“Dick Johnson is Dead” won both Best Documentary Feature and Best Director (Kirsten Johnson) at the fifth annual Critics’ Choice Documentary Awards. This Netflix film came into the competition with four bids; it lost the cinematography race to another Netflix title, “My Octopus Teacher,” and thee narration award to “David Attenborough: A Life on Our Planet.” “The Way I See It” won for score while “Totally Under Control” took editing. See the full list of Ccda winners announced on November 16 below.
The six genre prizes were awarded as follows: “MLK/FBI” (Best Archival Documentary); “John Lewis: Good Trouble” (Best Historical/Biographical Documentary); both “Beastie Boys Story” and “The Go-Go’s” (Best Music Documentary); “Boys State” (Best Political Documentary”); “My Octopus Teacher” (Best Science/Nature Documentary); and both “Ali & Cavett: The Tale of the Tapes” and “Athlete A” (Best Sports Documentary).
The Shoes in the Bed title “Mr. Soul!” won one of its...
The six genre prizes were awarded as follows: “MLK/FBI” (Best Archival Documentary); “John Lewis: Good Trouble” (Best Historical/Biographical Documentary); both “Beastie Boys Story” and “The Go-Go’s” (Best Music Documentary); “Boys State” (Best Political Documentary”); “My Octopus Teacher” (Best Science/Nature Documentary); and both “Ali & Cavett: The Tale of the Tapes” and “Athlete A” (Best Sports Documentary).
The Shoes in the Bed title “Mr. Soul!” won one of its...
- 11/16/2020
- by Paul Sheehan
- Gold Derby
Three films lead the fifth annual Critics’ Choice Documentary Awards with five nominations apiece. “Crip Camp: A Disability Revolution” and “Gunda,” both nabbed nominations for Best Documentary Feature and Best Director as well as three others apiece while “Mr. Soul!” was nominated for Best Documentary Feature and Best First Documentary Feature as well as three more.
Netflix led the way of all distributors with an impressive 31 nominations. In addition to “Crip Camp,” the studio also earned Best Documentary Feature bids forr “Athlete A,” “Dick Johnson Is Dead,” “My Octopus Teacher,” “A Secret Love,” and “The Social Dilemma.” Rounding out the top category nominees are “Belushi” and “The Go-Gos” from Showtime, “Feels Good Man” from Wavelength and PBS Independent, “The Fight” from Magnolia, “The Painter and the Thief” from Neon, and “Time” from Amazon. “Gunda” is Neon’s second nominee and “Mr. Soul!” comes to us from Shoes in the Bed.
Netflix led the way of all distributors with an impressive 31 nominations. In addition to “Crip Camp,” the studio also earned Best Documentary Feature bids forr “Athlete A,” “Dick Johnson Is Dead,” “My Octopus Teacher,” “A Secret Love,” and “The Social Dilemma.” Rounding out the top category nominees are “Belushi” and “The Go-Gos” from Showtime, “Feels Good Man” from Wavelength and PBS Independent, “The Fight” from Magnolia, “The Painter and the Thief” from Neon, and “Time” from Amazon. “Gunda” is Neon’s second nominee and “Mr. Soul!” comes to us from Shoes in the Bed.
- 10/26/2020
- by John Benutty
- Gold Derby
“Crip Camp: A Disability Revolution,” “Gunda” and “Mr. Soul” lead the fifth annual Critics Choice Association’s documentary nominations, with five apiece. Among the eclectic list of nominees are Taylor Swift, Greta Thunberg, veteran filmmaker Werner Herzog and longtime disability advocate Judith Heumann, as well as docs about such notables as John Lewis, Muhammad Ali, Bruce Lee and Frank Zappa.
Recognized with four nominations each are “Athlete A,” “Dick Johnson Is Dead,” “My Octopus Teacher” and “Totally Under Control.”
In terms of distributors, Netflix led with 31 nominations, followed by Neon with 14 and Magnolia Pictures with nine. Showtime had six, while HBO, Amazon, National Geographic, PBS Independent Lens and Shoes in the Bed Productions earned five each.
It’s the fifth annual documentary honors for the group, honoring projects released in theaters, on TV and on major digital platforms, as determined by the voting of Cca members. Winners will be announced at a presentation on Nov.
Recognized with four nominations each are “Athlete A,” “Dick Johnson Is Dead,” “My Octopus Teacher” and “Totally Under Control.”
In terms of distributors, Netflix led with 31 nominations, followed by Neon with 14 and Magnolia Pictures with nine. Showtime had six, while HBO, Amazon, National Geographic, PBS Independent Lens and Shoes in the Bed Productions earned five each.
It’s the fifth annual documentary honors for the group, honoring projects released in theaters, on TV and on major digital platforms, as determined by the voting of Cca members. Winners will be announced at a presentation on Nov.
- 10/26/2020
- by Tim Gray
- Variety Film + TV
“Crip Camp,” “Gunda” and “Mr. Soul!” led all films in nominations for the fifth annual Critics Choice Documentary Awards, which were announced on Monday by the Critics Choice Association.
The three films each received five nominations, including nods in the Best Documentary Feature category. As usual, that category cast a very wide net and contains far more nominees than other awards for nonfiction filmmaking — 14 this year, with nominations also going to “Athlete A,” “Belushi,” “Dick Johnson Is Dead,” “Feels Good Man,” “The Fight,” “The Go-Go’s,” “My Octopus Teacher,” “The Painter and the Thief,” “A Secret Love,” “The Social Dilemma” and “Time.”
Films with four nominations are “Athlete A,” “Dick Johnson Is Dead,” “Octopus Teacher” and “Totally Under Control.”
The list was missing many of the year’s most acclaimed nonfiction films, including “Welcome to Chechnya,” “The Dissident,” “Collective,” “Disclosure,” “76 Days” and “On the Record,” none of which received any nominations.
