Recently, Hans Zimmer, in collaboration with Christopher Nolan, has been one of the most effectively experimental film composers in the industry. With Interstellar, he abandoned percussion and composed from a deeply emotional starting point to craft his most personal score to date. With Dunkirk, he abandons melody almost entirely, treating the score like a layer of sound design — Alex Gibson, the supervising music editor, was nominated by the Academy in the Sound Editing category. The score becomes undoubtedly his most intense.

With Dunkirk, Zimmer uses the Shepard Tone, an illusion of constantly rising tension. In conjunction with the structure of the film, the score works wonders in physically, viscerally affecting viewers. The music, with the illusion and with Zimmer’s almost underwater atmospheric sound design, feels invasive and manipulative in how it provokes that reaction, even leaning into horror-esque compositions to elevate the suspense, which turns the cinematic experience of the film into a thoroughly wholesome one.

But then the score turns to the unbearable beauty of Edward Elgar in its most emotional moments, specifically with “Variation 15,” rendering the music as not only a mode of intensity, but also as a mode of humanity.

— Kyle Kizu

3. Alexandre Desplat — The Shape of Water
4. Daniel Hart — A Ghost Story
5. Oneohtrix Point Never — Good Time

The Next 5
6. Tamar-kali — Mudbound
7. Philip Glass — Jane
8. Michael Giacchino — War for the Planet of the Apes
9. Max Richter — Hostiles
10. Mychael Danna, Jeff Danna — The Breadwinner

Achievement in Music Written for Motion Pictures (Original Song): “Mystery of Love,” Sufjan Stevens — Call Me by Your Name

Sufjan Stevens may be the perfect movie musician. Stevens has uniquely mastered evoking tone without being one-dimensional. He penned two brand new songs for Call Me By Your Name and they ended up as our top two finishers in this category.

As Elio (Timothée Chalamet) and Oliver (Armie Hammer) hike together, “Mystery of Love” plays. Stevens initially appears to be singing from Elio’s perspective: “Oh, to see without my eyes/ The first time that you kissed me.”

Stevens’ lyrical work combines with airy, delicate vocals to evoke the wondrous flight of the heart for a first love. But he doesn’t lay claim to Elio’s full range of emotions. He’s interpreting just like we are, projecting. He speaks not just for Elio, but for us as well.

Even as Elio and Oliver frolic through beautiful wilderness, it all feels fleeting. Stevens describes the quiet terror of this fleeting love perfectly, speaking the contradiction into truth: “Oh, oh woe-oh-woah is me.”

It’s so good now, how bad will it be when it ends? Such is the fear of an impermanent love. Stevens sings “Now my riverbed has dried/ Shall I find no other?” He’s asking us, can it get this good again? And if not, is it truly better to have loved and lost?

— Hooman Yazdanian

Runner-up: “Vision of Gideon,” Sufjan Stevens — Call Me by Your Name

Sufjan Stevens has mastered the art of heartbreak. On “Visions of Gideon,” Stevens’ ethereal voice encapsulates the experience of love lost and he vocalizes the fleeting nature of love. Did it really happen? He sings: “For the love, for laughter I feel up to your arms/ Is it a video?”

Played during Call Me By Your Name’s final scene, with a close-up of Elio (Timothée Chalamet) staring into a fire and crying, “Visions of Gideon” perfectly complements Elio’s hurt. As Stevens sings “I have loved you for the last time,” he forces the audience to pay attention. Elio’s face shows us the pain and Stevens’ song blocks the exits.

— Hooman Yazdanian

3. “I Get Overwhelmed,” Daniel Hart — A Ghost Story
4. “Remember Me,” Kristen Anderson-Lopez, Robert Lopez — Coco
5. “The Pure and the Damned,” Oneohtrix Point Never, Iggy Pop — Good Time

The Next 5
6. “Mighty River,” Mary J. Blige — Mudbound
7. “The Crown Sleeps,” Qais Essar, Mychael Danna, Jeff Danna — The Breadwinner
8. “How Shall A Sparrow Fly,” Ryan Bingham — Hostiles
9. “Summer Storm,” Joel P. West — The Glass Castle
10. “This Is Me,” Benj Pasek, Justin Paul — The Greatest Showman

Achievement by a Debut Director: Greta Gerwig — Lady Bird

In probably the biggest anomaly of our voting, Gerwig managed to beat out Jordan Peele here despite finishing behind him in Best Director and Lady Bird falling behind Get Out for Best Picture. We can only attribute to this some overlap between voting blocks for Lady Bird and Call Me By Your Name, whose director Luca Guadagnino is far from a feature debut.

