RECAP: 3rd TFO Awards (2011)

The third year of this blog’s awards, the TFO Awards, honoured the excellence in film for the year 2011. The awards were posted in July to August 2014.

Asghar Farhadi’s drama film A Separation sweeps the major awards, winning six out of its seven nominations including Best Picture, Best Director (Farhadi), and Best Original Screenplay.

Another big winner is Stephen Daldry’s drama Extremely Loud & Incredibly Close, getting four wins out of its ten nominations including Best Adapted Screenplay.

The rest of the Best Picture nominees were The Artist (10 nominations), Drive (10), Hugo (7), The Tree of Life (7), Take Shelter (4), 50/50 (3), Contagion (3), and Weekend (2).

Scroll down below to see the complete list of winners and nominees.

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Best Motion Picture

  • 50/50 – Evan Goldberg, Ben Karlin, Seth Rogen
  • The Artist – Thomas Langmann
  • Contagion – Gregory Jacobs, Michael Shamberg, Stacey Sher
  • Drive – Michael Litvak, John Palermo, Marc Platt, Gigi Pritzker, Adam Siegel
  • Extremely Loud & Incredibly Close – Scott Rudin
  • Hugo – Johnny Depp, Tim Headington, Graham King, Martin Scorsese
  • *WINNER* A Separation – Asghar Farhadi
  • Take Shelter – Tyler Davidson, Sophia Lin
  • The Tree of Life – Dede Gardner, Sarah Green, Grant Hill, Brad Pitt, Bill Pohlad
  • Weekend – Tristan Goligher

Best Achievement in Directing

  • Michel Hazanavisius – The Artist
  • Nicolas Winding Refn – Drive
  • Stephen Daldry – Extremely Loud & Incredibly Close
  • *WINNER* Asghar Farhadi – A Separation
  • Terrence Malick – The Tree of Life

Best Performance by an Actor in a Leading Role

  • Demian Bichir – A Better Life
  • *WINNER* Jean Dujardin – The Artist
  • Michael Fassbender – Shame
  • Joseph Gordon-Levitt – 50/50
  • Michael Shannon – Take Shelter

Best Performance by an Actress in a Leading Role

  • Jessica Chastain – Take Shelter
  • Viola Davis – The Help
  • Rooney Mara – The Girl with the Dragon Tattoo
  • Elizabeth Olsen – Martha Marcy May Marlene
  • *WINNER* Meryl Streep – The Iron Lady

Best Performance by an Actor in a Supporting Role

  • Albert Brooks – Drive
  • Matt Damon – Contagion
  • *WINNER* Shahab Hosseini – A Separation
  • Brad Pitt – The Tree of Life
  • Max von Sydow – Extremely Loud & Incredibly Close

Best Performance by an Actress in a Supporting Role

  • *WINNER* Sareh Bayat – A Separation
  • Sandra Bullock – Extremely Loud & Incredibly Close
  • Jessica Chastain – The Help
  • Jessica Chastain – The Tree of Life
  • Melissa McCarthy – Bridesmaids

Best Performance by an Ensemble

  • Bridesmaids – Rose Byrne, Jill Clayburgh, Terry Crews, Ben Falcone, Jon Hamm, Tim Heidecker, Michael Hitchcock, Ellie Kemper, Matt Lucas, Melissa McCarthy, Wendi McLendon-Covey, Annie Mumolo, Chris O’ Dowd, Dana Powell, Maya Rudolph, Mitch Silpa, Kristen Wiig, Rebel Wilson
  • Carnage – Jodie Foster, John C. Reilly, Christoph Waltz, Kate Winslet
  • Extremely Loud & Incredibly Close – Brooke Bloom, Sandra Bullock, Zoe Caldwell, Diane Cheng, Catherine Curtin, Viola Davis, John Joseph Gallagher, Hazelle Goodman, John Goodman, Tom Hanks, Thomas Horn, Ray Iannicelli, Gregory Korostisheysky, Stephanie Kurtzuba, Hector Martinez, Jim Norton, Lola Pashalinski, Jensen Smith, Marco Verna, Max von Sydow, Jeffrey Wright
  • The Help – Anna Camp, Jessica Chastain, Viola Davis, Aunjanue Ellis, Nelsan Ellis, Eleanor Henry, Emma Henry, Bryce Dallas Howard, Allison Janney, Chris Lowell, Ahna O’ Reilly, David Oyelowo, Sissy Spacek, Octavia Spencer, Mary Steenburgen, Emma Stone, Cicely Tyson, Mike Vogel
  • *WINNER* A Separation – Sareh Bayat, Sarina Farhadi, Leila Hatami, Kimia Hosseini, Shahab Hosseini, Babak Karimi, Peyman Mooadi, Ali-Asghar Shahbazi, Merila Zare’i

