TV picks include "The Americans," "Empire," "Fargo," "Game of Thrones," "Mr. Robot"
The American Film Institute (AFI) has announced the Official Selections of AFI AWARDS 2015, celebrating the year’s most outstanding achievements in the art of the moving image.
In addition to the 20 honorees of 2015–10 features and 10 TV programs–AFI also recognizes Mad Men with an AFI Special Award, acknowledging its landmark contributions to America’s cultural legacy across nine years. In the history of AFI Awards, no other television program has earned as many honors.
The AFI Movies of the Year are: The Big Short, Bridge of Spies, Carol, Inside Out, Mad Max: Fury Road, The Martian, Room, Spotlight, Star Wars: The Force Awakens and Straight Outta Compton.
The top 10 on the TV front are: The Americans, Better Call Saul, Black-ish, Empire, Fargo, Game of Thrones, Homeland, Master of None, Mr. Robot and Unreal.
An almanac documenting works of excellence, AFI Awards is also the only national honor for the entertainment community’s creative teams as a whole, recognizing the collaborative nature of the art form. Honorees are selected based on works that advance the art of the moving image, enhance the rich cultural heritage of America’s art form, inspire audiences and artists alike and make a mark on American society.
“Since AFI’s founding in the White House Rose Garden 50 years ago, its mandate has been to celebrate our nation’s storytellers,” said Bob Gazzale, AFI president and CEO. “This is the goal of AFI Awards–to bring together our community as colleagues, not competitors, and to shine a proper light on their collective efforts to entertain and enlighten the world.”
Marking the 16th chapter in the American Film Institute’s ongoing chronicle of the moving image in the 21st century, the 2015 entries join a notable pantheon of previous AFI honorees–works of significance that contribute to the rich cultural legacy and define the state of the art form. View the complete almanac here.
AFI Awards selections are made through a jury process in which AFI Trustees, scholars, film and television artists and critics determine the most outstanding achievements of the year, as well as provide a contextual rationale for each selection.
This year’s juries–one for film and one for television–were chaired by producers and AFI Board of Trustees Vice Chairs Tom Pollock (former vice chairman of MCA, chairman of Universal Pictures) for film, and Richard Frank (former chairman of Walt Disney Television, president of Walt Disney Studios, president of the Academy of Television Arts and Sciences) for television. The juries featured award-winning artists such as Neal Baer (AFI Class of 1983), Marshall Herskovitz (AFI Class of 1975), Michelle MacLaren, Bennett Miller, John Ridley, Renee Tajima-Peña, Emma Thomas and Matt Williams; renowned authors and scholars, including Dr. Henry Gates, Jr. and Molly Haskell, representing prestigious universities with recognized motion picture arts and television programs; film historian Leonard Maltin; the AFI Board of Trustees; and film and television critics from media outlets such as the Los Angeles Times, Rolling Stone, TV Guide and more.
In a noncompetitive atmosphere, honorees will gather for recognition at the annual AFI AWARDS private luncheon, sponsored by Audi and American Airlines, the official airline of AFI, on January 8, 2016 in Los Angeles–an event favored by the entertainment community for its informal intimacy and its inclusive acknowledgment of excellence. At the luncheon, AFI will present jury rationales providing artistic and cultural context for the selection of each honoree.
Jennifer Kent On Why Her Feature Directing Debut, “The Babadook,” Continues To Haunt Us
"The Babadook," when it was released 10 years ago, didn't seem to portend a cultural sensation.
It was the first film by a little-known Australian filmmaker, Jennifer Kent. It had that strange name. On opening weekend, it played in two theaters.
But with time, the long shadows of "The Babadook" continued to envelop moviegoers. Its rerelease this weekend in theaters, a decade later, is less of a reminder of a sleeper 2014 indie hit than it is a chance to revisit a horror milestone that continues to cast a dark spell.
Not many small-budget, first-feature films can be fairly said to have shifted cinema but Kent's directorial debut may be one of them. It was at the nexus of that much-debated term "elevated horror." But regardless of that label, it helped kicked off a wave of challenging, filmmaker-driven genre movies like "It Follows," "Get Out" and "Hereditary."
Kent, 55, has watched all of this — and those many "Babadook" memes — unfold over the years with a mix of elation and confusion. Her film was inspired in part by the death of her father, and its horror elements likewise arise out of the suppression of emotions. A single mother (Essie Davis) is struggling with raising her young son (Noah Wiseman) years after the tragic death of her husband. A figure from a pop-up children's book begins to appear. As things grow more intense, his name is drawn out in three chilling syllables — "Bah-Bah-Doooook" — an incantation of unprocessed grief.
Kent recently spoke from her native Australia to reflect on the origins and continuing life of "The Babadook."
Q: Given that you didn't set out to in any way "change" horror, how have you regarded the unique afterlife of "The... Read More