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Golden Nomadland

‘Nomadland’ Wins Golden Lion Award at Venice Film Festival – TheWrap

“Nomadland” has received the Golden Lion Award as the best film of the 2020 Venice International Film Festival, a jury headed by Cate Blanchett announced on Saturday.

The Searchlight drama, a simultaneous premiere by the Venice, Telluride and Toronto festivals, was directed by Chloe Zhao and stars Frances McDormand as a woman who travels through the American West in a van after losing her job and her home. Apart from McDormand and David Strathairn, almost all of the actors in the film are actual “nomads” that Zhao cast on her own travels through the area.

“Nuevo Orden” (“New Order”) by Mexican director Michel Franco won the Silver Lion, the festival’s second-place award, while acting prizes went to Vanessa Kirby for “Pieces of a Woman” and Pierfrancesco Favino for “Padrenostro.”

Kiyoshi Kurosawa was named the festival’s best director for “Wife of a Spy.”

Also Read: Fall Film Festivals Struggle for Relevance in the Year of Coronavirus

Ahmad Bahrami’s “The Wasteland” won the award as the best film in the festival’s Orizzonti section, while Ana Rocha de Sousa’s “Listen” won the Orizzonti jury prize and the award as the best first film at the festival.

In the more than 70 years the Venice Film Festival has been in existence, the winner of its top award has only gone on to be nominated for the Oscar for Best Picture six times — but three of those took place in the last three years, with “The Shape of Water,” “Roma” and “Joker.” Only two films, “The Shape of Water” and Laurence Olivier’s 1948 film version of “Hamlet,” have won the Golden Lion and the Best Picture Oscar.

This year’s Venice Film Festival was scaled down over previous years, with socially-distanced screenings and smaller attendance from outside Europe. Venice was the first major festival to attempt a physical event, after festivals including South by Southwest, Tribeca, Cannes and Karlovy Vary canceled or went completely virtual.

Also Read: ‘Pieces of a Woman’ Film Review: Vanessa Kirby, Shia LaBeouf Explore Shades of Grief

In addition to Blanchett, the competition jury consisted of actors Matt Dillon and Ludivine Sagnier, writer-directors Veronika Franz, Joanna Hogg and Christian Petzold and writer Nicola Lagioia.

Additional prizes were presented by other juries headed by director Claire Denis, writer-director-musician Claudio Giovannesi and VR storyteller Celine Tricart.

In collateral Venice awards also announced on Saturday, winners included “Pieces of a Woman,” “Notturno,” “The Disciple,” “Nomadland” and “City Hall.”

Also Read: ‘Nomadland’ Film Review: Frances McDormand Hits the Road in Quiet, Lyrical Drama

Here is the full list of jury winners and collateral winners:

JURY AWARDS

Golden Lion for Best Film: “Nomadland,” Chloe Zhao


Silver Lion (Grand Jury Prize): “Nuevo Orden” (“New Order”), Michel Franco


Silver Lion for Best Director: Kiyoshi Kurosawa, “Wife of a Spy”


Coppa Volpi for Best Actor: Pierfrancesco Favino, “Padrenostro”


Coppa Volpi for Best Actress: Vanessa Kirby, “Pieces of a Woman”


Award for Best Screenplay: Chaitanya Tamhane, “The Disciple”


Special Jury Prize: “Dear Comrades,” Andrei Konchalovsky


Marcello Mastroianni Award for Best New Young Actor or Actress: Rouhallah Zamani, “Sun Children”

Orizzonti Award for Best Film: “The Wasteland,” Ahmad Bahrami


Orizzonti Award for Best Director: Lav Diaz, “Genus Pan”


Special Orizzonti Jury Prize: “Listen,” Ana Rocha de Sousa


Orizzonti Award for Best Actor: Yahya Mahayni, “The Man Who Sold His Skin”


Orizzonti Award for Best Actress: Khansa Batma, “Zanka Contact”


Orizzonti Award for Best Screenplay: “Pietro Castellitto, “I Predatori”