Whatever the reason may be, Gerwig manages a much-deserved win here. Though she co-directed a film in 2008, Lady Bird was Gerwig’s debut as a lone director, which is a monumental task itself. And what a debut it was.

Gerwig’s proclivity to excel when shifting the film’s tone is incredibly impressive, reminiscent of work you’d expect from a director in her 10th outing. The way she draws performances out of every single actor in the film is stunning. The intimacy she establishes without an overemphasis on close-ups is masterful. The camera still drives these intimate moments as much as Gerwig’s phenomenal screenplay do, with Gerwig employing over-the-shoulder shots to let us literally see things from different characters’ perspectives. Gerwig builds Lady Bird’s setting precisely, with everything from room decorations to parking lot hangouts reeking of authenticity. Emotional punches hit when we least expect them, like when Lady Bird leaves douchey Kyle’s (Timothee Chalamet) house and we get a glimpse at his sick father.

With all of these talents and such a beautiful handle of subtlety so early in her directing career, it’s incredibly exciting to await what Gerwig has in store for us next.

— Hooman Yazdanian

Runner-up: Jordan Peele — Get Out

Jordan Peele, of Key and Peele fame, was long pegged as a comedian. But, in his big screen directorial debut, Peele showed the world he can do much more than that. In Get Out, he’s crafted a horror movie for the ages. His mastery of pacing and genre belie his lack of experience. The fact that Peele’s first film has already become a cultural touchstone, mined for conversation topics and memes alike, bodes well for his future in filmmaking.

Every industry is better off for having people like Jordan Peele, and his combination of social awareness, sheer brilliance and ingenuity should make him a leading auteur in the film industry for years to come (although we’re not going to pretend we won’t miss his acting as well).

He’s already hinted at a possible sequel to Get Out as well as the fact that he’s toying with other “social thrillers,” as he calls them. Sign us up.

— Hooman Yazdanian

3. Aaron Sorkin — Molly’s Game
4. John Carroll Lynch — Lucky
5. Kogonada — Columbus

The Next 5
6. Matt Spicer — Ingrid Goes West
7. Julia Ducournau — Raw
8. William Oldroyd — Lady Macbeth
9. Taylor Sheridan — Wind River
10. Chris McKay — The LEGO Batman Movie

Best Original Screenplay: Greta Gerwig — Lady Bird

Lady Bird wants freedom and attention, independence and spontaneity. She’s a performer in the way that we all are as we shape ourselves into the people we want to be — and into the type of friend, daughter, son, sibling, parent, etc. those around us want us to be, too. She wants to be liked, and she wants to like herself.

Within that narrative, there are notes of Wizard of Oz-ian conflicting desires to both leave home and return home once you’ve left. Lady Bird paints its story through a subtle lense of class. There is a mother who wants to keep her daughter close so desperately that she pushes her away in the process.

Lady Bird is nostalgic, wise and authentically adolescent. Lady Bird is truly something special.

Gerwig sews fresh and endearing narratives of friendship and finding oneself with threads of class and fearsome yet irresistible independence. With Lady Bird, she crafts a character that is always lovable and at times self-centered, the latter of which is an inevitable part of growing up.

— Sophie-Marie Prime

Runner-up: Jordan Peele — Get Out

From a purely storytelling perspective, what stands out about Jordan Peele’s Get Out screenplay is how unbelievably tight it is. This is screenwriting of the utmost efficiency and control. Both the story’s arc and Chris’ (Daniel Kaluuya) are smooth and hit every necessary beat hard. The ensemble is balanced brilliantly. The symbolism is deeply ingrained in the conceit as well as in the consistent, layered and always motivated character actions. And the emotions ring true.

