- The Apollo nominated for NAACP Image Award
- The Apollo has been nominated for for a Motion Picture Sound Editor award for Non-Theatrical Documentary
- Oscars Shortlist: Academy Reveals Remaining Contenders in Nine Categories
- HBO’s ‘The Apollo’ Documentary Is a Rousing Showcase of Black Musical History
- Review: Harlem’s cathedral of culture ‘The Apollo’ stands the test of time
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The Apollo nominated for NAACP Image Award
NAACP Image Awards: ‘Harriet’ Leads Film Nominations With 10
Other top nominees include ‘Us,’ ‘Dolemite Is My Name,’ ‘Queen & Slim,’ ‘Just Mercy’ and ‘The Lion King.’
Kasi Lemmons’ Harriet on Thursday scored the most NAACP Image Awards nominations of any film with 10, including one for star Cynthia Erivo’s original song featured in the film, “Stand Up.” The movie is also up for best soundtrack, outstanding motion picture, best actress (Erivo), supporting actor (Leslie Odom Jr.), supporting actress (Janelle Monáe), breakthrough performance (Erivo), ensemble cast, writing (Lemmons and Gregory Allen Howard) and directing (Lemmons).
Other films nominated for multiple NAACP Image Awards include Jordan Peele’s Us, with eight nods; Eddie Murphy-starrer Dolemite Is My Name and Melina Matsoukas’ Queen & Slim, which are up for seven awards each; and Just Mercy and The Lion King, which are up for six awards apiece, with Beyoncé’s soundtrack contribution “Spirit” also nominated.
Harriet, Us, Dolemite, Just Mercy and Queen & Slim are all up for outstanding motion picture and ensemble cast, while Dolemite and Queen & Slim are both nominated in the outstanding independent motion picture category, where they will face off against three-time nominee Clemency and two-time nominees Luce and The Boy Who Harnessed the Wind.
Best actor nominees include 21 Bridges‘ Chadwick Boseman, Queen & Slim‘s Daniel Kaluuya, Dolemite‘s Murphy, Just Mercy‘s Michael B. Jordan and Winston Duke of Us.
Joining Erivo in the best actress category are Clemency‘s Alfre Woodard, Queen & Slim‘s Jodie Turner-Smith, Lupita Nyong’o of Us and Black and Blue‘s Naomie Harris. Meanwhile, Turner-Smith joins Erivo in the breakthrough performance category alongside Little‘s Marsai Martin, Just Mercy‘s Rob Morgan and Shahidi Wright Joseph of Us.
Dolemite is represented twice in the best supporting actor category, with both Tituss Burgess and Wesley Snipes earning nods, alongside Harriet‘s Odom Jr., Just Mercy‘s Jamie Foxx and Waves‘ Sterling K. Brown. Supporting actress nominees are Dolemite‘s Da’Vine Joy Randolph, Harriet‘s Monáe, Hustlers‘ Jennifer Lopez, Little‘s Marsai Martin and Luce‘s Octavia Spencer.
The Lion King dominates the outstanding character voiceover performance category with nominations for Woodard, Donald Glover and James Earl Jones. Other nominees are Nyong’o for Discovery Channel’s Serengeti and Sterling K. Brown for Frozen 2.
Us‘ Jordan Peele is also nominated in the outstanding writing and directing in a motion picture category, facing off in the former with the writers of Harriet, Just Mercy, Clemencyand Brian Banks.
On the TV side, Netflix’s When They See Us leads with nine noms, followed by ABC’s Black-ish with eight, NBC’s This Is Us and OWN’s Queen Sugar with five each and EPIX’s Godfather of Harlem with four.
In terms of individual performers, Beyoncé has six nominations across various categories, followed by H.E.R. and Lizzo with four each. Lizzo is also up for entertainer of the year, where she will face off against Tyler Perry and two-time nominees Angela Bassett, Billy Porter and Regina King.
In terms of studios behind the nominated projects, Netflix leads with 42 mentions (30 in TV and 12 in film), followed by Universal with 15.
The 51st NAACP Image Awards — recognizing the achievements of people of color in TV, music, literature and film and those who promote social justice through creative endeavors — will air live on BET on Saturday, Feb. 22, at 8 p.m. ET.
A complete list of this year’s nominees follows.