Orizzonti Award for Best Short Film: “Entre tu y Milagros,” Mariana Saffon

Lion of the Future – “Luigi De Laurentiis” Award for a Debut Film: “Listen,” Ana Rocha de Sousa

Grand Jury Prize for Best VR Immersive Work: “The Hangman at Home: An Immersive Single User Experience,” Michelle & Uri Kranot


Best VR Immersive User Experience: “Finding Pandora X,” Kiira Benzing


Best VR Immersive Story: “Sha Si Da Ming Xing” (“Killing a Superstar”), Fan Fan

COLLATERAL AWARDS

ARCA CinemaGiovani Award


Best Film of Venezia 77: “Pieces of a Woman” by Kornél Mundruczó


Best Italian Film in Venice: “Notturno” by Gianfranco Rosi

Brian Award: “Quo Vadis, Aida?” by Jasmila Žbanić

Casa Wabi – Mantarraya Award: “Listen,” Ana Rocha de Sousa

Edipo Re Award: “The Man Who Sold His Skin” by Kaouther Ben Hania

Premio Fondazione Fai Persona Lavoro Ambiente: “Dashte Khamoush” (“The Wasteland”) by Ahmad Bahrami


Special Mention (treatment of issues related to environment): “Śniegu Juz Nigdy Nie Bedzie” (“Never Gonna Snow Again”) by Małgorzata Szumowska, codirected: Michał Englert ex aequo with “Kitoboy” (“The Whaler Boy”) by Philipp Yuryev


Special Mention (treatment of issues related to work): “Dorogie Tovarischi!” (“Dear Comrades!”) by Andrei Konchalovsky

Fanheart3 Award


Graffetta d’Oro for Best Film: “Saint-Narcisse” by Bruce LaBruce


Nave d’Argento for Best OTP: “The World to Come” by Mona Fastvold


VR Fan Experience: “Baba Yaga” by Eric Darnell, Mathias Chelebourg


VR Special Mention: “The Metamovie Presents: Alien Rescue” by Jason Moore

FEDIC Award


Best Film: “Miss Marx” by Susanna Nicchiarelli


Special Mention FEDIC: “Assandira” by Salvatore Mereu


Special Mention FEDIC for Best Short Film: “Finis Terrae” by Tommaso Frangini

FIPRESCI Award: “The Disciple” by Chaitanya Tamhane


Best Film from Orizzonti and parallel sections: “Dashte Khamoush (“The Wasteland”) by Ahmad Bahrami

Francesco Pasinetti Award


Best Film: “Le Sorelle Macaluso” by Emma Dante


Best Actor: Alessandro Gassman for the film “Non odiare” by Mauro Mancini


Best Actress: the cast of “Le Sorelle Macaluso”

GdA Director’s Award: “Kitoboy” by Philipp Yuryev

Europa Cinemas Label Award: “Oaza” (“Oasis”) by Ivan Ikić

BNL Gruppo BNP Paribas People’s Choice Award: “200 Meters” by Ameen Nayfeh

HFPA Award


To the filmmakers (directors, producers) from the Orizzonti section awarded for Best Film, Best Director and Special Jury Prize.

Lanterna Magica Award: “Khorshid” (“Sun Children”) by Majid Majidi

Leoncino d’Oro Award: “Nuevo Orden” by Michel Franco


Cinema for UNICEF: “Notturno” by Gianfranco Rosi

Lizzani Award: “Le Sorelle Macaluso” by Emma Dante

Nuovoimaie Talent Award


Best New Young Actor: Luka Zunic


Best New Young Actress: Eleonora de Luca

La Pellicola d’Oro Award


Best Production Manager: Cristian Peritore for the film “Le sorelle Macaluso” by Emma Dante


Best Head of camera and electrical department: Raffaele Alletto for the film “Padrenostro” by Claudio Noce


Best Dressmaker: Paola Seghetti for the film “Miss Marx” by Susanna Nicchiarelli

Queer Lion Award: “The World to Come” by Mona Fastvold

RB Casting Award: Linda Caridi for the film “Lacci” by Daniele Luchetti

Grand Prize Venice International Film Critic’s Week: “Hayaletler” (“Ghosts”) by Azra Deniz Okyay

