Diary of everything I saw while social distancing during the COVID-19 pandemic
2020 Sundance Film Festival:
- 01-20: Premieres
- 21-27: Spotlight
- 28-43: U.S. Dramatic Competition
- 44-55: World Cinema Dramatic Competition
- 56-64: Next
- 65-73: Midnight
- 74-77: New Frontier
- 78-80: Sundance Kids
- 81-96: U.S. Documentary Competition
- 97-108: World Cinema Documentary Competition
- 109-122: Documentary Premieres
- 123-157: Shorts Programs
- 158-163: Shorts Preceding Features
- 164-171: Midnight Shorts Program
- 172-178: New Frontier Shorts Program
- 179-186: Animation Spotlight Shorts Program
- 187-195: Documentary Shorts Programs
- 196-202: Special Events.
Awards:
- Alfred P. Sloan Feature Film Prize: 01 - Tesla (Michael Almereyda).
- U.S. Dramatic Grand Jury Prize: 28 - Minari (Lee Isaac).
- U.S. Dramatic Audience Award: 28 - Minari (Lee Isaac).
- U.S. Dramatic Directing Award: 29 - The 40-Year-Old Version (Radha Blank).
- U.S. Dramatic Screenwriting Award: 30 - Nine Days (Edson Oda).
- U.S. Dramatic Special Jury Award for Ensemble Cast: 31 - Charm City Kings.
- U.S. Dramatic Special Jury Award for Auteur Filmmaking: 32 - Shirley (Josephine Decker).
- U.S. Dramatic Special Jury Award: Neorealism: 33 - Never Rarely Sometimes Always (Eliza Hittman).
- World Cinema Dramatic Grand Jury Prize: 44 - Yalda, a Night for Forgiveness (Massoud Bakhshi).
- World Cinema Dramatic Audience Award: 45 - Identifying Features (Fernanda Valadez).
- World Cinema Dramatic Directing Award: 46 - Cuties (Maimouna Doucoure).
- World Cinema Dramatic Special Jury Award for Acting: 47 - Surge (Ben Whishaw).
- World Cinema Dramatic Special Jury Award for Best Screenplay: 45 - Identifying Features (Fernanda Valadez).
- World Cinema Dramatic Special Jury Award for Visionary Filmmaking: 48 - This Is Not a Burial, It's a Resurrection (Lemohang Jeremiah Mosese).
- Next Audience Award: 56 - I Carry You With Me (Heidi Ewing).
- Next Innovator Award: 56 - I Carry You With Me (Heidi Ewing).
- U.S. Documentary Grand Jury Prize: 81 - Boys State (Jesse Moss, Amanda McBaine).
- U.S. Documentary Audience Award: 82 - Crip Camp (Nicole Newnham and Jim Lebrecht).
- U.S. Documentary Directing Award: 83 - Time (Garrett Bradley).
- U.S. Documentary Special Jury Award for Social Impact Filmmaking: 84 - The Fight (Elyse Steinberg, Josh Kriegman and Eli Despres).
- U.S. Documentary Jury Award for Emerging Filmmaker: 85 - Feels Good Man (Arthur Jones for).
- U.S. Documentary Special Jury Award for Editing : 86 - Welcome to Chechnya (Tyler H. Walk).
- U.S. Documentary Special Jury Award for Innovation in Nonfiction Storytelling: 87 - Dick Johnson Is Dead (Kirsten Johnson).
- World Cinema Documentary Grand Jury Prize: 97 - Epicentro (Hubert Sauper).
- World Cinema Documentary Audience Award: 98 - The Reason I Jump (Jerry Rothwell).
- World Cinema Documentary Directing Award: 99 - The Earth Is Blue as an Orange (Iryna Tsilyk).
- World Cinema Documentary Special Jury Award for Creative Storytelling: 100 - The Painter and the Thief (Benjamin Ree).
- World Cinema Documentary Special Jury Award for Cinematography : 101 - Acasa, My Home (Mircea Topoleanu and Radu Ciorniciuc).
- World Cinema Documentary Special Jury Award for Editing: 102 - Softie (Mila Aung-Thwin, Sam Soko and Ryan Mullins).
- Short Film Grand Jury Prize: 123 - So What If The Goats Die (Sofia Alaoui).
- Short Film Special Jury Prize for Directing: 164 - Valerio’s Day Out (Michael Arcos).
- Short Film Jury Award: US Fiction: 125 - Ship: A Visual Poem (Terrance Daye).
- Short Film Jury Award: International Fiction: 126 - The Devil’s Harmony (Dylan Holmes Williams).
- Short Film Jury Award: Non-Fiction: 127 - John Was Trying to Contact Aliens (Matthew Killip).
- Short Film Jury Award: Animation: 179 - Daughter (Daria Kashcheeva).
A list of every film mentioned in the documentary In Search of Darkness.
UPDATED to include the films mentioned in the follow-up documentary In Search of Darkness: Part II.