Best Original Screenplay

  • 50/50 – Will Reiser
  • The Artist – Michel Hazanavicius
  • Bridesmaids – Kristen Wiig, Annie Mumolo
  • *WINNER* A Separation – Asghar Farhadi
  • Weekend – Andrew Haigh

Best Adapted Screenplay

  • Carnage – Yasmina Reza, Roman Polanski
  • Drive – Hossein Amini
  • *WINNER* Extremely Loud & Incredibly Close – Eric Roth
  • Jane Eyre – Moira Buffini
  • Moneyball – Aaron Sorkin, Steven Zaillian

Best Animated Feature

  • *WINNER* The Adventures of Tintin – Steven Spielberg
  • Kung Fu Panda 2 – Jennifer Yuh Nelson
  • Puss in Boots – Chris Miller
  • Rango – Gore Verbinski
  • Winnie the Pooh – Stephen Anderson & Don Hall

Best Achievement in Cinematography

  • The Artist – Guillaume Schiffman
  • Drive – Newton Thomas Sigel
  • Hugo – Robert Richardson
  • Jane Eyre – Adriano Goldman
  • *WINNER* The Tree of Life – Emmanuel Lubezki

Best Achievement in Film Editing

  • The Artist – Anne-Sophie Bion, Michel Hazanavicius
  • Drive – Mat Newman
  • *WINNER* Extremely Loud & Incredibly Close – Claire Simpson
  • The Girl with the Dragon Tattoo – Angus Wall & Kirk Baxter
  • A Separation – Hayedeh Safiyari

Best Achievement in Sound Mixing

  • *WINNER* Extremely Loud & Incredibly Close – Skip Lievsay, Danny Michael, Paul Urmson
  • The Girl with the Dragon Tattoo – David Parker, Michael Semanick, Ren Klyce, Bo Persson
  • Hugo – Tom Fleischman, John Midgley
  • Moneyball – Deb Adair, Ron Bochar, Dave Giammarco, Ed Novick
  • War Horse – Gary Rydstrom, Andy Nelson, Tom Johnson, Stuart Wilson

Best Achievement in Sound Editing

  • Contagion – Larry Blake
  • *WINNER* Drive – Lon Bender, Victor Ray Ennis
  • Hanna – Craig Berkey, Paul Carter, Timothy Nielsen, Chris Scarabosio
  • Hugo – Philip Stockton, Eugene Gearty
  • War Horse – Richard Hymns, Gary Rydstrom

Best Achievement in Original Score

  • The Artist – Ludovic Bource
  • *WINNER* Extremely Loud and Incredibly Close – Alexandre Desplat
  • The Girl with the Dragon Tattoo – Trent Reznor & Atticus Ross
  • Hugo – Howard Shore
  • War Horse – John Williams

Best Achievement in Adapted or Song Score

  • Drive – Cliff Martinez, Eric Craig
  • Melancholia – Mikkel Maltha
  • Midnight in Paris – Woody Allen
  • *WINNER* The Tree of Life – Alexandre Desplat, Roanna Gillespie
  • Winnie the Pooh – Henry Jackman, Kristen Anderson-Lopez, Robert Lopez