Verona Film Club Award: “Pohani Dorogy” (“Bad Roads”) by Natalya Vorozhbit

Mario Serandrei: “Topside” by Celine Held and Logan George

Award for Best Short Film SIC@SIC 2020: “J’Ador” by Simone Bozzelli


Award for Best Director SIC@SIC 2020: “Le Mosche” by Edgardo Pistone


Award for Best Technical Contribution SIC@SIC 2020: “Gas Station” by Olga Torrico

SIGNIS Award: “Quo Vadis, Aida?” by Jasmila Žbanić


Special Mention: “Nomadland” by Chloé Zhao

“Sorriso diverso” Award


Best Italian Film: “No Odiare” by Mauro Mancini ex aequo with “Notturno” by Gianfranco Rosi


Best Foreign Film: “Listen” by Ana Rocha De Sousa ex aequo with “Selva Tragica” by Yulene Olaizola


Il viaggio turismo Enit: “Padrenostro” by Claudio Noce

Premio Soundtrack Stars Award


Best Soundtrack: “Miss Marx” by Susanna Nicchiarelli; music by Gatto Ciliegia contro il Grande Freddo


Lifetime Achievement Award: Giorgio Moroder


musica&cinema Special Price: Diodato

Premio UNIMED: “Quo Vadis, Aida?” by Jasmila Žbanić

Premio Fair Play al Cinema – Vivere da Sportivi: “Nomadland” by Chloé Zhao


Special Mention: “City Hall” by Frederick Wiseman

10 Buzziest Movies for Sale in Toronto, From Idris Elba’s ‘Concrete Cowboy’ to Mark Wahlberg’s ‘Good Joe Bell’ (Photos)

TIFF 2020: “Pieces of a Woman,” “The Water Man,” “I Care A Lot” and more are getting attention from buyers

What the Cannes virtual marketplace proved earlier this year is that even without the in-person meetings, the red carpet galas and all the press hype, there’s still room for a lucrative sales market surrounding these virtual events. While that’s true of this year’s Toronto International Film Festival, the hybrid physical and virtual fest is operating on a slimmed-down lineup of movies. And with Oscar eligibility requirements pushed back to 2021, there isn’t the same need for all of these movies to make a splash. That said, we are looking forward to quite a bit at this year’s TIFF, and so are buyers.

Also Read: How the Pandemic Will Shake Up Toronto Film Festival’s (Virtual) Sales Market

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France's Nomadland

‘Nomadland’ and Frances McDormand Immediately Become Oscar Frontrunners – The Daily Beast

Nomadland is the film for the current moment. It’s also the film for the moment a decade ago, illustrating just how everlasting the country’s tug-of-war between the optimism of the American dream and the hopelessness of reality is. 

Debuting simultaneously on Friday at the Venice Film Festival and the Toronto International Film Festival—a historic global virtual premiere that rightly puts the drama at the center of this year’s Oscars race—Nomadland is based on the 2017 reported book by Jessica Bruder. 

Bruder’s book chronicled a new and ignored population of wanderers: the Boomers in their 60s and 70s both too poor to retire and unable to afford their homes even while working. The dual circumstances push them onto the open road, tumbleweeds rolling through the heart of a country that made it impossible for them to exist within its system. 

The new film from writer, director, and editor Chloé Zhao (The Rider) replicates her signature of casting non-actors in order to immerse the audience in a lived-in experience of the underserved stories and people she’s spotlighting. In this case, many of the performers in Nomadland were the same people Bruder chronicled in her book, a group of former employees of a sheetrock plant in Empire, Nevada, that shut down in 2011, rendering its workforce broke and homeless. Even the town’s zip code was discontinued within six months of the plant’s closure.

    A fictionalized narrative in the film adaptation centers around Fern, played by Frances McDormand in a steely, open-hearted performance that could very well see her join Meryl Streep, Katharine Hepburn, and Ingrid Bergman in the elite company of actresses who have won three or more Academy Awards. Buoyed by Zhao’s vérité style of directing, everything rings so true that if you didn’t know you were watching McDormand, her interactions with the cast of non-actors would make you think you were watching a documentary.