Those last two aspects are where the screenplay transcends simply being brilliant storytelling (which would be enough, alone, to earn its place here). Get Out evokes reality for so many Black folks, and it evokes it specifically with storytelling, with written characters, like Chris, and storytelling concepts, like the Sunken Place, that craft a narrative with such pressing implications, with such profound symbols.

— Kyle Kizu

3. Paul Thomas Anderson — Phantom Thread
4. Emily V. Gordon, Kumail Nanjiani — The Big Sick
5. Sean Baker, Chris Bergoch — The Florida Project

The Next 5
6. Vanessa Taylor, Guillermo del Toro — The Shape of Water
7. Bong Joon-ho, Jon Ronson — Okja
8. Liz Hannah, Josh Singer — The Post
9. Kogonada — Columbus
10. Sebastián Lelio, Gonzalo Maza — A Fantastic Woman

Best Adapted Screenplay: James Ivory — Call Me by Your Name

“When you least expect it, Nature has cunning ways of finding our weakest spot. Just remember: I am here. Right now you may not want to feel anything. Perhaps you never wished to feel anything. And perhaps it’s not to me that you’ll want to speak about these things. But feel something you obviously did.

You had a beautiful friendship. Maybe more than a friendship. And I envy you. In my place, most parents would hope the whole thing goes away, to pray that their sons land on their feet. But I am not such a parent. In your place, if there is pain, nurse it. And if there is a flame, don’t snuff it out. Don’t be brutal with it. We rip out so much of ourselves to be cured of things faster, that we go bankrupt by the age of thirty and have less to offer each time we start with someone new. But to make yourself feel nothing so as not to feel anything ― what a waste!”

Scripts and their words and structure are always the blueprint for what will become either a great film, or a classic one. James Ivory’s precise, careful, emotionally resonant adaption of André Aciman’s adaptation of Call Me by Your Name — as illustrated by the above scene, the best of 2017 — is an all-time classic. Like the novel its based on, and thanks to considerate direction by the always fantastic Luca Guadagnino, Ivory’s script puts an emphasis not on plot, but on small character beats that culminate in a denouement (starting with the dialogue above) that will leave most viewers flattened with the insightful depths of emotional honesty.

— Levi Hill

Runner-up: Dee Rees, Virgil Williams — Mudbound

Mudbound aims to utilize many novelistic qualities of storytelling, and the brilliance with which the film accomplishes that starts precisely with Dee Rees and Virgil Williams’ adapted screenplay. There’s plenty of narration throughout, but it’s all used so purposefully and, in turn, effectively.

The story of Mudbound is heavy, and Rees and Williams take care of that aspect. There’s expressionism in much of the plot details and the construction of many of the character moments. Rees and Williams, however, are also restrained throughout, allowing the quiet details to speak loud.

The writers don’t simply take care of one character, but of all of them. The emotional balance they lend to each member of the ensemble is nothing short of outstanding, but Rees and Williams also do craft the Black characters so profoundly that it is they who hold onto our hearts long after we’ve closed our Netflix tab.

— Kyle Kizu

3. Scott Neustadter, Michael H. Weber — Our Souls at Night
4. Mark Bomback, Matt Reeves — War for the Planet of the Apes
5. Hampton Fancher, Michael Green — Blade Runner 2049

The Next 5
6. Aaron Sorkin — Molly’s Game
7. James Mangold, Scott Frank, Michael Green — Logan
8. Anita Doron, Deborah Ellis — The Breadwinner
9. Rian Johnson — Star Wars: The Last Jedi
10. James Gray — The Lost City of Z

Achievement in Directing: Christopher Nolan — Dunkirk

Christopher Nolan is one of the quintessential directors of our time, telling iconic story after iconic story. Awards bodies may not have recognized him for much of his career, but films like The Dark Knight and Inception are cultural landmarks that will stand the test of time. After nearly 20 years of Nolan building one of the most impressive filmographies ever, he brings us Dunkirk.