The three films each received five nominations, including nods in the Best Documentary Feature category. As usual, that category cast a very wide net and contains far more nominees than other awards for nonfiction filmmaking — 14 this year, with nominations also going to “Athlete A,” “Belushi,” “Dick Johnson Is Dead,” “Feels Good Man,” “The Fight,” “The Go-Go’s,” “My Octopus Teacher,” “The Painter and the Thief,” “A Secret Love,” “The Social Dilemma” and “Time.”
Films with four nominations are “Athlete A,” “Dick Johnson Is Dead,” “Octopus Teacher” and “Totally Under Control.”
The list was missing many of the year’s most acclaimed nonfiction films, including “Welcome to Chechnya,” “The Dissident,” “Collective,” “Disclosure,” “76 Days” and “On the Record,” none of which received any nominations.
- 10/26/2020
- by Steve Pond
- The Wrap
In a year packed with superb documentaries, the Critics Choice Association Documentary Awards nominations, which honor the best non-fiction achievements of 2020, will help other awards groups to winnow down the list of must-sees. “Crip Camp: A Disability Revolution” (Netflix), “Gunda” (Neon), and “Mr. Soul!” lead this year’s nominations with five each. Netflix leads the field with 31 nominations, followed by Neon with 14 and Magnolia Pictures with nine.
“The Documentary Branch faced its greatest task yet considering the quantity and quality of nonfiction cinema released this year,” said Christopher Campbell, President of the Critics Choice Association Documentary Branch, in an official statement. “Ultimately, these nominees represent the best of the best of a remarkably fruitful moment for documentary filmmaking.”
Winners will be announced on November 16, 2020.
The Sundance debut “Crip Camp” is nominated for Best Documentary Feature, and also earned nods for James Lebrecht and Nicole Newnham for Best Director, along with Best Editing,...
“The Documentary Branch faced its greatest task yet considering the quantity and quality of nonfiction cinema released this year,” said Christopher Campbell, President of the Critics Choice Association Documentary Branch, in an official statement. “Ultimately, these nominees represent the best of the best of a remarkably fruitful moment for documentary filmmaking.”
Winners will be announced on November 16, 2020.
The Sundance debut “Crip Camp” is nominated for Best Documentary Feature, and also earned nods for James Lebrecht and Nicole Newnham for Best Director, along with Best Editing,...
- 10/26/2020
- by Anne Thompson
- Thompson on Hollywood
In a year packed with superb documentaries, the Critics Choice Association Documentary Awards nominations, which honor the best non-fiction achievements of 2020, will help other awards groups to winnow down the list of must-sees. “Crip Camp: A Disability Revolution” (Netflix), “Gunda” (Neon), and “Mr. Soul!” lead this year’s nominations with five each. Netflix leads the field with 31 nominations, followed by Neon with 14 and Magnolia Pictures with nine.
“The Documentary Branch faced its greatest task yet considering the quantity and quality of nonfiction cinema released this year,” said Christopher Campbell, President of the Critics Choice Association Documentary Branch, in an official statement. “Ultimately, these nominees represent the best of the best of a remarkably fruitful moment for documentary filmmaking.”
Winners will be announced on November 16, 2020.
The Sundance debut “Crip Camp” is nominated for Best Documentary Feature, and also earned nods for James Lebrecht and Nicole Newnham for Best Director, along with Best Editing,...
“The Documentary Branch faced its greatest task yet considering the quantity and quality of nonfiction cinema released this year,” said Christopher Campbell, President of the Critics Choice Association Documentary Branch, in an official statement. “Ultimately, these nominees represent the best of the best of a remarkably fruitful moment for documentary filmmaking.”
Winners will be announced on November 16, 2020.
The Sundance debut “Crip Camp” is nominated for Best Documentary Feature, and also earned nods for James Lebrecht and Nicole Newnham for Best Director, along with Best Editing,...
- 10/26/2020
- by Anne Thompson
- Indiewire
In what is signaling a very good year for documentaries, the Critics’ Choice Association on Monday announced its list of nominations for the fifth annual Critics’ Choice Documentary Awards, and if the past is any clue it could be an indicator of what to expect from the Oscars next spring.
With an inclusive list, to say the least, of about 50 films from approximately 200 submissions, three docs led the way with five noms apiece: Mr. Soul, about a historic Black TV show; Gunda, a touching film about the daily life of a pig and farm companions from exec producer Joaquin Phoenix; and Netflix’s Crip Camp: A Disability Revolution, an archival film about a summer camp catering to disabled young people.
Close behind with four nods each were Alex Gibney’s striking Covid-19 docu Totally Under Control that was actually just completed about two weeks ago; the personal story of a father and daugher, Dick Johnson Is Dead; the remarkable nature doc My Octopus Teacher; and gymnastics scandal pic Athlete A. The latter three hail from Netflix, which swamped the competition with 31 nominations, a more than 2-to-1 distance between next closest distributor Neon with 14. They are the only two distributors to reach double digits.
Overall the critics were in a generous mood, offering 15 films noms for Best Documentary Feature alone.
“At a unique time for the entertainment industry and the world, documentaries are more important and fortunately more abundant and more available and more essential than ever,” said Christopher Campbell, president of the documentary branch of Cca. “In 2020, documentaries have taken us to places and shown us perspectives we’ve never experienced before. They’ve chronicled events and life stories that are enlightening and enthralling — and sometimes frightening. It is a great honor for the Cca to celebrate these stories and subjects and shed light on the work of so many incredible filmmakers. The Documentary Branch faced its greatest task yet considering the quantity and quality of nonfiction cinema released this year. Ultimately, these nominees represent the best of the best of a remarkably fruitful moment for documentary filmmaking.”
Nominees were selected by Critics’ Choice members who were divided into five committees to whittle down the field.