Entertainer of the Year
Outstanding Drama Series
Godfather of Harlem (EPIX)
Outstanding Actor in a Drama Series
Billy Porter – Pose (FX Networks)
Outstanding Actress in a Drama Series
Angela Bassett – 9-1-1 (FOX)
Outstanding Supporting Actress in a Drama Series
CCH Pounder – NCIS: New Orleans (CBS)
Outstanding Supporting Actor in a Drama Series
Delroy Lindo – The Good Fight (CBS All Access)
Outstanding Comedy Series
Outstanding Actress in a Comedy Series
Logan Browning – Dear White People (Netflix)
Outstanding Actor in a Comedy Series
Anthony Anderson – black-ish (ABC)
Outstanding Supporting Actress in a Comedy Series
Halle Bailey – grown-ish (Freeform)
Outstanding Supporting Actor in a Comedy Series
Andre Braugher – Brooklyn Nine-Nine (NBC)
Outstanding Television Movie, Limited-Series or Dramatic Special
American Son (Netflix)
Outstanding Actress in a Television Movie, Limited-Series or Dramatic Special
Aunjanue Ellis – When They See Us (Netflix)
Outstanding Actor in a Television Movie, Limited-Series or Dramatic Special
Caleel Harris – When They See Us (Netflix)
Outstanding News/Information – (Series or Special)
PUSHOUT: The Criminalization of Black Girls in Schools (PBS)
Outstanding Talk Series
Red Table Talk (Facebook Watch)
Outstanding Reality Program, Reality Competition or Game Show (Series)
Iyanla: Fix My Life (OWN)
Outstanding Variety Show (Series or Special)
2019 Black Girls Rock! (BET Networks)
Outstanding Children’s Program
Doc McStuffins (Disney Junior)
Outstanding Performance by a Youth (Series, Special, Television Movie or Limited Series)
Caleel Harris – When They See Us (Netflix)
Outstanding Host in a Talk or News/Information (Series or Special) – Individual or Ensemble
Angela Rye – Young Gifted and Broke: A BET Town Hall (BET Networks)
Outstanding Host in a Reality/Reality Competition, Game Show or Variety (Series or Special) – Individual or Ensemble
Iyanla Vanzant – Iyanla: Fix My Life (OWN)
Outstanding Guest Performance in a Comedy or Drama Series
Blair Underwood – Dear White People ( Netflix)
Cuz I Love You – Lizzo (Nice Life Records/Atlantic Records)
Outstanding New Artist
Ari Lennox (Dreamville/Interscope Records)
Outstanding Male Artist
Bruno Mars (Atlantic Records)
Outstanding Female Artist
Beyoncé (Parkwood Entertainment/Columbia Records)
Outstanding Song – Traditional
“Enough” – Fantasia (Rock Soul Inc./BMG)
Outstanding Song – Contemporary
“Before I Let Go” – Beyoncé (Parkwood Entertainment/Columbia Records)
Outstanding Duo, Group or Collaboration
“Brown Skin Girl” – Blue Ivy, SAINt JHN, Beyoncé & WizKiD (Parkwood Entertainment/Columbia Records)
Outstanding Gospel/Christian Album (Traditional or Contemporary)
I Made It Out – John P. Kee feat. Zacardi Cortez (Kee Music Group/Entertainment One)
Outstanding Jazz Album
Carib – David Sanchez (Ropeadope)
Outstanding Music Video/Visual Album
“Hard Place” – H.E.R. (RCA Records)
Harriet (Original Motion Picture Soundtrack) – Terence Blanchard (Back Lot Music)
Outstanding Literary Work – Fiction
New Daughters of Africa – Margaret Busby (HarperCollins Publishers)
Outstanding Literary Work – Non-Fiction
Breathe: A Letter to My Sons – Dr. Imani Perry (Beacon Press)
Outstanding Literary Work – Instructional
Inspire Your Home: Easy, Affordable Ideas to Make Every Room Glamorous – Farah Merhi (Tiller Press)
Outstanding Literary Work – Debut Author
American Spy – Lauren Wilkinson (Random House)
Outstanding Literary Work – Biography/Autobiography
Free Cyntoia: My Search for Redemption in the American Prison System – Cyntoia Brown-Long (Atria Books)
Outstanding Literary Work – Poetry
A Bound Woman Is a Dangerous Thing: The Incarceration of African American Women from Harriet Tubman to Sandra Bland – DaMaris B. Hill (Bloomsbury Publishing)
Outstanding Literary Work – Children
A Place to Land: Martin Luther King Jr. and the Speech That Inspired a Nation – Barry Wittenstein (Author), Jerry Pinkney (Illustrator), (Neal Porter Books / Holiday House Publishing Inc)
Outstanding Literary Work – Youth/Teens
Around Harvard Square – C.J. Farley (Akashic Books)
Outstanding Motion Picture
Dolemite is My Name (Netflix)
Outstanding Actor in a Motion Picture
Chadwick Boseman – 21 Bridges (STX Films)
Outstanding Actress in a Motion Picture
Alfre Woodard – Clemency (Neon)
Outstanding Supporting Actor in a Motion Picture
