National Anthem may be the least known about on this list which is why it is most perfect for this award as it really deserves so much more attention. Luke Gilford brings his skillful eye for photography from that world into cinema in a real beautiful way and getting another beautiful tender performance from Charlie Plummer, the most under appreciated talent of his generation. Such a fabulous ensemble, gorgeous cinematography, and powerful script dealing with gender roles, toxic masculinity, and chosen family. One of those movies that when it ended, I wanted to see the next 5 Luke Gilford films pronto.
Steve - yesterday
Although the film I found most Brick-worthy—Hundreds of Beavers—is absent from the finalist list, I guess I’ll settle for my favorite film of the year. Inside the Yellow Cocoon Shell was a visually arresting meditation on family and loss that I couldn’t stop thinking about for half the year. It also just so happens to be a lesson in long takes. It’s no small feat for a new filmmaker to use oners without feeling as if they’re shoehorned in, or like they’re calling attention to themselves, but Pham Thien An pulls it off and then some. I cannot wait to see what he will do next.
Huh! Was Sean Wang's debut, Dìdi not eligible?
National Anthem may be the least known about on this list which is why it is most perfect for this award as it really deserves so much more attention. Luke Gilford brings his skillful eye for photography from that world into cinema in a real beautiful way and getting another beautiful tender performance from Charlie Plummer, the most under appreciated talent of his generation. Such a fabulous ensemble, gorgeous cinematography, and powerful script dealing with gender roles, toxic masculinity, and chosen family. One of those movies that when it ended, I wanted to see the next 5 Luke Gilford films pronto.
Although the film I found most Brick-worthy—Hundreds of Beavers—is absent from the finalist list, I guess I’ll settle for my favorite film of the year. Inside the Yellow Cocoon Shell was a visually arresting meditation on family and loss that I couldn’t stop thinking about for half the year. It also just so happens to be a lesson in long takes. It’s no small feat for a new filmmaker to use oners without feeling as if they’re shoehorned in, or like they’re calling attention to themselves, but Pham Thien An pulls it off and then some. I cannot wait to see what he will do next.