Belushi (Showtime)
Crip Camp: A Disability Revolution (Netflix)
Dick Johnson is Dead (Netflix)
Feels Good Man (Wavelength Productions/PBS Independent Lens)
The Fight (Magnolia Pictures)
The Go-Go’s (Showtime)
Gunda (Neon)
Mr. Soul! (Shoes in the Bed Productions)
My Octopus Teacher (Netflix)
The Painter and the Thief (Neon)
A Secret Love (Netflix)
The Social Dilemma (Netflix)
Time (Amazon Studios)
Best Director
Garrett Bradley, Time (Amazon Studios)
Bonni Cohen and Jon Shenk, Athlete A (Netflix)
Kirsten Johnson, Dick Johnson is Dead (Netflix)
Victor Kossakovsky, Gunda (Neon)
James Lebrecht and Nicole Newnham, Crip Camp: A Disability Revolution (Netflix)
Dawn Porter, John Lewis: Good Trouble (Magnolia Pictures)
Benjamin Ree, The Painter and the Thief (Neon)
Best First Documentary Feature
Robert S. Bader, Ali & Cavett: The Tale of the Tapes (HBO)
Chris Bolan, A Secret Love (Netflix)
Melissa Haizlip, Mr. Soul! (Shoes in the Bed Productions)
Arthur Jones, Feels Good Man (Wavelength Productions/PBS Independent Lens)
Elizabeth Leiter and Kim Woodard, Jane Goodall: The Hope (National Geographic)
Elizabeth Lo, Stray (Magnolia Pictures)
Sasha Joseph Neulinger, Rewind (Grizzly Creek Films/PBS Independent Lens)
Best Cinematography
Michael Dweck and Gregory Kershaw, The Truffle Hunters (Sony Pictures Classics)
Roger Horrocks, My Octopus Teacher (Netflix)
Kirsten Johnson, Dick Johnson is Dead (Netflix)
Victor Kossakovsky and Egil Håskjold Larsen, Gunda (Neon)
Scott Ressler, Neil Gelinas and Stefan Wiesen, The Last Ice (National Geographic)
Gianfranco Rosi, Notturno (Stemal Entertainment)
Ruben Woodin Dechamps, The Reason I Jump (Kino Lorber)
Best Editing
Don Bernier, Athlete A (Netflix)
Eli Despres, Greg Finton and Kim Roberts, The Fight (Magnolia Pictures)
Lindy Jankura and Alex Keipper, Totally Under Control (Neon)
Helen Kearns, Assassins (Greenwich Entertainment)
Victor Kossakovsky and Ainara Vera, Gunda (Neon)
Eileen Meyer and Andrew Gersh, Crip Camp: A Disability Revolution (Netflix)
Charlotte Munch Bengtsen, The Truffle Hunters (Sony Pictures Classics)
Best Score
Ari Balouzian and Ryan Hope, Feels Good Man (Wavelength Productions/PBS Independent Lens)
Marco Beltrami, Brandon Roberts and Buck Sanders, The Way I See It (Focus Features)
Tyler Durham, Sven Faulconer and Xander Rodzinski, The Last Ice (National Geographic)
Peter Nashel and Brian Deming, Totally Under Control (Neon)
Daniel Pemberton, Rising Phoenix (Netflix)
Jeff Tweedy, Long Gone Summer (ESPN)
Jeff Tweedy, Spencer Tweedy and Sammy Tweedy, Showbiz Kids (HBO)
Best Narration
David Attenborough: A Life on Our Planet (Netflix)
David Attenborough, Narrator
David Attenborough, Writer
Dick Johnson is Dead (Netflix)
Kirsten Johnson, Narrator
Kirsten Johnson, Writer
Fireball: Visitors From Darker Worlds (Apple)
Werner Herzog, Narrator
Werner Herzog, Writer
Mr. Soul! (Shoes in the Bed Productions)
Blair Underwood, Narrator
Melissa Haizlip, Writer
My Octopus Teacher (Netflix)
Craig Foster, Narrator
Craig Foster, Writer
Time (Amazon Studios)
Fox Rich, Narrator
Fox Rich, Writer
Totally Under Control (Neon)
Alex Gibney, Narrator
Alex Gibney, Writer
Best Archival Documentary
Ali & Cavett: The Tale of the Tapes (HBO)
Belushi (Showtime)
Class Action Park (HBO Max)
Crip Camp: A Disability Revolution (Netflix)
MLK/FBI (Field of Vision/IFC Films)
Mr. Soul! (Shoes in the Bed Productions)
Spaceship Earth (Neon)
Best Historical/Biographical Documentary
Belushi (Showtime)
Crip Camp: A Disability Revolution (Netflix)
Howard (Disney+)
John Lewis: Good Trouble (Magnolia Pictures)
Mr. Soul! (Shoes in the Bed Production)
Mucho Mucho Amor: The Legend of Walter Mercado (Netflix)
Natalie Wood: What Remains Behind (HBO)
Best Music Documentary
Beastie Boys Story (Apple)
Crock of Gold: A Few Rounds with Shane MacGowan (Magnolia Pictures)
The Go-Go’s (Showtime)
Laurel Canyon (Epix)
Once Were Brothers: Robbie Robertson and The Band (Magnolia Pictures)
Other Music (Factory 25)
Zappa (Magnolia Pictures)
Best Political Documentary
All In: The Fight for Democracy (Amazon Studios)
Boys State (Apple)
John Lewis: Good Trouble (Magnolia Pictures)
MLK/FBI (Field of Vision/IFC Films)
The Social Dilemma (Netflix)
Totally Under Control (Neon)
The Way I See It (Focus Features)
Best Science/Nature Documentary
Coded Bias (7th Empire Media/PBS Independent Lens)
Fantastic Fungi (Moving Art)
Gunda (Neon)
I Am Greta (Hulu)
The Last Ice (National Geographic)