Dunkirk is an interesting convergence point in his career. It’s yet another incredibly entertaining blockbuster that also acts as an innovative, subversive art film. It’s a film that, while not necessarily as culturally pervasive as some of his other work, will be remembered by general audiences more than most films are. But it just so happens to be in a genre that is a bit more friendly for organizations such as the Academy, who have finally nominated Nolan. And while it might not be his most impactful piece in the ways that his other landmarks are, Dunkirk does also happen to be Nolan’s greatest directorial effort.

With Dunkirk, Nolan structures and constructs a story so forceful in its specifically cinematic features. The director is often the figure around which the multitude of crafts are organized and where they are put into coherent focus. The fact that each layer of Dunkirk’s cinema — its sound design, its production design, its cinematography, its score, its ensemble and more — all excel not only individually and not only as parts of a whole, but as a singular, organic whole that serves story is a testament to how absolutely refined, precise and, frankly, masterful Nolan’s focus as a director is on Dunkirk.

Cinema is meant to be a purely visual art form, and Dunkirk is a film that challenges established structures to expand notions of what can be accomplished visually. The film quite literally offers us never-before-seen imagery. In that light, Dunkirk is a significant, important accomplishment in film. Those accomplishments don’t necessarily become the most widely beloved films of their time; although, Dunkirk is not far off and comes closer than similar films (but in truth, they don’t make films like Dunkirk). But when a film not only challenges boundaries but actually pushes them, that organizing force, the director, should be celebrated endlessly.

— Kyle Kizu

Runner-up: Jordan Peele — Get Out

Jordan Peele’s Get Out is probably one of the year’s most beloved films, but most of that love has been pointed at Peele’s excellent screenplay. Peele’s directorial work, however, is just as skillful.

Peele is already a master of hinting at tension, rather than shoving it down our throats. The way he shifts from a normal close-up to an extreme close-up on Chris’ face, crowding up his — and the viewers’ — space, during the famous “no, no, no” scene with Georgina (Betty Gabriel) is a perfect example. (Watch it)

He shows an uncanny mastery for knowing just how long to let a shot linger. When Daniel Kaluuya’s Chris stares into the eyes of a downed deer, we get a sense of Peele’s pacing and of the movie’s tone. This is no comedy. No, this is a movie crafted by someone who knows how to do horror. He knows when to subvert our expectations for a jump scare and when to satisfy them, when to point out irony in our societal preconceptions and when to emphasize the terror in them.

— Hooman Yazdanian

3. Luca Guadagnino — Call Me By Your Name
4. Greta Gerwig — Lady Bird
5. Denis Villeneuve — Blade Runner 2049

The Next 5
6. Guillermo del Toro — The Shape of Water
7. Dee Rees — Mudbound
8. Paul Thomas Anderson — Phantom Thread
9. Sean Baker — The Florida Project
10. Matt Reeves — War for the Planet of the Apes

Performance by an Ensemble: The Cast of Lady Bird — Saoirse Ronan, Laurie Metcalf, Tracy Letts, Beanie Feldstein, Lucas Hedges, Timothée Chalamet, Stephen McKinley Henderson, Lois Smith, Bob Stephenson, Jake Mcdorman, Jordan Rodrigues, Shelly Yuhan

From top to bottom, Lady Bird is populated by phenomenal performances. Saoirse Ronan is pitch perfect, exuding the essence of her character in every scene, notably in her characteristic audition for the school play. As much as Ronan’s Lady Bird wants to think she has herself figured out, Ronan makes the questioning subconscious visible.

Laurie Metcalf might be even better than Ronan in her wonderful, lived-in performance as Lady Bird’s mom, Marion. And Tracy Letts plays empathy, kindness and bottled-up depression excellently in one of the year’s best supporting performances.

Beanie Feldstein’s wondrous depiction of the longing best friend has flown under the radar this year, but it deserves recognition. Timothée Chalamet and Lucas Hedges each capably occupy smaller roles while consistently managing to steal scenes. For Chalamet, it’s with pretension and humor; for Hedges, it’s with awkwardness followed by an explosion of pain.