Jamie Foxx – Just Mercy (Warner Bros. Pictures)
Outstanding Supporting Actress in a Motion Picture
Da’Vine Joy Randolph – Dolemite is My Name (Netflix)
Outstanding Breakthrough Performance in a Motion Picture
Cynthia Erivo – Harriet (Focus Features)
Outstanding Ensemble Cast in a Motion Picture
Dolemite is My Name (Netflix)
Outstanding Independent Motion Picture
Outstanding Character Voice-Over Performance
Alfre Woodard – The Lion King (Walt Disney Studios)
Outstanding Documentary (Film)
Miles Davis: Birth Of The Cool (Eagle Rock Entertainment)
Outstanding Documentary (Television – Series or Special)
Free Meek (Prime Video)
Outstanding Writing in a Comedy Series
Cord Jefferson – The Good Place – “Tinker, Tailor, Demon, Spy” (NBC)
Outstanding Writing in a Dramatic Series
Kay Oyegun – This Is Us – “This Big, Amazing, Beautiful Life” (NBC) (WINNER)
Outstanding Writing in a Motion Picture (Television)
Cas Sigers-Beedles – Twas the Chaos Before Christmas (BET)
Outstanding Writing in a Motion Picture (Film)
Chinonye Chukwu – Clemency (Neon)
Outstanding Directing in a Comedy Series
Anya Adams – GLOW – “Outward Bound” (Netflix)
Outstanding Directing in a Drama Series
Ava DuVernay – When They See Us – “Part Four” (Netflix)
Outstanding Directing in a Motion Picture (Television)
Codie Elaine Oliver – Black Love (OWN)
Outstanding Directing in a Motion Picture (Film)
Chiwetel Ejiofor – The Boy Who Harnessed the Wind (Netflix)
The Apollo has been nominated for for a Motion Picture Sound Editor award for Non-Theatrical Documentary
Deadwood: The Movie
Supervising Sound Editors: Mandell Winter, MPSE, Daniel Colman
Escape Plan: Extractors
Supervising Sound Editor: David Barber, MPSE
Supervising Sound Editor: Trevor Gates
Supervising Sound Editor: Mac Smith
Music Editor: Felipe Pacheco
Lady and the Tramp
Supervising Sound Editors: Andrew DeCristofaro, MPSE, Darren “Sunny” Warkentin MPSE
Foley Editor: Alex Jongbloed
Supervising Sound Editor: David Barber, MPSE
Music Editor: Steven Saltzman, MPSE
Supervising Sound Editors: Frederic Dubois, MPSE, Dror Mohar
Sound Editor: Bryan Parker, MPSE
Supervising Sound Editors: Odin Benitez, MPSE, Todd Toon, MPSE
Supervising Sound Editor: Rob McIntyre, D.J. Lynch
Batman vs Teenage Mutant Turtles
Supervising Sound Editor: Jeff Shiffman, MPSE
Invader Zim: Enter the Florpus
Supervising Sound Editor: Kate Finan, MPSE, Jeff Shiffman, MPSE
Foley Editor: Carol Ma
Lego DC Batman: Family Matters
Supervising Sound Editor: Rob McIntyre, D.J. Lynch
Supervising Sound Editor: Jeff Shiffman, MPSE
Reign of the Supermen
Supervising Sound Editor: Rob McIntyre, D.J. Lynch
Wonder Woman: Bloodlines
Supervising Sound Editor: Rob McIntyre, D.J. Lynch
Supervising Sound Editor: Paul Cowgill
Apollo: Missions to the Moon
Supervising Sound Editor: John Warrin
Sound Designer: Brian Eimer
Hostile Planet: Oceans
Supervising Sound Editor: Kate Hopkins, Tim Owens
Our Planet: One Planet
Sound Effects Editors: Kate Hopkins, Tim Owens
The Cornell Lab of Ornithology: Bird of Prey
Supervising Sound Editor: Nicholas Renbeck
Supervising Sound Editor: Christopher Barnett, Al Nelson
This Is Football
Supervising Sound Editor: Greg Gettens
What’s My Name: Muhammad Ali
Supervising Sound Editor: Mandell Winter, David Esparza
Oscars Shortlist: Academy Reveals Remaining Contenders in Nine Categories
The Academy of Motion Picture Arts and Sciences announced shortlists in consideration for the Oscars in nine categories: documentary feature, documentary short subject, international feature film, makeup and hairstyling, music (original score), music (original song), animated short film, live action short film and visual effects.
The full lists are below:
Fifteen films will advance in the documentary feature category after 159 films were submitted in the category. Members of the Documentary Branch vote to determine the shortlist and the nominees.
DOCUMENTARY SHORT SUBJECT
Ten films will advance in the documentary short subject category. There were 69 films qualified in the category. Members of the Documentary Branch vote to determine the shortlist and the nominees.
INTERNATIONAL FEATURE FILM
Ten films will advance to the next round of voting in the international feature film category (formerly known as foreign language film). Ninety-one films were eligible in the category.
