Set in a roomy Texas house on Thanksgiving and taking place entirely within that day, Krisha is a serious, creepy, ambitious, moving, uncompromising and wholly successful cinematic work. Krisha, played by Krisha Fairchild, Shults’ aunt, returns to the bosom of her family – played almost entirely by members of Shults’ own family – for the holiday. The trouble is, under the welcoming surfaces, everything is cracked, and as the day progresses, the glass starts to splinter. It’s seemingly simple yet, in just 83 minutes, enormously, profoundly compelling and quite terrifying.
Trey Edward Shults, Krisha
The film was shot in Shults’ parents’ home in nine days for around sixty thousand dollars, but it is fully realised as a piece of cinema, with bold, elaborate cinematography, astonishing creepy original music by Brian McOmber, and absolutely superb acting that deliberately combines pure naturalism with a heightened style as the film demands. It has won sixteen major awards including the Grand Jury and Audience Awards at South by Southwest and was nominated for the Critics Week Grand Prize and the Caméra d’Or at the Cannes Film Festival.
Best Feature Documentary:
David Farrier and Dylan Reeve, Tickled
If the definition of a good film is one that keeps you wanting to know what happens next, Tickled is among the greatest ever made. You cannot look away. Don’t drink a batch of water, coffee, beer, whatever before you go in, because woe-be-tide you have to go to the toilet and miss a moment. This is breath-taking stuff. I want it to be nominated for Best Feature Length Documentary at the next Academy Awards. That may sound like a long shot, but only because of the subject matter’s inherent weirdness. In terms of proficiency and engagement, Tickled is an instant classic, one that will appear on “Top 50 Documentary” lists forever.
Best Lead Performance by a Woman:
Hayley Squires, I, Daniel Blake
The scene that got me crying takes place in a food bank. Thankfully, I’ve never been in one. But thankfully, too, they exist. The scene is a masterpiece – a perfect confluence of script, direction and acting, particularly and specifically by Hayley Squires, who plays Katie, a young single mother of two befriended by Daniel Blake (UK stand-up Dave Johns), a carpenter who, after a heart attack, is finding it impossible to get out-of-work benefits from the Kafkaesque clutches of the bureacratic State. All this, of course, in a hardscrabble Northern (English) town.
Best Lead Performance by a Man:
Viggo Mortensen, Captain Fantastic
Thematically massive, tonally bold, determinedly non-formulaic and featuring a preternaturally perfectly cast leading man at the top of his game, Matt Ross’ second feature film as writer/director is one of the best of the year. Viggo Mortensen – and, once you’ve seen the film, you cannot imagine anyone else in the role – plays Ben, the father of six kids living off the grid in the mountainous forests of the Pacific Northwest of the United States. He’s brining them up with a philosophy combining intense survival skills, intense physical training, intense learning (his eldest speaks six languages) and intense moral introspection. Ben is intense, and so are his incredible spawn.
Best Supporting Performances by a Man:
Ralph Fiennes, A Bigger Splash and Hail, Caesar!
Fiennes, whose out-of-the-box comic performance in The Grand Budapest Hotel gave Luca Guagagnino the clever idea to cast him in his loose remake of 1969’s French film La Piscine, gives us something we’ve never seen from him before, with gusto and huge energy. His character Harry is a big big character and Fiennes gives a big big performance that is spellbinding and – the cursed cliché of the film critic – revelatory. And in Hail, Caesar!, he shares (with Alden Ehrenreich) the funniest scene of the year.
Best Supporting Performance by a Woman:
Lucy Boynton, Sing Street
John Carney’s Sing Street is a total delight from start to finish. It is also a completely engaging, hugely romantic love story. Ferdia Walsh-Peelo, as Conor, and Lucy Boynton, as Raphina, are superb; Boynton in particular will be a massive star by next year, mark my words. Like Carney’s Once, the film crackles with the excitement of discovery: Walsh-Peelo and Boynton, like Glen Hansard and Markéta Irglová in the earlier film, will, quite simply, steal your heart.