Even those in smaller roles — such as school staff depicted by Bob Stephenson (who might have the year’s funniest scene as the football coach directing a play), Stephen Henderson, Jake McDorman and Lois Smith — get chances to shine through.

In addition to the individual excellence of the performances, Lady Bird is able to thrive off the excellent give-and-take between its actors. The best moments in the film tend to be emotional exchanges between the characters, something this cast seems to have mastered. Additionally, the sheer fact that even actors in much smaller parts got chances to shine highlights the effectiveness of this ensemble. Characters had opportunities to control their own scene without the leads insisting on taking up all the air in a room.

In a film carried by a screenplay devoted to making each of its characters as full-fledged and real as possible, Lady Bird’s cast had to be excellent and they were in the year’s best-acted film.

— Hooman Yazdanian

Runner-up: The Cast of Get Out — Daniel Kaluuya, Allison Williams, Catherine Keener, Bradley Whitford, Betty Gabriel, Lil Rel Howery, Lakeith Stanfield, Marcus Henderson, Caleb Landry Jones

The phrase “perfectly cast” is often thrown about too freely. Every once in a while, however, it rings entirely true.

The cast of Get Out is an impeccable blend of veteran actors and relatively unknown newcomers. At its core is the exceptional Daniel Kaluuya, an English actor who was previously best known to American audiences for Sicario and the Black Mirror episode “Fifteen Million Merits” (note: if you haven’t seen this episode, do yourself a favor and watch it). Kaluuya turns in a charismatic and soulful performance as Chris Washington, rightly earning an Oscar nomination for the role.

The Armitages could not have been cast better, with the ever-perfect Catherine Keener and Bradley Whitford, two widely-respected actors with storied careers who have still somehow maintained enough anonymity to seamlessly blend into these characters. Quite literally everyone else in the cast is also pitch perfect, including Allison Williams, Lakeith Stanfield, and scene-stealer Lil Rel Howery. Altogether, it produces one of the most formidable ensembles of 2017.

— Michelle Lee

3. The Cast of Call Me by Your Name — Timothée Chalamet, Armie Hammer, Michael Stuhlbarg, Amira Casar, Esther Garrel, Vanda Capriolo
4. The Cast of Mudbound — Jason Mitchell, Mary J. Blige, Rob Morgan, Carey Mulligan, Garrett Hedlund, Jason Clarke, Jonathan Banks
5. The Cast of The Shape of Water — Sally Hawkins, Richard Jenkins, Octavia Spencer, Michael Shannon, Michael Stuhlbarg, Doug Jones

The Next 5
6. The Cast of Dunkirk — Fionn Whitehead, Mark Rylance, Tom Hardy, Kenneth Branagh, Jack Lowden, Barry Keoghan, Tom Glynn-Carney, Aneurin Barnard, James D’Arcy
7. The Cast of The Big Sick — Kumail Nanjiani, Zoe Kazan, Holly Hunter, Ray Romano, Anupam Kher, Zenobia Shroff, Adeel Akhtar, Vella Lovell,  Bo Burnham, Aidy Bryant, Kurt Braunohler
8. The Cast of The Post — Meryl Streep, Tom Hanks, Bob Odenkirk, Tracy Letts, Sarah Paulson, Bradley Whitford, Bruce Greenwood, Matthew Rhys, Allison Brie, Carrie Coon, Michael Stuhlbarg, Jesse Plemons
9. The Cast of The Florida Project — Brooklynn Prince, Christopher Rivera, Valeria Cotto, Bria Vinaite, Willem Dafoe, Mela Murder, Josie Olivo, Aiden Malik
10. The Cast of Okja — Ahn Seo-hyun, Hee-Bong Byun, Steven Yeun, Tilda Swinton, Jake Gyllenhaal, Paul Dano, Lily Collins, Daniel Henshall, Giancarlo Esposito

Performance by an Actor in a Leading Role: Timothée Chalamet — Call Me by Your Name

In many ways, Timothée Chalamet’s characterization of Elio Perlman is one marked by opposites. Elio is carefree but methodical, melancholic but exuberant and, above all, full of both boyish naivete and extreme precociousness. Which is all to say, Chalamet portrays 17-year-old Elio in all of his unabashed complexity, producing perhaps the most fully realized character of 2017.