Academy members from all branches were invited to participate in the preliminary round. They must have viewed the submitted films theatrically and met a minimum viewing requirement to be eligible to vote in the category. Their seven choices, augmented by three additional selections voted by the Academy’s International Feature Film Award Executive Committee, constitute the shortlist.
In the nominations round, Academy members from all branches are invited to opt-in to participate and must view all 10 shortlisted films in order to cast a ballot.
Czech Republic, “The Painted Bird”
MAKEUP AND HAIRSTYLING
Ten films will advance in the makeup and hairstyling category. All members of the Academy’s Makeup Artists and Hairstylists Branch will be invited to view seven-minute excerpts from each of the 10 shortlisted films on Saturday, January 4, 2020. Members will vote to nominate five films for final Oscar consideration.
MUSIC (ORIGINAL SCORE)
Fifteen scores will advance in the original score category. One hundred seventy scores were eligible in the category. Members of the Music Branch vote to determine the shortlist and the nominees.
MUSIC (ORIGINAL SONG)
Fifteen songs will advance in the original song category. Seventy-five songs were eligible in the category. Members of the Music Branch vote to determine the shortlist and the nominees.
“Speechless” from “Aladdin”
ANIMATED SHORT FILM
Ten films will advance in the animated short film category. Ninety-two films qualified in the category. Members of the Short Films and Feature Animation Branch vote to determine the shortlist and the nominees.
LIVE ACTION SHORT FILM
Ten films will advance in the live action short film category. One hundred ninety-one films qualified in the category. Members of the Short Films and Feature Animation Branch vote to determine the shortlist and the nominees.
Ten films remain in the running in the visual effects category. The Visual Effects Branch Executive Committee determined the shortlist. All members of the Visual Effects Branch will be invited to view 10-minute excerpts from each of the shortlisted films online or attend satellite bake-off screenings in January 2020. Following the screenings, members will vote to nominate five films for final Oscar consideration.
“Alita: Battle Angel”
Oscar nominations voting opens Jan. 2 and runs through Jan. 7. Nominations will be announced on Jan. 13. Final Oscar voting begins Jan. 30. Deadline for voting is Feb. 4. The Oscars will be handed out five days later on Feb. 9.
HBO’s ‘The Apollo’ Documentary Is a Rousing Showcase of Black Musical History
It’s just another pile of New York City bricks with a neon-lit marquee, technically. But if you’re in Harlem and walk down 125th street between Frederick Douglass Boulevard and Adam Clayton Powell Jr. Boulevard, the presence of The Apollo Theater is unmistakable.
The Apollo documentary, premiering on HBO on Wednesday, November 6, attempts to illustrate its cultural significance in black history for the past 85 years. And considering the venue is famed for its amateur nights in which performers were either cheered or booed with zeal, it’s fitting that the film is a rousing success.
The blur of archival images at the outset reminds us of the generational scope of the Apollo’s impact: Duke Ellington, Louis Armstrong, Bo Diddley, Gregory Hines, Stevie Wonder, Gladys Knight, LL Cool J, Redd Foxx, Chris Rock and Will Smith all took the stage at some point in their careers. When they played to the audience — 1506 patrons at full capacity — they knew in their bones this wasn’t just any gig. The Apollo represented a space where black audiences could gather under even the most trying of circumstances to witness and judge popular art by their own standards. Jeering aside, this was a safe haven. Jamie Foxx, Angela Bassett and activist Herb Boyd are some of the luminaries that express how the top-notch entertainment at the Apollo has always been secondary to the rich communal spirit.
Director Roger Ross Williams (an Oscar winner for the short Music by Prudence) weaves through performance and politics, past and present. Resident historian, tour director and ambassador Billy “Mr. Apollo” Mitchell — he’s worked on the premises since 1965 — serves as our congenial guide (and frames the narrative), guiding curious pedestrians through the halls and delivering a more traditional overview to the camera.
It was white entrepreneur and promoter Frank Schiffman who opened the theater in Harlem in 1934 as a talent showcase. The real estate became hallowed ground almost immediately thanks to the craftsmanship on stage and the business savvy behind the scenes. The hard-nosed Schiffman kept typed index cards of every artist and noted everything from temperament to ability. On Charlie Parker: “Excellent musician.” On Dizzy Gillespie: “Not prepared.” Dizzy Gillespie!
The anecdotes that accompany some of these names are delicious in detail. In a remarkable account, a shy 17-year-old named Ella Fitzgerald originally planned to dance during the first year of Amateur Night in 1934. But after seeing the Edwards Sisters light up the stage with their synchronized steps, she decided to sing instead. She started scatting to Hoagy Carmichael’s “Judy” and took home first prize. A few years later, Ralph Cooper, who created and hosted Amateur Night, scouted Billie Holiday and convinced Schiffman to give her a shot. She performed the haunting protest song, “Strange Fruit.”