List by hotsake
Source: https://editorial.rottentomatoes.com/guide/the-best-movies-of-2020/
Last updated 2022-03-10
For one blissful month, it seemed like the defining moment of movie culture this year might be the most joyful one, too. Bong Joon Ho’s class warfare crowd-pleaser, Parasite, had beat the odds, shattered precedent, and overcome an American aversion to subtitles to win the Oscar for Best Picture. What a thing it was to experience live—a wonderful glitch in the simulation! Sadly, that night now feels miles away, a distant glimmer in the rearview mirror, a speck of light from the before times of ancient February. Just a few weeks after Parasite made history, James Bond made other plans: He would not be coming soon to a theater near anyone. In retrospect, this was the first sign that a whole industry—along with the rest of normal life as we knew it—would soon screech to a halt. 2020 would be a movie year like none before it.
That’s not hyperbole. For as long as Hollywood has been Hollywood, movies have made their way to theaters at a steady clip; you basically have to rewind to the days before the studio system to find a month on the calendar when nothing new was opening. 2020 gave us five months of that, an unprecedented drought. When theaters began reopening, tentatively and prematurely, back in August, blockbusters went bust; turns out most people weren’t willing to risk their lives just to see a new Christopher Nolan movie. The big pause on the big screen was felt in multiplexes and the arthouse alike, as superheroes flew to later dates and film festivals shrank and migrated online. Movie theaters haven’t disappeared yet, but they’re definitely in deep trouble. (AMC, one of the country’s leading chains, will reportedly go broke come January.)
It’s possible COVID has just accelerated a change that was already in progress. Streaming platforms have been angling to keep moviegoers on their couches for years now. In 2020, they won the fight by default, earning a (hopefully temporary) monopoly on a whole country’s viewing habits. If there were big hits after February, they were streaming fodder (like the Netflix quarantine time-waster Extraction) and movies originally slated for theaters (like My Spy and Mulan). Who knows how far off we were from instant, at-home access to the year’s splashiest titles, but that speculative future is suddenly a reality, as superhero sequels and Pixar adventures abandon their box office dreams to court streamers without subscriptions. Even the Academy has laid down arms: To keep their annual party alive, they’ll waive the usual requirement that a movie go big (screen) or go home; one year after Parasite broke the glass ceiling for foreign language fare, will Best Picture go to a Netflix original?
All of which it to say, it’s a scary and uncertain time for the movie industry, and for anyone invested in the survival of the theatrical experience. But as we noted a few months ago, when we rattled off some highlights at the half, a weird year for movies isn’t the same as a bad one. In fact, you could argue that the implosion of the release calendar—and a general absence of “bigger” projects sucking up all the oxygen in the room—has been a boon to the visibility of films otherwise in danger of being left out of the annual year-end conversation. These include a true bumper crop of exceptional movies by women, though they’d look rich, thoughtful, or daring no matter what year they came out.
Below, we proudly present the 25 best films of 2020, assembled from the ballots of a dozen A.V. Club contributors. In this year without blockbusters (and less middlebrow awards contenders), our critics cited documentaries, intimate independent dramas, adventurous visions from overseas, a bona fide avant-garde project, the kind of mid-budget Hollywood thriller the Oscars usually ignore, and the best installment of Steve McQueen’s Small Axe anthology, whose five individual entries were all deemed eligible, even as the complete series earned a spot on our TV list. (In this purgatorial age of watching only from home, why split hairs about classification—especially when talking about one of the most ambitious dramatic projects of the year, regardless of specific medium?) And if we’ve successfully piqued your interest in any of the films cited, the goods news is that most are available right now to stream or rent. That makes 2020 unprecedented in at least one welcome respect.
https://film.avclub.com/the-best-films-of-2020-1845889675
HollyWood Movies based on Popularity
new releases
List of programs that I've seen on BBC channels.
Updated at 2024-04-30
Updated at 2024-04-30
Movies released this month in history.
The British Independent Film Award for Best British Independent Film is an annual award given by the British Independent Film Awards (BIFA) to recognize the best British independent film. The award was first presented in the 1998 ceremony with Ken Loach's romantic drama My Name Is Joe being the first recipient of the award. The current winner is All of Us Strangers.
The award goes to the writers, producers and directors that are fully credited for the film. According to the rules presented by BIFA, in order for a film to be considered "independent" and therefore be eligible for this award and the other categories, the financing of the film must come from an independent studio or does not exceed a budget of $22.5 million in case of a production from a major studio. Additionally, the origination of the film will also be taken into account when assessing the independence of studio-backed films, this referring to "whether it was initially conceived inside or outside of a studio system".
My collection of movies.
Currently based on Kodak's blog.
Pleasant people doing pleasant things and there's not much drama and you just kind of feel lovely about the world.
https://www.filmtekercs.hu/magazin/eves-merleg-2021-a-legjobb-filmek-20-11
https://www.filmtekercs.hu/magazin/eves-merleg-2021-a-legjobb-filmek-10-1
COVIDTINE
by andy