Chalamet benefits from a rare brand of charisma, one that emits empathy rather than mystery. This allows Chalamet to make Elio’s quietest moments his most revealing, including a devastating final scene. As the end credits begin, we see Elio’s avalanche of emotions, from disbelief, to anguish, to as close to acceptance as he can come. Shot in one beautiful, long take, this scene caps off one of the strongest and most nuanced performances of the decade.

— Michelle Lee

Runner-up: Daniel Day-Lewis — Phantom Thread

In Paul Thomas Anderson’s Phantom Thread, Daniel Day-Lewis inhabits dressmaker Reynolds Woodcock, who, at first glance, seems to be the archetypal obsessive artist. But as the film carefully unravels, Day-Lewis’ layered performance hints at much more. His peevish nature isn’t just a product of obsession; it’s a yearning for the past — as with many artists, Woodcock believes authenticity is leaving his industry. He fears it’s out with the old, in with the vile “chic.”

Day-Lewis’ oeuvre has instilled anything his character says with an aura of significance. We can’t help but hang on every witty, biting word. His exchanges with Alma (played by the amazing Vicky Krieps) are works of art, their first meeting a perfect meet cute imbued with nervous energy and infatuation.

Day-Lewis has said this film will be his last. If it is, it would be a perfect swan song to an amazing acting run, adding one more brilliant performance to a career chock full of them. But we hope the greatest living actor has a change of heart.

— Hooman Yazdanian

3. Daniel Kaluuya — Get Out
4. Andy Serkis — War for the Planet of the Apes
5. Hugh Jackman — Logan

The Next 5
6. Robert Redford — Our Souls at Night
7. Christian Bale — Hostiles
8. Jake Gyllenhaal — Stronger
9. Harry Dean Stanton — Lucky
10. Woody Harrelson — The Glass Castle

Performance by an Actress in a Leading Role: Margot Robbie — I, Tonya

I, Tonya was one of the most — if not the most — fun movies of 2017. It’s witty and gripping, and handles certain domestic violence issues with great care. Margot Robbie shows the world a side of Tonya Harding that no one had ever seen before, and perhaps didn’t care to see. While the real-life, 1994 “incident” left America believing Harding was evil, Robbie’s portrayal of Harding begs to differ. She’s certainly no angel, but she is also a woman who has experienced abuse, physical and emotional. This version of Harding is tough, endearing and hilarious.

Robbie’s performance is one of thoughtfulness, even in comical moments. With the current social climate, performing a female character who is physically abused is no easy feat. And on top of that, to make said female character funny in such a serious matter is unbelievable. Despite knowing the outcome of the “incident,” we truly can’t help but cheer for Tonya to beat the odds. The Tonya Harding the media introduced us to in 1994 couldn’t do it, but the one Margot Robbie introduces us to makes us second guess whose side we were once on a few Olympics ago.

— Samantha Celentano

Runner-up: Saoirse Ronan — Lady Bird

In a year of amazing lead actress performances — seriously, the actresses in our Next Five would all contend in a normal year — Saoirse Ronan has flown under the radar. She’s picked up nominations all year and even won a Golden Globe, but not many discuss that her performance in Lady Bird is one of the most genuine of the year.

Ronan especially shines when on screen with Laurie Metcalf, and both impeccably pull off the quick mood swings that can characterize a mother-daughter relationship. They move from crying to an audiobook to immediately fighting, from fighting to marveling at the perfect dress in a very Ross-like store. Ronan’s performance in these scenes is incredibly naturalistic.