Ensemble Performance Award:
The kids are all – well, fantastic. George MacKay, as that eldest with the six languages, is one of those “I can’t believe he’s English!” English actors – I recognised him from an excellent little Brit Mini-Series called The Outcast (2015) after getting past the likelihood that, despite appearances, he probably wasn’t Mortensen’s actual son – he’s that well cast. And Annalise Basso and Samantha Isler are tremendously believable as spookily precocious sisters. The scene in which one of them (I’m not sure which!) gives her own take on Lolita is worth the ticket on its own. And the rest of the supporting cast are perfect. Frank Langella, Kathryn Hahn, Steve Zahn, Ann Dowd, Missi Pyle, Erin Moriarty – I mean, come on. They’re all superb, and even when they’ve only got a scene, they contribute a multi-dimensional character. It’s really rather remarkable.
Best Original Screenplay:
Matt Ross, Captain Fantastic
Road trip movies are inherently episodic, but Ross’ astonishingly rich script allows each stop along the way to contribute to the film’s larger thematic texture with deeply satisfying construction. Indeed, the rhythms of the film are so singular that you are almost upbraided (well, I was upbraiding myself) for trying to predict them. The road in this road movie is not the length you expect, and doesn’t lead you where you may possibly think it will. Don’t try to out-guess this film; you can’t. It’s pretty plain that Ben’s extreme parenting methods are going to come into question, but exactly how they are questioned – and answered – is the stuff of near-genius screenwriting.
Best Adapted Screenplay:
David Birke, Elle
It’s relentless. I can’t recall a recent movie with so much plot, so many things going on. Each scene piles on more incident, more character intrigue, more development, as if, like a shark, the film would die if it stood still. This is not a bad thing.
Abe Forsythe, Down Under
On the eleventh of December, 2005, a hot sunny Sunday, a series of racially-motivated attacks at Cronulla Beach in Sydney lead to some pretty serious national shame and soul-searching. Now, finally, a filmmaker has examined the incident – as a comedy. It’s a brave, brazen and bold move, and it pays off mightily. Writer / director Abe Forsythe’s last feature was the deliriously funny Ned Kelly spoof Ned way back in 2003. That film was a gag-fest in the vein of Airplane! or The Man With Two Brains, but Down Under has much more serious concerns. It’s an extremely angry film, spewing vitriolic rage at the kind of people who spew vitriolic rage. Basically, it’s a war on idiots, of every ethnic stripe.
Julia Bloch, Green Room
Joins the canon of “under siege” movies – Rio Bravo, Assault on Precinct 13, Night of the Living Dead, The Mist, From Dusk Till Dawn, Panic Room, Home Alone etc – not with louder bangs, scarier invaders or more bloodshed but with originality, wit and subversion. As the story hits the most essential beats this sub-genre demands, the screenplay and direction and editing surprise us with off-beat timing and unusual methods: people die at odd times in odd ways. It is jarring only in that it upsets the rhythms we’re used to: it bucks formula even as it adheres to it, and vice versa.
Chung-hoon Chung, The Handmaiden
There is an excellent series of YouTube videos about filmmaking called Every Frame a Painting. I kept thinking of that delicious phrase during The Handmaiden, Chan-wook Park’s exquisitely beautiful new potboiler. Every shot is stunning, and many are breathtaking. It’s the gorgeous movie of the year.
Best Production Design:
Mark Tildesley, High Rise
[Director Ben Wheatley’s] coup de theatre is to set the film not in “the future” but in the future as a film director working in 1975 might be able to visualise it. Thus it’s both “futuristic” and retro, with sideburns, wide ties and big moustaches accompanying concrete bunkers out of Logan’s Run. It’s a brilliant conceit brilliantly realised on the production design side; the “high rises” themselves look exactly as I’d always imagined them (the novel is one of my all-time favourites).
Best Original Score:
Brian McOmber, Krisha
The film was shot in Shults’ parents’ home in nine days for around sixty thousand dollars, but it is fully realised as a piece of cinema, with bold, elaborate cinematography, astonishing creepy original music by Brian McOmber, and absolutely superb acting that deliberately combines pure naturalism with a heightened style as the film demands.