My Octopus Teacher (Netflix)
Spaceship Earth (Neon)
Best Sports Documentary
Ali & Cavett: The Tale of the Tapes (HBO)
Athlete A (Netflix)
Be Water (ESPN)
A Most Beautiful Thing (50 Eggs Films)
Red Penguins (Universal Pictures)
Rising Phoenix (Netflix)
You Cannot Kill David Arquette (Super Ltd)
Best Short Documentary
Blackfeet Boxing: Not Invisible (ESPN)
(Directors: Kristen Lappas and Tom Rinaldi. Producers: Craig Lazarus, José Morales, Lindsay Rovegno, Victor Vitarelli and Ben Webber)
The Claudia Kishi Club (Netflix)
(Director and Producer: Sue Ding)
Crescendo! (Quibi)
(Director: Alex Mallis. Producers: Matt O’Neill and Perri Peltz)
Elevator Pitch (Field of Vision)
(Director and Producer: Martyna Starosta)
Hunger Ward (Spin Film/Vulcan Productions/Ryot Films)
(Director and Producer: Skye Fitzgerald. Producer: Michael Scheuerman)
Into the Fire (National Geographic)
(Director: Orlando von Einsiedel. Producers: Mark Bauch, Harri Grace and Dan Lin)
My Father the Mover (MTV Documentary Films)
(Director: Julia Jansch. Producer: Mandilakhe Yengo)
The Rifleman (Field of Vision)
(Director: Sierra Pettengill. Producer: Arielle de Saint Phalle)
The Speed Cubers (Netflix)
(Director and Producer: Sue Kim. Producers: Evan Krauss and Chris Romano)
St. Louis Superman (MTV Documentary Films)
(Directors and Producers: Sami Khan and Smriti Mundhra. Producer: Poh Si Teng)
Most Compelling Living Subjects Of A Documentary (Honor)
Dr. Rick Bright – Totally Under Control (Neon)
Steven Garza – Boys State (Apple)
The Go-Go’s – The Go-Go’s (Showtime)
Judith Heumann – Crip Camp: A Disability Revolution (Netflix)
Dick Johnson – Dick Johnson is Dead (Netflix)
Maggie Nichols, Rachael Denhollander, Jamie Dantzscher – Athlete A (Netflix)
Fox Rich – Time (Amazon)
Pete Souza – The Way I See It (Focus Features)
Taylor Swift – Miss Americana (Netflix)
Greta Thunberg – I Am Greta (Hulu)
Distributor Nominations
Netflix: 31
Neon: 14
Magnolia Pictures: 9
Showtime: 6
Amazon Studios: 5
HBO: 5
National Geographic: 5
PBS Independent Lens: 5
Shoes in the Bed Productions: 5
Apple: 4
ESPN: 3
Focus Features: 3
Wavelength Productions: 3
Field of Vision: 2
Hulu: 2
IFC: 2
MTV Documentary Films: 2
Sony: 2
7th Empire Media: 1
50 Eggs Films: 1
Disney+: 1
Epix: 1
Factory 25: 1
Greenwich Entertainment: 1
Grizzly Creek Films: 1
HBO Max: 1
Kino Lorber: 1
Moving Art: 1
Quibi: 1
Spin Film/Vulcan Productions/Ryot Films: 1
Stemal Entertainment: 1
Super Ltd: 1
Universal: 1...
With an inclusive list, to say the least, of about 50 films from approximately 200 submissions, three docs led the way with five noms apiece: Mr. Soul, about a historic Black TV show; Gunda, a touching film about the daily life of a pig and farm companions from exec producer Joaquin Phoenix; and Netflix’s Crip Camp: A Disability Revolution, an archival film about a summer camp catering to disabled young people.
Close behind with four nods each were Alex Gibney’s striking Covid-19 docu Totally Under Control that was actually just completed about two weeks ago; the personal story of a father and daugher, Dick Johnson Is Dead; the remarkable nature doc My Octopus Teacher; and gymnastics scandal pic Athlete A. The latter three hail from Netflix, which swamped the competition with 31 nominations, a more than 2-to-1 distance between next closest distributor Neon with 14. They are the only two distributors to reach double digits.
Overall the critics were in a generous mood, offering 15 films noms for Best Documentary Feature alone.
“At a unique time for the entertainment industry and the world, documentaries are more important and fortunately more abundant and more available and more essential than ever,” said Christopher Campbell, president of the documentary branch of Cca. “In 2020, documentaries have taken us to places and shown us perspectives we’ve never experienced before. They’ve chronicled events and life stories that are enlightening and enthralling — and sometimes frightening. It is a great honor for the Cca to celebrate these stories and subjects and shed light on the work of so many incredible filmmakers. The Documentary Branch faced its greatest task yet considering the quantity and quality of nonfiction cinema released this year. Ultimately, these nominees represent the best of the best of a remarkably fruitful moment for documentary filmmaking.”
Nominees were selected by Critics’ Choice members who were divided into five committees to whittle down the field.
