2021 National Society of Film Critics winners.
Jan 8, 2022 17:29:07 GMT
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Post by stephen on Jan 8, 2022 17:29:07 GMT
Stay tuned.
Best Picture: DRIVE MY CAR (48 points) (RU: PETITE MAMAN (25 points), THE POWER OF THE DOG (23 points))
Best Director: Ryusuke Hamaguchi, DRIVE MY CAR and WHEEL OF FORTUNE AND FANTASY (46 points) (RU: Jane Campion, THE POWER OF THE DOG (36 points), Céline Sciamma, PETITE MAMAN (28 points))
Best Actor: Hidetoshi Nishijima, DRIVE MY CAR (63 points) (RU: Benedict Cumberbatch, THE POWER OF THE DOG (44 points), Simon Rex, RED ROCKET (30 points))
Best Actress: Penélope Cruz, PARALLEL MOTHERS (55 points) (RU: Renate Reinsve, THE WORST PERSON IN THE WORLD (42 points), Alana Haim, LICORICE PIZZA (32 points))
Best Supporting Actor: Anders Danielsen Lie, THE WORST PERSON IN THE WORLD (54 points) (RU: Vincent Lindon, TITANE (33 points), Mike Faist, WEST SIDE STORY, and Kodi Smit-McPhee, THE POWER OF THE DOG (26 points))
Best Supporting Actress: Ruth Negga, PASSING (46 points) (RU: Ariana DeBose, WEST SIDE STORY (22 points), Jessie Buckley, THE LOST DAUGHTER (21 points))
Best Screenplay: Ryusuke Hamaguchi and Takamasa Oe, DRIVE MY CAR (46 points) (RU: Pedro Almodóvar, PARALLEL MOTHERS (22 points), Paul Thomas Anderson, LICORICE PIZZA (20 points))
Best Cinematography: Andrew Droz Palermo, THE GREEN KNIGHT (52 points) (RU: Ari Wegner, THE POWER OF THE DOG (40 points), Sayombu Mukdeeprom, MEMORIA (35 points))
Best Nonfiction Film: FLEE (41 points) (RU: PROCESSION and THE VELVET UNDERGROUND (28 points))
Film Heritage Award: the late Bertrand Tavernier and Peter Bogdanovich, distinguished critic-filmmakers who never lost their passion for other people’s movies and film history.
Film Heritage Award: Maya Cade for the Black Film Archive, which expands knowledge of and access to Black films made between 1915 and 1979, and includes her critical essays that define the project and consider the films in relation to each other and to the cinema overall.
Special Citation for a Film Awaiting U.S. Distribution: Jean-Gabriel Périot’s documentary “Returning to Reims,” which draws on Didier Eribon’s 2009 memoir about his French hometown and the inequities of class and education that shaped him and his family.
Best Director: Ryusuke Hamaguchi, DRIVE MY CAR and WHEEL OF FORTUNE AND FANTASY (46 points) (RU: Jane Campion, THE POWER OF THE DOG (36 points), Céline Sciamma, PETITE MAMAN (28 points))
Best Actor: Hidetoshi Nishijima, DRIVE MY CAR (63 points) (RU: Benedict Cumberbatch, THE POWER OF THE DOG (44 points), Simon Rex, RED ROCKET (30 points))
Best Actress: Penélope Cruz, PARALLEL MOTHERS (55 points) (RU: Renate Reinsve, THE WORST PERSON IN THE WORLD (42 points), Alana Haim, LICORICE PIZZA (32 points))
Best Supporting Actor: Anders Danielsen Lie, THE WORST PERSON IN THE WORLD (54 points) (RU: Vincent Lindon, TITANE (33 points), Mike Faist, WEST SIDE STORY, and Kodi Smit-McPhee, THE POWER OF THE DOG (26 points))
Best Supporting Actress: Ruth Negga, PASSING (46 points) (RU: Ariana DeBose, WEST SIDE STORY (22 points), Jessie Buckley, THE LOST DAUGHTER (21 points))
Best Screenplay: Ryusuke Hamaguchi and Takamasa Oe, DRIVE MY CAR (46 points) (RU: Pedro Almodóvar, PARALLEL MOTHERS (22 points), Paul Thomas Anderson, LICORICE PIZZA (20 points))
Best Cinematography: Andrew Droz Palermo, THE GREEN KNIGHT (52 points) (RU: Ari Wegner, THE POWER OF THE DOG (40 points), Sayombu Mukdeeprom, MEMORIA (35 points))
Best Nonfiction Film: FLEE (41 points) (RU: PROCESSION and THE VELVET UNDERGROUND (28 points))
Film Heritage Award: the late Bertrand Tavernier and Peter Bogdanovich, distinguished critic-filmmakers who never lost their passion for other people’s movies and film history.
Film Heritage Award: Maya Cade for the Black Film Archive, which expands knowledge of and access to Black films made between 1915 and 1979, and includes her critical essays that define the project and consider the films in relation to each other and to the cinema overall.
Special Citation for a Film Awaiting U.S. Distribution: Jean-Gabriel Périot’s documentary “Returning to Reims,” which draws on Didier Eribon’s 2009 memoir about his French hometown and the inequities of class and education that shaped him and his family.