Several artists give their own first-hand recollections, and, mercifully, don’t do it wearing rose-colored glasses. Smokey Robinson waxes about how he and the Miracles had to share a cramped eighth-floor dressing room and work their way down based on success; actress Leslie Uggams recalls her first show there and says she was getting ready to leave when she was told she had to grind through four more that very day. (Performers typically did 29 shows a week!). Even Aretha Franklin, in an interview filmed just before her 2018 death, laments that she’s still waiting on the money that Schiffman owed her.
Still, like most music-themed documentaries, the raw footage is the star of the show. And while it’s always amusing to gawk at acts before they hit it big, the videos here offer proper context to a specific time and place in our history. Consider that Richard Pryor elicits howls of laughter from the audience as he peppers the N-word throughout his stand-up material. Meanwhile, James Brown fearlessly declares, “Say it loud, I’m black and I’m proud” amid the civil rights riots of 1968. (After he died in 2006, the funeral was held at the Apollo as a tribute to both the venue and the hardest-working man in showbiz.) Barack Obama was the first sitting president to visit; he promptly brought down the house by crooning a few bars of Al Green’s “Let’s Stay Together.”
The performances weren’t all groundbreaking crowd-pleasers. Though pre-teen, pre-Fugees Lauryn Hill covering a Smokey Robinson classic could be viewed in hindsight as a sign of her prodigious talent, the audience boos her. Off-stage, The Apollo endured its own hardships. Williams breezes through its woeful chapter in the 1970s when the site had to close due to bankruptcy. Manhattan borough President Percy B. Sutton tried but failed to turn it around financially. It’s now a federal and city landmark run by the state of New York.
Can this historical attraction remain mythical? After all, Harlem itself is now so gentrified that The Apollo is located across from, yikes, The Gap. The jazz greats that once breathed life inside that theater have given way to acts like Lady Gaga and Guns N’ Roses. These facts also go without mention. But Williams wisely culminates his film with a 2018 all-star on-stage reading of Ta-Nehisi Coates’ “Between the World and Me,” a manifesto to the experience of being black in America. No singing, no dancing, no jokes. It’s a strong statement on the social and political meaning behind every artistic performance: A community can indeed find healing through the power of art.
The Apollo premieres on HBO on Wednesday, November 6.
Review: Harlem’s cathedral of culture ‘The Apollo’ stands the test of time
By Robert Abele
A space like the Apollo Theater, Harlem’s high church of American music, didn’t just play host to up-and-comers, storied legends and energetic wannabes — it amplified the sound and spirit of black entertainment in a way that reverberated far outside its walls.
Any movie tasked with celebrating its 85 years as a cultural landmark would have its work cut out for it, which makes Oscar-winning filmmaker Roger Ross Williams’ beautifully turned, rich and moving documentary “The Apollo” a true gift for these turbulent, who-are-we? times: essential history and quintessential performance expertly woven together to remind us what lasting, vibrant artistry and community looks like. From the heyday of jazz to the sweetness of soul and the power of hip-hop — with the reality of race ever present — Williams offers up a celebration worthy of the Apollo’s legacy.
With its blend of the archival, the interviewed, and modern-day footage, the first miracle of the film is that it never feels overstuffed with talking heads, or perfunctorily assembled, or rushed in covering its many glories across nearly a century. It’s a real beating-heart tribute, always streaked with feeling, whether joyous or poignant. That’s partly because the theater’s spirit, from its Depression-era launch as a mixed hot spot at a time when black people couldn’t patronize nightclubs in their own backyard, always intertwined excellence in black entertainment — launching the careers of Ella Fitzgerald, Billie Holiday and Stevie Wonder, and cementing the live chops of countless others across music, dance and comedy — with the notion that simply being on that stage, in that audience, constituted not only a vital act of expression, but also a feeling of home. It’s why Williams always threads in footage old and new of the block’s streets and citizens among the glittering stories and stars, as if to stress that the Apollo was as much a good neighbor as a grand beacon.
Williams makes the potent choice to bracket this history with a verité glimpse of the Apollo’s behind-the-scenes preparation for a multimedia staging of Ta-Nehisi Coates’ galvanizing book, “Between the World and Me.” Coates’ words of ceaseless struggle and fierce belonging echo through the film as we see Holliday make the Apollo a safe space for protest music with “Strange Fruit” (which she was pressured not to perform), favorite son James Brown anthemize the civil rights era with “Say It Loud — I’m Black and I’m Proud,” and truth-to-power rap artists flood the stage in the ’80s.
Just as inspiring is the tradition surrounding the Apollo’s fabled amateur night — the world’s longest-running talent show, a lively format by which the untapped (who have included Ella Fitzgerald and Lauryn Hill over the years) can command the spotlight, and perhaps earn a famously boo-ready crowd’s hard-won love. But like a lot about the Apollo, it’s the opportunity to give voice to that which lies behind this beloved rite. Cincinnati student Bianca Graham traveled to New York by bus to perform a soaring rendition of Whitney Houston’s “I Have Nothing,” and when she tears up at the memory of a friend shot and killed by a cop, you can believe the theater’s soul must course through each and every respect-paying hopeful that hits its stage.