Best Achievement in Visual Effects

  • Captain America: The First Avenger – Charlie Noble, Mark Soper, Christopher Townsend, Edson Williams
  • The Girl with the Dragon Tattoo – Eric Barba, Brian Gazdik, Patrick Jarvis, Paul Lambert, Steve Preeg, Greg Teegarden
  • *WINNER* Hugo – Robert Legato, Joss Williams, Ben Grossmann, Alex Henning
  • Super 8 – Dennis Muren, Kim Libreri, Paul Kavanagh, Russell Earl
  • The Tree of Life – Olivier Dumont, Michael Fink, Dan Glass, Bryan Hirota, Paul Riddle, Mike Shand

Best Achievement in Makeup and Hairstyling

  • Albert Nobbs – Martial Corneville, Lynn Johnson, Matthew W. Mungle
  • Anonymous – Fay Hatzius, Heike Merker, Björn Rehbein, Matthew Smith
  • The Artist – Cydney Cornell, Julie Hewett
  • *WINNER* The Iron Lady – Mark Coulier, J. Roy Helland
  • Warrior – Trish Almeida, Felicity Bowring, Dugg Kirkpatrick, Randy Westgate

Best Achievement in Production Design – Contemporary

  • *WINNER* Drive – (PD) Beth Mickle, (SD) Lisa Sessions Morgan
  • Extremely Loud and Incredibly Close – (PD) K.K. Barrett, (SD) George DeTitta Jr.
  • The Girl with the Dragon Tattoo – (PD) Donald Graham Burt, (SD) K.C. Fox, Erik Videgard
  • The Skin I Live In – (PD) Antxon Gómez, (SD) Vicente Díaz
  • Sleeping Beauty – (PD) Annie Beauchamp, (SD) Lisa Thompson

Best Achievement in Production Design – Period

  • Anonymous – (PD) Sebastian Krawinkel, (SD) Simon Boucherie
  • The Artist – (PD) Laurence Bennett, (SD) Robert Gould
  • *WINNER* Hugo – (PD) Dante Ferretti, (SD) Francesca Lo Schiavo
  • Submarine – (PD) Gary Williamson, (SD) Cathy Cosgrove
  • War Horse – (PD) Rick Carter, (SD) Lee Sandales

Best Achievement in Costume Design – Contemporary

  • Bridesmaids – Leesa Evans, Christine Wada
  • *WINNER* Drive – Erin Benach
  • The Iron Lady – Consolata Boyle
  • Margin Call – Caroline Duncan
  • Sleeping Beauty – Shareen Beringer

Best Achievement in Costume Design – Period

  • Anonymous – Lisy Christl
  • The Artist – Mark Bridges
  • The Help – Sharen Davis
  • Jane Eyre – Michael O’ Connor
  • *WINNER* W.E. – Arianne Phillips

Best Achievement in Original Song

  • “The Living Proof” from The Help
    Music and Lyric by Mary J. Blige, Thomas Newman, Harvey Mason Jr., Damon Thomas
  • *WINNER* “Masterpiece” from W.E.
    Music and Lyric by Madonna, Julie Frost and James Harry
  • “Real in Rio” from Rio
    Music by Sergio Mendes, Carlinhos Brown, Mikael Mutti, John Powell; Lyric by Siedah Garrett
  • “Shelter” from Take Shelter
    Music and Lyric by Ben Nichols
  • “So Long” from Winnie the Pooh
    Music and Lyric by Zooey Deschanel

NOTE: Best Documentary Feature was not existing categories during this awards.

Click here to see the actual posts on the 3rd TFO Awards.

3rd TFO Awards PART 2: Production Design / Costume Design

TFO 2011
The following awards are:

BEST production design – contemporary

BEST production design – period

BEST costume design – contemporary

BEST costume design – period

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Best Production Design – Contemporary

 

01 Drive Drive – (PD) Beth Mickle, (SD) Lisa Sessions Morgan
The film succeeds in its visuals because it has the capability to create a world that is identifiable yet partly detached, creating a world where its narrative and characters fit and giving the film the densely moody milieu that makes the film so visually striking.