Belushi (Showtime)
Crip Camp: A Disability Revolution (Netflix)
Dick Johnson is Dead (Netflix)
Feels Good Man (Wavelength Productions/PBS Independent Lens)
The Fight (Magnolia Pictures)
The Go-Go’s (Showtime)
Gunda (Neon)
Mr. Soul! (Shoes in the Bed Productions)
My Octopus Teacher (Netflix)
The Painter and the Thief (Neon)
A Secret Love (Netflix)
The Social Dilemma (Netflix)
Time (Amazon Studios)
Best Director
Garrett Bradley, Time (Amazon Studios)
Bonni Cohen and Jon Shenk, Athlete A (Netflix)
Kirsten Johnson, Dick Johnson is Dead (Netflix)
Victor Kossakovsky, Gunda (Neon)
James Lebrecht and Nicole Newnham, Crip Camp: A Disability Revolution (Netflix)
Dawn Porter, John Lewis: Good Trouble (Magnolia Pictures)
Benjamin Ree, The Painter and the Thief (Neon)
Best First Documentary Feature
Robert S. Bader, Ali & Cavett: The Tale of the Tapes (HBO)
Chris Bolan, A Secret Love (Netflix)
Melissa Haizlip, Mr. Soul! (Shoes in the Bed Productions)
Arthur Jones, Feels Good Man (Wavelength Productions/PBS Independent Lens)
Elizabeth Leiter and Kim Woodard, Jane Goodall: The Hope (National Geographic)
Elizabeth Lo, Stray (Magnolia Pictures)
Sasha Joseph Neulinger, Rewind (Grizzly Creek Films/PBS Independent Lens)
Best Cinematography
Michael Dweck and Gregory Kershaw, The Truffle Hunters (Sony Pictures Classics)
Roger Horrocks, My Octopus Teacher (Netflix)
Kirsten Johnson, Dick Johnson is Dead (Netflix)
Victor Kossakovsky and Egil Håskjold Larsen, Gunda (Neon)
Scott Ressler, Neil Gelinas and Stefan Wiesen, The Last Ice (National Geographic)
Gianfranco Rosi, Notturno (Stemal Entertainment)
Ruben Woodin Dechamps, The Reason I Jump (Kino Lorber)
Best Editing
Don Bernier, Athlete A (Netflix)
Eli Despres, Greg Finton and Kim Roberts, The Fight (Magnolia Pictures)
Lindy Jankura and Alex Keipper, Totally Under Control (Neon)
Helen Kearns, Assassins (Greenwich Entertainment)
Victor Kossakovsky and Ainara Vera, Gunda (Neon)
Eileen Meyer and Andrew Gersh, Crip Camp: A Disability Revolution (Netflix)
Charlotte Munch Bengtsen, The Truffle Hunters (Sony Pictures Classics)
Best Score
Ari Balouzian and Ryan Hope, Feels Good Man (Wavelength Productions/PBS Independent Lens)
Marco Beltrami, Brandon Roberts and Buck Sanders, The Way I See It (Focus Features)
Tyler Durham, Sven Faulconer and Xander Rodzinski, The Last Ice (National Geographic)
Peter Nashel and Brian Deming, Totally Under Control (Neon)
Daniel Pemberton, Rising Phoenix (Netflix)
Jeff Tweedy, Long Gone Summer (ESPN)
Jeff Tweedy, Spencer Tweedy and Sammy Tweedy, Showbiz Kids (HBO)
Best Narration
David Attenborough: A Life on Our Planet (Netflix)
David Attenborough, Narrator
David Attenborough, Writer
Dick Johnson is Dead (Netflix)
Kirsten Johnson, Narrator
Kirsten Johnson, Writer
Fireball: Visitors From Darker Worlds (Apple)
Werner Herzog, Narrator
Werner Herzog, Writer
Mr. Soul! (Shoes in the Bed Productions)
Blair Underwood, Narrator
Melissa Haizlip, Writer
My Octopus Teacher (Netflix)
Craig Foster, Narrator
Craig Foster, Writer
Time (Amazon Studios)
Fox Rich, Narrator
Fox Rich, Writer
Totally Under Control (Neon)
Alex Gibney, Narrator
Alex Gibney, Writer
Best Archival Documentary
Ali & Cavett: The Tale of the Tapes (HBO)
Belushi (Showtime)
Class Action Park (HBO Max)
Crip Camp: A Disability Revolution (Netflix)
MLK/FBI (Field of Vision/IFC Films)
Mr. Soul! (Shoes in the Bed Productions)
Spaceship Earth (Neon)
Best Historical/Biographical Documentary
Belushi (Showtime)
Crip Camp: A Disability Revolution (Netflix)
Howard (Disney+)
John Lewis: Good Trouble (Magnolia Pictures)
Mr. Soul! (Shoes in the Bed Production)
Mucho Mucho Amor: The Legend of Walter Mercado (Netflix)
Natalie Wood: What Remains Behind (HBO)
Best Music Documentary
Beastie Boys Story (Apple)
Crock of Gold: A Few Rounds with Shane MacGowan (Magnolia Pictures)
The Go-Go’s (Showtime)
Laurel Canyon (Epix)
Once Were Brothers: Robbie Robertson and The Band (Magnolia Pictures)
Other Music (Factory 25)
Zappa (Magnolia Pictures)
Best Political Documentary
All In: The Fight for Democracy (Amazon Studios)
Boys State (Apple)
John Lewis: Good Trouble (Magnolia Pictures)
MLK/FBI (Field of Vision/IFC Films)
The Social Dilemma (Netflix)
Totally Under Control (Neon)
The Way I See It (Focus Features)
Best Science/Nature Documentary
Coded Bias (7th Empire Media/PBS Independent Lens)
Fantastic Fungi (Moving Art)
Gunda (Neon)
I Am Greta (Hulu)
The Last Ice (National Geographic)
My Octopus Teacher (Netflix)
Spaceship Earth (Neon)
Best Sports Documentary
Ali & Cavett: The Tale of the Tapes (HBO)
Athlete A (Netflix)
Be Water (ESPN)
A Most Beautiful Thing (50 Eggs Films)
Red Penguins (Universal Pictures)
Rising Phoenix (Netflix)
You Cannot Kill David Arquette (Super Ltd)
Best Short Documentary
Blackfeet Boxing: Not Invisible (ESPN)
(Directors: Kristen Lappas and Tom Rinaldi. Producers: Craig Lazarus, José Morales, Lindsay Rovegno, Victor Vitarelli and Ben Webber)
The Claudia Kishi Club (Netflix)
(Director and Producer: Sue Ding)
Crescendo! (Quibi)
(Director: Alex Mallis. Producers: Matt O’Neill and Perri Peltz)
Elevator Pitch (Field of Vision)
(Director and Producer: Martyna Starosta)
Hunger Ward (Spin Film/Vulcan Productions/Ryot Films)
(Director and Producer: Skye Fitzgerald. Producer: Michael Scheuerman)
Into the Fire (National Geographic)
(Director: Orlando von Einsiedel. Producers: Mark Bauch, Harri Grace and Dan Lin)
My Father the Mover (MTV Documentary Films)
(Director: Julia Jansch. Producer: Mandilakhe Yengo)
The Rifleman (Field of Vision)
(Director: Sierra Pettengill. Producer: Arielle de Saint Phalle)
The Speed Cubers (Netflix)
(Director and Producer: Sue Kim. Producers: Evan Krauss and Chris Romano)
St. Louis Superman (MTV Documentary Films)
(Directors and Producers: Sami Khan and Smriti Mundhra. Producer: Poh Si Teng)
Most Compelling Living Subjects Of A Documentary (Honor)
Dr. Rick Bright – Totally Under Control (Neon)
Steven Garza – Boys State (Apple)
The Go-Go’s – The Go-Go’s (Showtime)
Judith Heumann – Crip Camp: A Disability Revolution (Netflix)
Dick Johnson – Dick Johnson is Dead (Netflix)
Maggie Nichols, Rachael Denhollander, Jamie Dantzscher – Athlete A (Netflix)
Fox Rich – Time (Amazon)
Pete Souza – The Way I See It (Focus Features)
Taylor Swift – Miss Americana (Netflix)
Greta Thunberg – I Am Greta (Hulu)
Distributor Nominations
Netflix: 31
Neon: 14
Magnolia Pictures: 9
Showtime: 6
Amazon Studios: 5
HBO: 5
National Geographic: 5
PBS Independent Lens: 5
Shoes in the Bed Productions: 5
Apple: 4
ESPN: 3
Focus Features: 3
Wavelength Productions: 3
Field of Vision: 2
Hulu: 2
IFC: 2
MTV Documentary Films: 2
Sony: 2
7th Empire Media: 1
50 Eggs Films: 1
Disney+: 1
Epix: 1
Factory 25: 1
Greenwich Entertainment: 1
Grizzly Creek Films: 1
HBO Max: 1
Kino Lorber: 1
Moving Art: 1
Quibi: 1
Spin Film/Vulcan Productions/Ryot Films: 1
Stemal Entertainment: 1
Super Ltd: 1
Universal: 1...