The anecdotes are like music too, with spirited tales of nerves, awe and camaraderie from Smokey Robinson, Leslie Uggams, Patti Labelle and Pharrell Williams, and necessary context from backstage overseers like former owner Bobby Schiffman, current President Jonelle Procope and historian/tour guide Billy Mitchell. From these reverent insiders, and Williams’ graceful stewardship, comes a lasting portrait of an artistic institution that’s seen ups and downs but continues to thrive by bringing people together and getting the most out of many of them. It’s hard not to forget an early clip of Ella Fitzgerald and what she heard way on that amateur night in 1934 when her then-unknown teenage self balked at following the crowd-slaying, legendary Edwards Sisters with her own meager dance routine.
A man yelled, “You’re out here, do something.” So she sang.
IDA Announces its 35th Annual Shortlists for Features and Shorts
As usual, the pack of docs is insane. It will be extremely hard to reduce them to 5. I half wonder, as I do every year, if the Academy ought to give docs a bigger presence at the Oscars – a whole Oscars for DOCS, even, that honor things like writing and directing, etc. Either way, here are the films selected for the shortlist.
Apollo 11, Amazing Grace, American Factory, For Sama, Cunningham, Sea of Shadows, the Biggest Little Farm are a few that have made some noise already.
The 2019 Awards will be presented during a ceremony at Paramount Studios in Los Angeles on Saturday, December 7. Tickets are on sale now.
IDA Documentary Awards 2019 Features Shortlist
Advocate (Israel, Canada, Switzerland. Directors and Producers: Rachel Leah Jones and Philippe Bellaiche. Producers: Paul Cadieux and Joelle Bertossa)
Amazing Grace (USA / NEON. Producers: Alan Elliot, Tirrell D. Whittley, Sabrina V. Owens, Joe Boyd, Rob Johnson, Chiemi Karasawa, Spike Lee, Angie Seegers and Joseph Woolf)
American Factory (USA / Netflix. Directors and Producers: Steven Bognar and Julia Reichert. Producers: Jeff Reichert and Julie Parker Benello)
Apollo 11 (USA / NEON and CNN Films. Director and Producer: Todd Douglas Miller. Producers: Thomas Petersen and Evan Strauss)
Aquarela (UK, Germany, Denmark / Sony Pictures Classics. Director: Victor Kossakovsky. Producers: Aimara Reques, Heino Deckert and Sigrid Dyekjær)
Black Mother (USA / Grasshopper Film. Director and Producer: Khalik Allah. Producer: Leah Giblin)
Cunningham (USA, Germany / Magnolia Pictures. Director and Producer: Alla Kovgan. Producers: Helge Albers, Ilann Girard, Elizabeth Delude-Dix, Kelly Gilpatrick and Derrick Tseng)
Dark Suns (Canada / Dogwoof. Director and Producer: Julien Elie)
Diego Maradona (UK / HBO. Director: Asif Kapadia. Producers: James Gay-Rees and Paul Martin)
EARTH (Austria / KimStim. Director and Producer: Nikolaus Geyrhalter. Producers: Michael Kitzberger, Markus Glaser and Wolfgang Widerhofer)
For Sama (UK, Syria / PBS Distribution, FRONTLINE. Director and Producer: Waad al-Kateab. Director: Edward Watts)
Hail Satan? (USA, Sweden / Magnolia Pictures. Director: Penny Lane. Producer: Gabriel Sedgwick)
Honeyland (Macedonia / NEON. Director: Tamara Kotevska. Director and Producer: Ljubomir Stefanov. Producer: Atanas Georgiev)
Kabul, City in the Wind (Netherlands, Afghanistan, Germany. Director: Aboozar Amini. Producer: Jia Zhao)
Lemebel (Chile, Colombia / Compañía de Cine. Director and Producer: Joanna Reposi Garibaldi. Producer: Paula Sáenz-Laguna)
Midnight Family (Mexico, USA / 1091. Director and Producer: Luke Lorentzen. Producers: Kellen Quinn, Daniela Alatorre and Elena Fortes)
Midnight Traveler (USA, UK, Qatar / Oscilloscope Laboratories. Director: Hassan Fazili. Producers: Su Kim and Emelie Coleman Mahdavian)
One Child Nation (USA / Amazon Studios. Directors and Producers: Nanfu Wang and Jialing Zhang. Producers: Christoph Jörg, Julie Goldman, Christopher Clements and Carolyn Hepburn)
Our Time Machine (China / POV, Da Xiang. Directors and Producers: Yang Sun and S. Leo Chiang)
Present.Perfect. (USA, Hong Kong / Burn The Film. Director: Shengze Zhu. Producer: Zhengfan Yang)
Roll Red Roll (USA / POV. Director and Producer: Nancy Schwartzman. Producers: Steven Lake and Jessica Devaney)
Sea of Shadows (USA, Austria / National Geographic. Director: Richard Ladkani. Producers: Walter Kohler and Wolfgang Knopfler)