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02 ELAICExtremely Loud & Incredibly Close – (PD) K.K. Barrett, (SD) George DeTitta Jr.
The film is all about Oskar’s journey, emotionally and physically, taking the film into different locations that over-all paints the post-9/11 New York, a place where the air of despair and the search for resolution collide. Also, its visuals also provide us hints on how Oskar’s mind works.

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03 TGWTDTThe Girl with the Dragon Tattoo – (PD) Donald Graham Burt, (SD) K.C. Fox, Erik Videgard
What I like about this film is its completeness in its visuals, enveloping the whole narrative with a world that is filled with minute details that help create the immensely atmospheric environment of the film.

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04 TSILNThe Skin I Live In – (PD) Antxon Gómez, (SD) Vicente Díaz
Almodovar’s films are always visually intriguing, and this film, with all its strangeness and eccentricities, depicts his visual control of the story. The whole film works like a labyrinth of the characters and their psyche, thanks to the attention to detail of the visuals.

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05 SBSleeping Beauty – (PD) Annie Beauchamp, (SD) Lisa Thompson
The film’s coldness and intrigue comes from how disturbing the visuals are. Its set pieces are always too classy and too polished, effectively giving the film the oddness and disquieting visuals its narrative deserves.

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And THE FINAL OSCAR goes to…

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DriveDrive

Production design by beth Mickle
set decoration by lisa sessions morgan

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Finalists: Melancholia | Coriolanus | Contagion | The Rum Diary | Bridesmaids | Mission: Impossible – Ghost Protocol | Shame

Semi-Finalists: Insidious | Super 8 | Carnage | Certified Copy | X-Men: First Class | One Day | Martha Marcy May Marlene | Take Shelter

The Rest of the Field: Moneyball | The Muppets | Margin Call | We Need to Talk About Kevin | The Descendants | The Beaver | 50/50 | A Separation | Rise of the Planet of the Apes

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Best Production Design – Period

 

06 Anonymous

Anonymous – (PD) Sebastian Krawinkel, (SD) Simon Boucherie
While I really feel indifferent about the film, I just cannot discount its brilliance in recreating the Shakespearean era with a noirish quality that feels classy and bleak at the same time.

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07 The ArtistThe Artist – (PD) Laurence Bennett, (SD) Robert Gould
The film is a stunning visual experience, and the completeness of its over-all design is what makes the film such an absorbing film. Whether be it the glamorous 1920s Hollywood studios or the neglected house of George Valentin, the film scores high with its visual wholeness.

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08 HugoHugo – (PD) Dante Ferretti, (SD) Francesca Lo Schiavo
Being in that train station is already a blast, but once the narrative enters its chapter concerning George Melies and the film career he once had, it is pure visual enthrallment.

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09 SubmarineSubmarine – (PD) Gary Williamson, (SD) Cathy Cosgrove
The film mostly works from how visually appealing and in sync it is with the film’s quirkiness. Its specificity in its design plots the characters’ mindset with intricacy.

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10 War HorseWar Horse – (PD) Rick Carter, (SD) Lee Sandales
The film employs several set pieces as the narrative traverses through different parts, from the cozy hose beside the plow field, to the military camps, bomb shelters, and the haunting No Man’s Land.

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And THE FINAL OSCAR goes to…

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HugoHugo

production design by dante ferretti
set decoration by francesca lo schiavo

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Finalists: Jane Eyre | Midnight in Paris | W.E. | Tinker, Tailor, Soldier, Spy | Captain America: The First Avenger | The Help | Albert Nobbs

Semi-Finalists: My Week with Marilyn | The Tree of Life | A Dangerous Method | The Debt | J. Edgar

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Best Costume Design – Contemporary

 

11 BridesmaidsBridesmaids – Leesa Evans, Christine Wada
Before the characters wear their beautiful wedding gowns, the costumes already sprinkle a lot of information about the characters, whether be it Helen’s elitist tendencies, Becca’s pretty reserve, or Megan’s no-bullshit attitude.