- 10/26/2020
- by Pete Hammond
- Deadline Film + TV
by Glenn Dunks
To put one’s own story to film often takes some form of personal courage. To not allow any sort of emotional distance between the traumas and the pains of life and the audience will always be a tough line for many to cross. It is why documentaries are so often labelled as merely grim or depressing and placed in a metaphorical too-hard basket. It’s true that many are indeed an emotional trial of sorts, but to watch survivors speak directly to us is one of the things I most cherish about non-fiction filmmaking.
As I watched and listened to the stories of Sasha Joseph Neulinger, Drew Dixon and others unfold in two new documentaries, Rewind and On the Record, I found myself captivated and angry. Angry that this happened in the first place and angry that these films aren’t being spoken about as important works of film.
To put one’s own story to film often takes some form of personal courage. To not allow any sort of emotional distance between the traumas and the pains of life and the audience will always be a tough line for many to cross. It is why documentaries are so often labelled as merely grim or depressing and placed in a metaphorical too-hard basket. It’s true that many are indeed an emotional trial of sorts, but to watch survivors speak directly to us is one of the things I most cherish about non-fiction filmmaking.
As I watched and listened to the stories of Sasha Joseph Neulinger, Drew Dixon and others unfold in two new documentaries, Rewind and On the Record, I found myself captivated and angry. Angry that this happened in the first place and angry that these films aren’t being spoken about as important works of film.
- 5/27/2020
- by Glenn Dunks
- FilmExperience
Annette Bening, Bill Nighy and Josh O’ Connor are ready to deal with some serious family issues in the drama Hope Gap. Screen Media Ventures and Roadside Attractions released the film today on digital platforms after having to pivot from their originally planned March 5 theatrical release due to the pandemic –because the show must go on.
Directed by Oscar-nominated screenwriter William Nicholson and based on his Tony Award-nominated play, The Retreat From Moscow, Hope Gap made its world premiere at the 2019 Toronto International Film Festival before hitting the festival circuit.
Hope Gap follows the lives of Grace (Bening) and Edward (Nighy), who have been married for 29 years, as they navigate through stages of shock, disbelief and anger, to a place of hope. They live in a small seaside town near a cove under the cliffs called Hope Gap — hence the title of the film. When their son Jamie (O’Connor...
Directed by Oscar-nominated screenwriter William Nicholson and based on his Tony Award-nominated play, The Retreat From Moscow, Hope Gap made its world premiere at the 2019 Toronto International Film Festival before hitting the festival circuit.
Hope Gap follows the lives of Grace (Bening) and Edward (Nighy), who have been married for 29 years, as they navigate through stages of shock, disbelief and anger, to a place of hope. They live in a small seaside town near a cove under the cliffs called Hope Gap — hence the title of the film. When their son Jamie (O’Connor...
- 5/8/2020
- by Dino-Ray Ramos
- Deadline Film + TV
Early in the documentary “Rewind,” we learn that director Sasha Joseph Neulinger’s father, Henry Nevison, has an extensive collection of other people’s home movies – shelves stacked with film canisters that show strangers mugging for the camera, acting silly and doing their best to look very happy.
And then the film turns to Neulinger’s own home movies, and shows us the lies and the horror that can lie beneath those forced smiles and that awkward jollity.
The secrets that emerge, not so much in those home movies as in the recollections of the people in them, are the dark history of a family wracked, and wrecked, by generations of sexual abuse. Make no mistake, “Rewind” is hard to watch. It might also be essential.
Also Read: All the Hollywood Films Arriving on Demand Early Because of the Coronavirus
The film, which premiered at Tribeca last year and is screening on demand on Friday,...
And then the film turns to Neulinger’s own home movies, and shows us the lies and the horror that can lie beneath those forced smiles and that awkward jollity.
The secrets that emerge, not so much in those home movies as in the recollections of the people in them, are the dark history of a family wracked, and wrecked, by generations of sexual abuse. Make no mistake, “Rewind” is hard to watch. It might also be essential.
Also Read: All the Hollywood Films Arriving on Demand Early Because of the Coronavirus
The film, which premiered at Tribeca last year and is screening on demand on Friday,...
- 5/7/2020
- by Steve Pond
- The Wrap
When films like Rewind are presented as exercises to reconstruct circumstances surrounding the sexual abuse its filmmaker endured, you can assume the journey will deal with unearthing previously unknown details about what happened through repressed memories. Despite the liberal use of home videos taken by director and subject Sasha Joseph Neulinger’s father to relive this harrowing past, however, his motivations are very different. Sasha actually remembers everything that occurred: the pain, sorrow, and suicidal thoughts. He can look at himself on-screen and know whether he was still a happy child pre-abuse or if his life had already been forever changed. His purpose of going back is conversely about documenting the process of confronting what happened. It’s about ensuring today’s victims receive the respect they deserve regardless of age.