Her best work is late in the film when her character’s mom refuses to speak to her. Lady Bird pleads with Marion, trying to get her to admit that she’s proud. But as Ronan’s voice trembles, Lady Bird shows that she’s internalized her mom’s criticisms: “Please, Mom, please I’m so sorry, I didn’t mean to hurt you. I appreciate everything you’ve done for me. I’m ungrateful and I’m so sorry…” Then, she yells, “Talk to me, Mom! Mom, please! Talk to me!” Her pleading to get her mom’s attention might have been the most stirring, powerful moment in an excellent film full of them. For that reason, and many others, Ronan was one of the best lead actresses of the year.

— Hooman Yazdanian

3. Frances McDormand — Three Billboards outside Ebbing, Missouri
4. Sally Hawkins — The Shape of Water
5. Brooklynn Prince — The Florida Project

The Next 5
6. Meryl Streep — The Post
7. Jessica Chastain — Molly’s Game
8. Daniela Vega — A Fantastic Woman
9. Vicky Krieps — Phantom Thread
10. Haley Lu Richardson — Columbus

Best Motion Picture of the Year: Call Me by Your Name

It is genuinely hard to come by a movie that conveys love the way Call Me by Your Name does. One of the best parts about this film is that it is not necessarily a gay love story, but rather a love story that is about two bisexual people. The script is derived from the novel of the same name by André Aciman, and it is perfection — not just the adapted screenplay (James Ivory), but the set, the soundtrack, the performances and the earnest storytelling by Luca Guadagnino. With such an extraordinary love and gut-wrenching heartbreak, how could this not be the best movie this year?

To begin, it is difficult not to fall in love with this movie when we’re suddenly spending a summer somewhere in Northern Italy. The set design and cinematography alone are enough to make us drop everything and find an apricot farm in Italy to live on. The soundtrack jumps from beautiful, classical piano to awesome 80’s jams, and then to original songs by Sufjan Stevens, which we end up playing on repeat after leaving the theater. Timothée Chalamet, although not completely new, seems to be what we have been missing from amazing movies. The pure chemistry and passion portrayed by him and Armie Hammer is astounding. This movie wouldn’t have been what it was if Elio and Oliver were played by anyone else. To top it off, Michael Stuhlbarg gives audiences the speech of a lifetime at the end. It is a speech everyone should hear.

In short, every feature of this film combines to create a beautiful experience that is guaranteed to move you, to leave you speechless. It’s a love story, but better, more transcendent.

— Samantha Celentano

Runner-up: Get Out

Jordan Peele’s Get Out is an accomplishment of the highest order. It entered the Best Picture race back in February 2017, and it came in armed with a brilliant cast, a first-time director who should probably take over the industry and a tight script devoid of any fat. As solely a cinematic accomplishment, it holds up, giving us tension, laughter, anguish, relief and a twist that feels earned. Get Out explores what it means to feel trapped, whether that’s by an oppressive system or by one’s own emotions. It gives us humanity. In the film’s final minutes, Chris (Daniel Kaluuya) is driven by a survival instinct but trapped by grief he has suppressed, leading him to make a questionable decision that nearly proves fatal.

Additionally, Get Out has impacted its culture in a way films packed with social criticism thrive to do. The film has produced memes, sure, but it more importantly came out at the perfect time to spark conversation about injustices in policing and the dangerous nonchalance of white, liberal racism. In a time when the latter has been oft-ignored in favor of whataboutism decrying  “those racists over there,” Peele put it in viewers’ faces. He made it undeniable. Racists come in all different packages. They don’t just say the n-word; they can pelt and oppress with subtler microaggressions too.

Hearkening back to genre greats of the past like Stepford Wives while reinvigorating horror with passion, ingenuity and social commentary, Get Out is one of the best films of 2017.

— Hooman Yazdanian

3. Lady Bird
4. Phantom Thread
5. Mudbound
6. Dunkirk
7. The Shape of Water
8. Blade Runner 2049
9. The Florida Project
10. Coco

The Next 10
11. The Big Sick
12. The Post
13. I, Tonya
14. War for the Planet of the Apes
15. Star Wars: The Last Jedi
16. Wonder Woman
17. Stronger
18. Good Time
19. The Beguiled
20. Hostiles

 

Featured image courtesy of Warner Bros./20th Century Fox/A24/Universal Pictures/Focus Features/Sony Pictures Classics.