    After her husband dies and the plant closure devastates the community, Fern packs up what belongings she can into her van, throws the rest in a storage unit, and finds work over the holiday rush at an Amazon warehouse. 

    A series of indignities, from a former student in the town asking her if she’s homeless in the aisles of a Walmart to a gas station manager advising that she seek shelter in church rather than try to brave the Nevada cold in the parking lot, makes it clear this life isn’t sustainable. So she hits the road, discovering a tribe of fellow nomads making due off the grid, as well as a new, formidable spirit inside herself: despite several opportunities, she doesn’t want to settle down. 

    Told with bleeding-heart consideration for the people whose own stories are dramatized, Nomadland resists romanticizing life on four wheels. 

    In constant conversation with the freedom and the allure of the boundless night sky is the necessity to sling burgers when cash gets low—not to mention the logistics when your bathroom is a bucket next to the hotplate on which you cook your food, which itself is inches from where you sleep. 

    But Nomadland lends dignity to the circumstances of real people whose existences were dismissed by the system that was meant to protect them, as long as they did everything right. Well, they did follow the playbook, and yet they were still screwed. Consider the film inspirational and depressing in equal measure.

    Premiering at a time when a pandemic has decimated the economy and a record number of Americans are faced with the harsh reality of not being able to afford their homes or find work, Nomadland makes you realize just how much America sucks. 

    That is probably too glib a statement for a film this powerful, but that’s the sentiment you can’t help but brood in while you watch. The brilliance, however, is that Zhao and McDormand never set out to make such an indictment, but to beg empathy and consideration.

    Premiering at a time when a pandemic has decimated the economy and a record number of Americans are faced with the harsh reality of not being able to afford their homes or find work, ‘Nomadland’ makes you realize just how much America sucks.

    A series of strung-together vignettes, as McDormand’s Fern scrapes by and moves on to the next parking space, odd job, and fast friends in fellow outcasts, the film wallpapers everything both visually and emotionally with the beauty of the human spirit. 

    Few shots in the year of film thus far are as stunning as the ones in which Zhao trains the camera on McDormand’s or one of the ensemble’s faces as they talk, backdropped by a desert sunset. (Find me, too, something as whimsical as McDormand running amok at dusk through the rocks of the National Grasslands.) 

    Equally breathtaking are the monologues, playing here a bit like testimonials, of the people left with no resort but to live hand to mouth in their vans, yet who talk about everything they’ve experienced that’s made their life worth it, sans resentment. Their fates are something they were sentenced to without justice, but it’s also an opportunity they seized. 

    It’s a film that illuminates the richness that is in the emptiness. It reveals how much there is to experience, to lavish in, and to behold in the space where you assumed, or feared, there is nothing. 

    It’s impossible not to spiral when watching, especially when thinking about the current state of the country and its failures. Where do you go when the bottom falls out? What happens when the safety evaporates, or maybe even didn’t exist in the first place? How far do you fall? And what does that look like on the way down? Do you even know you’re falling, or if you’ve landed? What signifies home, when there isn’t a house? 

    What’s intriguing is that there’s no wallowing. In fact, it invites a question we’ve all asked ourselves at some point: What is out there waiting for you? What is standing in your way? 

    There’s always some nonsense sport in these conversations, but if the idea of staging these film festivals, as Venice and Toronto have this month, is to telegraph some semblance of normalcy about the film industry, then there’s no shying away from the fact that Nomadland has just surged to the top of any awards race. It’s crafted with astonishing and meticulous care, performed with new shades of grace from an already legendary actress, and excavates new and timely insights into the state of American existence—which is to say the plight therein.

    What’s most striking is this idea of a “Nomadland”—of the nomad, of the wanderer. What you take away is that aimlessness is a fallacy, as much of one as the comfort of an institutional safety net. No one is adventuring without purpose. The bliss they may find is intentional, but the peace may never come. It’s a harsh, yet somewhat beautiful reality, and one that is long due its validation.  

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