The Philadelphia Film Festival Award Winning Films (#PFF22)

Saturday, October 26, 2013

Last night I attended The Philadelphia Film Festival Closing Night film, Jason Reitman's Labor Day - Kate Winslet and Josh Brolin have a tremendous amount of chemistry in this movie (review to be included in my #PFF22 round up).

As usual, I didn't see any of the award winning films.  The Philadelphia Film Society is showing them all again today, Saturday 10/26 and tomorrow Sunday 10/27.  So, I will see Vic +Flo Saw a Bear, but I've got too much else on my plate this weekend to see any of the others.

Would love your comments on any of the winning films listed below or anything you saw during the festival!

Winners for the 22nd Philadelphia Film Festival

Narrative Feature Award Best Narrative Feature Ilo Ilo (dir. Arvin Chen)The moving relationship between a rebellious Singaporean boy and his new Filipino nanny is lovingly captured in director Anthony Chen’s Winner of the Camera d’Or for Best First Feature at Cannes.

Honorable Mention for Best Ensemble We Are the Best! (starring Mira Birkhammar, Mira Grosin and Liv LeMoyne) Girl power bursts from the screen with this delightful tale of three tweenagers who form a punk band in 1980s Stockholm in the latest from Swedish filmmaker Lukas Moodysson.

Honorable Mention for Best Director Vic + Flo Saw a Bear (dir. Denis Côté)
Tantalizingly enigmatic, the latest from this Canadian auteur, plays with genre conventions and audience expectations in a film about two aging lesbian ex-cons that is a true original.

Feature Best Feature - Harmony Lessons (dir. Emir Baigazin) Honorable Mention for Best Cinematography Harmony Lessons (cinematographer Aziz Zhambakiyev). In a lonely, beautiful village in the steppes of rural Kazakhstan, the squabbles of schoolboys take a tragic turn in this stark Darwinian allegory, the impressive feature debut of director Emir Baigazin.

Documentary Feature Award Best Documentary Feature - God Loves Uganda (dir. Roger Ross Williams The effects of the American evangelical fundamentalist movement on the religious and political climate of Uganda are scrutinized in this eye-opening documentary by Academy Award-winning director Roger Ross Williams.

Pinkenson Award for Best Local Feature Best Feature - Let the Fire Burn (dir. Jason Osder) A riveting examination of the fatal standoff between Philadelphia law enforcement and the black militant liberation group MOVE, Let The Fire Burn details the aftermath of this tragic event through both news coverage and the subsequent public hearings.

Best Short RPG OKC (dir. Emily Carmichael) RPG OKC, short for Role Playing Game OK Cupid, is set in the world of 8-bit fantasy video games. It charts the ups and downs of an online relationship between a dragoon and a cat-woman. It was commissioned by Madatoms, also responsible for Bad Cars, another SotW feature. The style of the film is totally captivating. Carmichael draws all of the 8 bit backgrounds and characters in photoshop, then animates them in flash (a video of the process can be seen here). The result is, in Carmichel’s words, a world that is both “strange yet strangely familiar.


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is about discovering what I find pleasing in screening & eating - in case you missed it, the name is a play on Tinseltown using the Tines of a Fork.

Feel free to send me info on a film or new restaurant you'd like me to highlight.

Will there ever be a cap on movie prices?

Will we one day pay $20 a pop?

Why don't we pay on a scale?

A crap movie like everything Adam Sandler has ever done should cost about $4.50.
Big action movies like"Lord of the Rings", "Iron Man," "Transformers" are worth $10.
Woody Allen movie or something like "Silver Linings Playbook" $6-$7.
A chick flick or light comedy $5.75 and most Indie Films $5.25.

You could even do it by seasons - all summer block busters from May to August - $10
Sept - November 15th $3.50 - $4
Back to $10 for Thanksgiving and Christmas etc...

Or you can do it by A Actors ($9 - $10), B Actors ($6 - $7) TV actors on the big screen ($3.50 - $4)

Surely I'm not the first person to realize this makes sense. Has it been voted on in the Motion Picture Industry and then vetoed? If so, why?

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