While there aren’t really any secrets for Sasha to unearth for his personal edification, however, that doesn’t...
While there aren’t really any secrets for Sasha to unearth for his personal edification, however, that doesn’t...
- 5/6/2020
- by Jared Mobarak
- The Film Stage
After a winter lineup of documentaries covering current issues like women’s rights and racial injustice, the spring and summer season of Independent Lens will tackle such timely topics as America’s mental health crisis, climate change, globalization, and the role news media plays in our everyday lives. It will also profile several trail-blazing figures.
Broadcast on PBS, the acclaimed “Independent Lens” highlights thought-provoking documentaries, many of which are co-funded and co-produced by Independent Television Service (Itvs). Films making their broadcast debuts from April through June include Kenneth Paul Rosenberg M.D.’s “Bedlam,” an intimate examination of the mental health crisis in America, Brett Story’s critically acclaimed “The Hottest August,” which paints a portrait of collective anxiety around the looming threat of climate change, and Bill Haney’s “Jim Allison: Breakthrough,” which chronicles the work of the Nobel Prize-winning visionary doctor who discovered a way to defeat cancer.
Broadcast on PBS, the acclaimed “Independent Lens” highlights thought-provoking documentaries, many of which are co-funded and co-produced by Independent Television Service (Itvs). Films making their broadcast debuts from April through June include Kenneth Paul Rosenberg M.D.’s “Bedlam,” an intimate examination of the mental health crisis in America, Brett Story’s critically acclaimed “The Hottest August,” which paints a portrait of collective anxiety around the looming threat of climate change, and Bill Haney’s “Jim Allison: Breakthrough,” which chronicles the work of the Nobel Prize-winning visionary doctor who discovered a way to defeat cancer.
- 3/25/2020
- by Variety Staff
- Variety Film + TV
"They tried every which way to confuse you." Grizzly Creek Films + Step 1 Films have debuted the official trailer for an acclaimed documentary titled Rewind, made by filmmaker Sasha Joseph Neulinger. This initially premiered at the Tribeca Film Festival last year, and also played at the London Film Festival in the fall. In his candid personal memoir, Sasha Joseph Neulinger revisits his childhood and the events that tore apart his seemingly-perfect world. Digging through the vast collection of his father's home videos that were made throughout his youth, he reconstructs the unthinkable story of his boyhood and exposes vile abuse passed through generations. As the quotes in this trailer state, this looks like an incredibly courageous and "staggering" film that is an extremely personal story showing it is possible to make some sense of your past. Here's the official trailer (+ poster) for Sasha Joseph Neulinger's documentary Rewind, from YouTube:...
- 3/2/2020
- by Alex Billington
- firstshowing.net
In today’s film news roundup, Rachel Brosnahan will try science-fiction, documentaries about Herb Alpert and Sasha Joseph Neulinger find homes, and Cameron Boyce’s “Runt” gets a premiere.
Casting
Rachel Brosnahan will star with Anthony Ramos in Amblin Partners’ upcoming comedic sci-fi film “Distant.”
Will Speck and Josh Gordon will direct from Spenser Cohen’s script about an asteroid miner who crash-lands on an alien planet and must contend with the challenges of his new surroundings while making his way across the harsh terrain to the only other survivor – a woman who is trapped in her escape pod.
Brian Kavanaugh-Jones, Fred Berger and Anna Halberg will produce. Speck and Gordon will also serve as executive producers, along with Jonathan Rothbart and Matt Hirsch.
Brosnahan has won an Emmy, two Golden Globes and two SAG Awards for her performance as “Miriam ‘Midge’ Maisel” in “The Marvelous Mrs. Maisel.” The news...
Casting
Rachel Brosnahan will star with Anthony Ramos in Amblin Partners’ upcoming comedic sci-fi film “Distant.”
Will Speck and Josh Gordon will direct from Spenser Cohen’s script about an asteroid miner who crash-lands on an alien planet and must contend with the challenges of his new surroundings while making his way across the harsh terrain to the only other survivor – a woman who is trapped in her escape pod.
Brian Kavanaugh-Jones, Fred Berger and Anna Halberg will produce. Speck and Gordon will also serve as executive producers, along with Jonathan Rothbart and Matt Hirsch.
Brosnahan has won an Emmy, two Golden Globes and two SAG Awards for her performance as “Miriam ‘Midge’ Maisel” in “The Marvelous Mrs. Maisel.” The news...
- 2/27/2020
- by Dave McNary
- Variety Film + TV
The Rome Film Festival (October 17-27) has unveiled its 2019 official selection, which includes Downton Abbey, Waves, Judy, The Aeronauts, Hustlers and Werner Herzog documentary Nomad[/link] about writer Bruce Chatwin.
A total of 33 films and documentaries will play in the official lineup (full list below). As previously announced, the fest will open with Edward Norton’s Motherless Brooklyn while Martin Scorsese’s The Irishman will have a centerpiece screening. Only two Italian movies are included in the main selection.
The festival also revealed a pre-opening October 16 world premiere for John Turturro’s anticipated The Big Lebowski spinoff, The Jesus Rolls, which follows Lebowski character Jesus Quintana.
The impressive lineup of onstage interviews includes Bill Murray and Viola Davis – both of whom will receive lifetime achievement awards – Fanny Ardant, Olivier Assayas, Ethan Coen, Benicio Del Toro, Bret Easton Ellis, Ron Howard, Hirokazu Kore-eda, Edward Norton, Bertrand Tavernier, John Travolta and Jia Zhangke.
A total of 33 films and documentaries will play in the official lineup (full list below). As previously announced, the fest will open with Edward Norton’s Motherless Brooklyn while Martin Scorsese’s The Irishman will have a centerpiece screening. Only two Italian movies are included in the main selection.