The Apollo (USA / HBO. Director and Producer: Roger Ross Williams. Producers: Lisa Cortés, Jeanne Elfant Festa and Cassidy Hartmann)
The Biggest Little Farm (USA / NEON, LD Entertainment. Director and Producer: John Chester. Producer: Sandra Keats)
The Cave (USA, Syria, Denmark / National Geographic. Director: Feras Fayyad. Producers: Kirstine Barfod and Sigrid Dyekjaer)
The Edge of Democracy (USA, Brazil / Netflix. Director and Producer: Petra Costa. Producers: Joanna Natasegara, Shane Boris and Tiago Pavan)
The Feeling of Being Watched (USA / POV. Director: Assia Boundaoui. Producer: Jessica Devaney)
The Hottest August (USA, Canada / Grasshopper Film. Director and Producer: Brett Story. Producer: Danielle Varga)
The Proposal (USA / Oscilloscope Laboratories. Director: Jill Magid. Producers: Charlotte Cook, Laura Coxson and Jarred Alterman)
This is Not a Movie (Germany, Canada / National Film Board of Canada. Director: Yung Chang. Producers: Anita Lee, Allyson Luchak, Nelofer Pazira and Ingmar Trost)
IDA Documentary Awards 2019 Shorts Shortlist
30 for 30 Shorts: Mack Wrestles (USA / ESPN. Directors and Producers: Taylor Hess and Erin Sanger. Producers: Erin Leyden and Gentry Kirby)
A Love Song for Latasha (USA. Director and Producer: Sophia Nahli Allison. Producers: Janice Duncan and Fam Udeorji)
After Maria (USA / Netflix. Director: Nadia Hallgren. Producer: Lauren Cioffi)
All Inclusive (Switzerland / Some Shorts. Director: Corina Schwingruber Ilić. Producer: Stella Händler)
America (USA / Aubin Pictures. Director: Garrett Bradley. Producers: Lauren Domino and Catherine Gund)
Black to Techno (USA / Frieze. Director: Jenn Nkiru)
Easter Snap (USA. Director and Producer: RaMell Ross. Producers: Joslyn Barnes and Su Kim)
In the Absence (USA, Korea / Field of Vision. Director: Yi Seung-Jun. Producer: Gary Byung-Seok Kam)
La Bala de Sandoval (Ecuador / Vtape. Director and Producer: Jean-Jacques Martinod)
Learning to Skateboard in a Warzone (if you’re a girl) (UK, USA, Afghanistan / Lifetime Films, A&E IndieFilms. Director: Carol Dysinger. Producer: Elena Andreicheva)
Lost and Found (USA, Myanmar / National Geographic. Director: Orlando von Einsiedel. Producers: Mark Bauch, Harri Grace and Dan Lin)
Marielle and Monica (Brazil, UK / The Guardian. Director: Fabio Erdos. Producer: Marina Costa)
Sam and the Plant Next Door (UK / The Guardian. Director and Producer: Omer Sami)
Scenes from a Dry City (USA / Field of Vision. Directors and Producers: Simon Wood and Francois Verster)
Show Me the Way (USA / Topic.com. Director and Producer: Kate Kunath)
St. Louis Superman (USA / MTV Documentary Films, Al Jazeera Witness and Meralta Films. Directors and Producers: Smriti Mundhra and Sami Khan. Producer: Poh Si Teng)
The Love Bugs (USA. Directors and Producers: Allison Otto and Maria Clinton)
The Nightcrawlers (USA, Philippines / National Geographic. Director: Alexander Mora. Producers: Joanna Natasekura, Doireann Maddock and Abigail Anketell-Jones)
The Separated (USA / The Atlantic. Director and Producer: Jeremy Raff)
The Unconditional (USA. Director and Producer: Dave Adams. Producers: Adam Soltis, Renee Woodruff Adams, Josie Swantek Heitz and Chris Tuss)
Valley of the Rulers (Serbia, Israel. Director: Efim Graboy. Producer: Dejan Petrovic)
The 35th Annual IDA Documentary Awards honorees, were announced earlier this week. The honorees are:
Academy Award and Primetime Emmy-winning filmmaker (and five time Academy Award nominee) Freida Lee Mock (Maya Lin: A Strong Clear Vision, Anita) who will receive the Career Achievement Award
Emmy nominated filmmaker Rachel Lears (Knock Down The House, The Hand That Feeds) who will receive the Emerging Doc Filmmaker Award
Reporters Committee for Freedom of the Press, which provides pro bono legal representation and other legal resources to protect First Amendment freedoms and the newsgathering rights of journalists, who will receive the Amicus Award
And the film foundation and production company Cinereach that will receive the Pioneer Award
Nigel Sinclair’s White Horse Partners With Reelin’ In The Years For Documentaries
EXCLUSIVE: White Horse Pictures chairman Nigel Sinclair and president Nicholas Ferrall have made a multi-picture partnership with Reelin’ In The Years Productions president David Peck to create more documentaries in the film and TV space.