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12 DriveDrive – Erin Benach
Stylish and dangerous, the film populates the narrative with characters that all harbor in peril underneath the slick façade. The scorpion jacket is already a classic, but the film shows more than that.

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13 The Iron LadyThe Iron Lady – Consolata Boyle
Helps in establishing the fragility underneath the tough in Margaret Thatcher in pre-prime minister era, her regality and authority in her prime minister years, and the sophistication and intelligence of the old-age Thatcher.

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14 Margin CallMargin Call – Caroline Duncan
Its characters remain in corporate attire for the entire film, but close attention to the costumes reveal the specificity of the details given to each character, defining them even more even in the quieter moments.

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15 Sleeping BeautySleeping Beauty – Shareen Beringer
Those impeccably designed lingerie worn by the servants still haunt me. In the moments before the lead character goes into hibernation, the costumes work wonders in walking the very fine line between clarity and ambiguity that makes each character come of as ethereal.

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And THE FINAL OSCAR goes to…

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DriveDrive

costume design by erin benach

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Finalists: The Rum Diary | Shame | Mission: Impossible – Ghost Protocol | Extremely Loud & Incredibly Close | Young Adult | The Ides of March | Coriolanus

Semi-Finalists: The Lincoln Lawyer | One Day | Carnage | The Muppets | Larry Crowne | The Girl with the Dragon Tattoo | Margaret

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Best Costume Design – Period

 

16 AnonymousAnonymous – Lisy Christl
Works wonders in highlighting the different dimension of each character when the screenplay or even the actors go for broader strokes, never afraid to sink in the story while still standing out.

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17 The ArtistThe Artist – Mark Bridges
The transformation of the main characters are given precision even in the subtlest way: the way Peppy Miller’s clothes slowly change from her simple attires as an aspiring actress to Hollywood star in contrast with George Valentin’s descent from beloved movie star to forgotten silent film actor.

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18 The HelpThe Help – Sharen Davis
The women of Jackson are provided with the succession of costumes that are both pleasing to the eye as well as revelatory of the characters themselves: the way Celia Foote’s sexy clothes go in contrast with the conservative but hypocritical women of the bridge club as well as the difference between Minny’s figure-hugging orange dress to Aibileen’s loosely modest yet classy red dress.

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19 Jane EyreJane Eyre – Michael O’ Connor
The film’s organic and earthy visuals are some of the best that I have seen in this category, and the costumes have a lot to credit for that. Its costumes are both unobtrusive to the over-all vision and also crucial in the creation of the distinct visual style of the film.

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20 w.e.

W.E. – Arianne Phillips
Its costumes strongly register because the film is lucky to have actors who have the attitude to wear those stunningly sophisticated dresses. The way the two women of different time periods both compliment and clash at the same time prove the volumes of intelligence in the costume design.

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And THE FINAL OSCAR goes to…

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we poster

 

W.E.

Costume Design by Arianne Phillips

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Finalists: Captain America: The First Avenger | Hugo | Midnight in Paris | War Horse | My Week with Marilyn | A Dangerous Method | Tinker, Tailor, Soldier, Spy

Semi-Finalists: Albert Nobbs | Submarine | J. Edgar | The Debt

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Previous Awards Page: Animated Feature

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Next Part: AURAL CATEGORIES (Sound Mixing, Sound Editing, Original Music Score, Adapted Music/Song Score, Original Song)

Best Picture Profile: Hugo

hugoDirected by: Martin Scorsese
Written by: John Logan
Produced by: Graham King, Timothy Headington, Martin Scorsese, Johnny Depp
Runtime: 125 minutes

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Hugo is about the titular character, a young orphan living inside a train station. He is maintaining the clock in the station that his father used to manage while also taking care of an automaton that his father left him. Caught in the act of stealing by an old man running a toy store in the station, his notebook containing very personal details, mostly relating to his father, was confiscated by the old man. He befriends the old man’s goddaughter Isabelle and asks that his notebook be returned to him. As it turns out, the old man is Georges Melies, the French film pioneer whose career tragically ended when World War I came. It is now left to Hugo for him to discover between the automaton and the filmmaker Melies.