The festival also revealed a pre-opening October 16 world premiere for John Turturro’s anticipated The Big Lebowski spinoff, The Jesus Rolls, which follows Lebowski character Jesus Quintana.
The impressive lineup of onstage interviews includes Bill Murray and Viola Davis – both of whom will receive lifetime achievement awards – Fanny Ardant, Olivier Assayas, Ethan Coen, Benicio Del Toro, Bret Easton Ellis, Ron Howard, Hirokazu Kore-eda, Edward Norton, Bertrand Tavernier, John Travolta and Jia Zhangke.
- 10/4/2019
- by Andreas Wiseman
- Deadline Film + TV
“This is the most documented family in the world,” Henry Nevison, director Sasha Joseph Neulinger’s father proudly says, while filming the loved ones that surround him in the documentary “Rewind.” According to Jacqui Neulinger, Sasha’s mother, her husband was prone to disappear behind the lens at rowdy household get-togethers. After all, a celebration was the perfect time to pull out his video camera.
Continue reading ‘Rewind’: Sasha Joseph Neulinger’s Wrenching Survival Story Is An Astounding Documentary On Sexual Abuse Trauma [Tribeca Review] at The Playlist.
Continue reading ‘Rewind’: Sasha Joseph Neulinger’s Wrenching Survival Story Is An Astounding Documentary On Sexual Abuse Trauma [Tribeca Review] at The Playlist.
- 5/4/2019
- by Andrew Bundy
- The Playlist
Nestled in between Sundance and Cannes, the Tribeca Film Festival isn’t exactly known for instigating a lot of fancy dealmaking, but that doesn’t mean there aren’t plenty of options. With 103 features screening between April 24 – May 5, the New York gathering contains its fair share of world premieres, many of which arrive sans distribution. Some of them also end the festival that way, too. Here are some of the highlights from Tribeca 2019 that still need homes. Buyers, take note!
“Blow the Man Down”
Bridget Savage Cole and Danielle Krudy’s intriguing feature directorial debut lays out plenty of familiar beats in the guise of a Coen brothers-esque crime comedy, from a bloody murder to a bag of cash, all enlivened by some wonderfully distinct accents, but the pair also find their way to a unique new story that signals their arrival as a filmmaking duo to watch. Primarily led by a female cast,...
“Blow the Man Down”
Bridget Savage Cole and Danielle Krudy’s intriguing feature directorial debut lays out plenty of familiar beats in the guise of a Coen brothers-esque crime comedy, from a bloody murder to a bag of cash, all enlivened by some wonderfully distinct accents, but the pair also find their way to a unique new story that signals their arrival as a filmmaking duo to watch. Primarily led by a female cast,...
- 5/4/2019
- by Eric Kohn, David Ehrlich and Kate Erbland
- Indiewire
To say that child sex abuse in a documentary could in any way be connected to that Hitchcock/thriller word — suspense — is, on the face of it, an offensive thought. We’re talking despicable crimes that reverberate for years and even for generations; they don’t exist for our “entertainment.” Yet “Capturing the Friedmans,” the remarkable movie Andrew Jarecki made in 2003 — it is, along with Amy Berg’s “Deliver Us from Evil” (2006), the most staggering documentary of our time about child sex abuse — unveiled a situation of unfathomable suspense, of sinister layered mystery. It turned the audience into detectives and left us pondering questions, long after the film was over, of what, exactly, went on in it. Jarecki used the dramatic lure of the things we didn’t know, and were craning our necks around corners to see, as a metaphor for how child sex abuse can haunt its victims,...
- 5/3/2019
- by Owen Gleiberman
- Variety Film + TV
If you haven’t seen Cameron Crowe’s feature directorial debut “Say Anything” in a while, you’ve likely forgotten just how early in the romantic dramedy John Cusack’s Lloyd Dobler delivers a now-iconic speech which basically lays out his entire worldview. In the 1989 classic, Cusack was memorably cast as the chronically underachieving Lloyd, a kickboxer with a heart of gold who unexpectedly spends his post-high school graduation summer romancing the beautiful, but somewhat aloof valedictorian Diane Court (Ione Skye).
On just their second date, Lloyd is dispatched to a dinner at Diane’s house, where her imposing father Jim (John Mahoney) lightly grills him about his career plans.
The result is a charming, if somewhat stilted monologue about Lloyd’s desires — he doesn’t “want to sell anything, buy anything, or process anything as a career,” or any other permutation of those tasks — but as Crowe himself tells it,...
On just their second date, Lloyd is dispatched to a dinner at Diane’s house, where her imposing father Jim (John Mahoney) lightly grills him about his career plans.
The result is a charming, if somewhat stilted monologue about Lloyd’s desires — he doesn’t “want to sell anything, buy anything, or process anything as a career,” or any other permutation of those tasks — but as Crowe himself tells it,...
- 5/1/2019
- by Kate Erbland
- Indiewire
Sasha Joseph Neulinger’s heroic and devastating autobiographical documentary opens with questions familiar to many people: Why are home movies always so haunting? What is it that tinges even the happiest footage with a touch of melancholy? What is it about them that makes someone’s own life feel like a ghost story?
In “Rewind,” much of which is comprised of the fuzzy tape that Neulinger’s father compulsively shot on his camcorder throughout the ’90s, all of the worst suspicions that might arise from these videos turn out to be well-founded and worse. But the footage also speaks to a broader disquiet that rings true for those of us who haven’t been forced to survive any version of Neulinger’s awful misfortunes.
“Rewind,” as indelibly as any film ever made, illustrates how the very process of investigating your own past can be a trauma unto itself. And it...
In “Rewind,” much of which is comprised of the fuzzy tape that Neulinger’s father compulsively shot on his camcorder throughout the ’90s, all of the worst suspicions that might arise from these videos turn out to be well-founded and worse. But the footage also speaks to a broader disquiet that rings true for those of us who haven’t been forced to survive any version of Neulinger’s awful misfortunes.
“Rewind,” as indelibly as any film ever made, illustrates how the very process of investigating your own past can be a trauma unto itself. And it...
- 5/1/2019
- by David Ehrlich
- Indiewire
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