The companies have worked piecemeal on films since 2006. Those collaborations include the Ron Howard-directed Pavarotti and The Beatles: Eight Days A Week — The Touring Years, as well as Amazing Journey: The Story of The Who, George Harrison: Living In the Material World, the upcoming docu on The Bee Gees that Frank Marshall is directing, and The Apollo, the Roger Ross Williams-directed docu that opened at Tribeca and will be launched on HBO this fall celebrating the history of the iconic Harlem theater.
Reelin’ In The Years is a gatekeeper in licensing archival footage that feeds these documentaries, with over 30,000 hours of music footage and much more in interviews in its arsenal.
Sinclair, who leads the White Horse docu team with documentary head Jeanne Elfant Festa and TV head Cassidy Hartmann, said formalizing the partnership made sense.
“Of course, David runs this amazing library, but he also brings to the table the passion and commitment of a true archivist who cares deeply about the historical importance of footage and the need to preserve it. His invaluable advice to us on projects has gone way beyond just curating the footage he represents and this new partnership is a chance for us to utilize his extraordinary knowledge to create some very high-level, archive-driven projects on subjects we all love.”
Said Peck: “I have worked with Nigel and the White Horse partners on nearly a dozen projects over the last 13 years, and their almost fanatical commitment to excellence touches on my passion, which is finding, cataloging and preserving archival footage from around the globe and making it accessible to professionals in the film and television industry.”
Nigel Sinclair and Nicoletta Mantovani on MSNBC’s Morning Joe
New York Screening Of ‘Pavarotti’ Documentary
Academy Award winner Ron Howard is directing a new documentary about the untold story of legendary opera singer Luciano Pavarotti.
Patti Smith, Keegan-Michael Key, and Martha Stewart Joined Director Ron Howard for a Special Screening of Pavarotti
“I’d like to be remembered as the man who brought opera to the people,” says the late Luciano Pavarotti in the opening scene of Pavarotti, the new documentary film about his life and career. Acclaimed director Ron Howard (whose recent directorial hits include The Beatles: Eight Days a Week and Solo: A Star Wars Story) showcased the film last night with an intimate screening at New York’s iPic theater, cohosted by the Cinema Society. Admirers of the legendary Italian opera singer included Patti Smith, Keegan-Michael Key, and Martha Stewart, who all made their way to the waterside theater for a special first look.
“I’ve listened to Pavarotti thousands of times,” said Smith ahead of the screening. “I’ve learned from him, and so I’m very excited to see the film.”
True to Pavarotti’s ethos, the film captivates even those who aren’t the most well versed in classical music and opera (such as this Vogue writer). “It’s very clear from the movie that one of his most important aims was to spread the world of opera to everyone,” agreed Nicoletta Mantovani, one of the film’s producers and also Pavarotti’s widow. “Luciano really admired the fact that opera was sung in the streets by people in the old times, like pop music now. So he wanted to bring [it] back.” The movie focuses on Pavarotti’s desire to democratize the genre: During his American tours he made a point of bringing concerts to small towns in the heartland that notably lacked an opera house, and his 1977 performance of La Bohème at New York City’s Metropolitan Opera House was the first opera performance to be televised live. The film also touches on Pavarotti’s famous friendship with Princess Diana and his ensuing benefit concerts. To much criticism at the time, Pavarotti’s benefits featured musical collaborations between the maestro and rock musicians like Sting and Bono.
After the film, not even an expected downpour of rain could dampen spirits as attendees dashed across the street to the after-party. Howard was in high spirits too. “It really begins with enough access and fresh material to be able to offer a new perspective,” he said, noting the support he received for the documentary’s materials from Pavarotti’s managers, colleagues, and family. “In this case, we had the cooperation of the family, which meant their interviews, which were so personal, raw, emotional, but also comprehensive in terms of helping us understand Pavarotti. We also had these amazing photographs, videos, and tapes from their archives that we could work with to give audiences a lot of moments they’d never seen before.”
R17, a rooftop lounge atop Pier 17, played host to the party, with guests abuzz in conversation about the film. Cozy fireplaces and refreshing pamplemousse spritz cocktails provided a delightful segue into the rest of the evening. Conversation and Prosecco flowed for the rest of the night, punctuated by circulating platters of bite-size avocado toast and crisped potatoes garnished with truffle aioli.
Pavarotti opens in select theaters on June 7.