A fantasy drama with a central character of a young boy is not your usual Scorsese fare. He is mostly recognized for tackling gritty stories – either the machinations of an Italian gang in Goodfellas, the victory and defeat of a boxer in Raging Bull, the bloody revenge of a man for his father in Gangs of New York, or the deception taking place in Boston crime scene in The Departed – that’s why I initially doubted this film when I first knew about it. But as the film started, I am already left in awe.

Scorsese immediately immerses the senses with a strong recognition of stark shadings. There is something surreal and dark beneath the celebratory images of a Parisian train station, underlined by the beautifully vibrant music score that is appropriately enchanting and French. The film then breathtakingly zooms in to the lead character that then engages in a dazzling run that leads to another character, Melies. In a way, the way the film hinges on magical visual makes sense, as it provides contrast in the somberness of the film. The breathtaking opening sequence is quite representative of Scorsese’s take on the film. He fills the film with images that brings a tangible milieu of fantasy but at the same time also envelopes the film in a noticeable inclination on mystery.

hugo

The film does feel like a fantasy neo-noir. Aided by superb cinematography and astonishing visual effects, the film plays with the brightness of the strong colors with the shadows that exemplify the dexterity that Scorsese has in handling the material. With his background in telling dark stories, he is able to place the right amount of obscurity to create a wonderful dance between the undeniable joy of childhood, the celebratory spirit of cinema, and the creeping sadness underneath these two.

Having an able screenplay that supply the film with a cleverly crafted narrative, the film delivers an effective ode to both childhood and cinema. The skillful rendition of the technical aspects of the film is just a mere part of it. The film is an emotional experience. There is wonder in the film that surprisingly lets the emotional core of the narrative to shine. The visuals do not overwhelm the story. Instead, the stunning imagery of the film strengthens the story.

There is also the presence of a strong cast of actors: from its lead Asa Butterfield’s honest perseverance to Chloe Grace-Moretz’ strong suggestion of awe, there is a present intelligence in the execution. Also, there are Ben Kingsley, Helen McCroy, and Michael Stuhlbarg that populate the film with characters that are not just mere additions, but all serve the purpose of providing support of the film’s core.

Scorsese’s visible mastery of the craft is visible throughout the film the same way the sound and production design are evident with the great detail and specificity in them. The film is obviously a work of someone who has years of experience, and that very experience shows in the execution of the film. The result is a film that gloriously visualizes the heart of the intertwining of the magnificence of cinema and the jubilant truth of childhood. This is a film of undeniable wonder.

For this, the film gets:

5Agree or disagree?

INTRODUCTION – Best Motion Picture: 2011

Yes, this is the next year. This is, again, a very exciting year for me.

This year actually quite peculiar, just like 2012.

The frontrunners were a French silent film, a small independent drama-comedy, and a fantasy film from Scorsese.

The rest include a 9/11 drama that sharply divided the critics (just look at its Rotten Tomatoes score – 46%!), a melodrama about race that is obviously only made remarkable by the performances, a Woody Allen romantic-comedy-fantasy, a baseball drama, a spiritual film from Terrence Malick, and a war epic from Steven Spielberg that received a more-or-less lukewarm reaction.

Enough of that. So, here are the nominees:

artistdescendantsextremelyloud

helphugomidnight

moneyballtreeoflifewarhorse

The Artist

The Descendants

Extremely Loud and Incredibly Close

The Help

Hugo

Midnight in Paris

Moneyball

The Tree of Life

War Horse

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Which film would win this one?

The arrangement of the profiles will be by lottery, then the last profile would be the Best Picture winner The Artist. 🙂

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So there you go.

Would I go with the Academy? Or would I go with an another nominee? Make your predictions now!