This is the first year the LAFilmCritics opted to present gender-neutral acting prizes. GlennWhipp and JustinCChang break down how the voting worked out.
Now a rarefied two-time winner of Cannes’ Palme d’Or, Ruben Östlund talks about his savage satire of beauty and privilege, ‘Triangle of Sadness.’De Leon might be the MVP of the movie season for saving that movie in its final act. I’d suffer through its superficial satire again just to get to the part where she takes charge. And I’m so glad that we pointed the way for audiences to find “Living” when it begins arriving in theaters later this month.
I know we both went into the proceedings curious about how voting in the combined, gender-neutral acting categories would play out. In the end, there was very little drama surrounding the decision the group made earlier this year. As I suggested earlier, it is a fool’s errand to pick the “best.” In lead I voted for Nighy.
Nighy might have been my favorite, but who could begrudge rewarding any of these performances? And, more to the point, who needs binary divisions of gender? You’re right, Justin: I would have voted forDolly de Leon and Charlbi Dean in the movie “Triangle of Sadness.”I’ll see your Roberts and Linney and raise you Gillian Anderson for “The House of Mirth” and Björk for “Dancer in the Dark.
Seen in this light, perhaps the best picture tie between “Tár” and “Everything Everywhere All at Once” feels all the more fitting. The former is about a woman who has risen to the highest echelons of success in a male-dominated industry, only to slowly fall from her rarefied perch; the latter is about a woman who regards herself as a profound failure, only to gradually realize she’s anything but.
The winner in that category was “EO,” a gorgeous, gutting story about a donkey , stunningly well directed by the 84-year-old Polish director Jerzy Skolimowski. Aside from our best picture winners, “EO” was the only movie to win more than one award on Sunday; it also was recognized for Michal Dymek’s cinematography.
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