By Ray Pride Pride@moviecitynews.com

Cinema Eye Honors Announces 2016 Fiction Film Nominees That Blur Line Between Nonfiction, Including Tangerine, Taxi And Tribe

Posted Wednesday, November 18th, 2015 - Comments Off on Cinema Eye Honors Announces 2016 Fiction Film Nominees That Blur Line Between Nonfiction, Including Tangerine, Taxi And Tribe
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-Cinema Eye, the organization that presents the Cinema Eye Honors for Nonfiction Filmmaking as part of the annual Cinema Eye Week, today announced the five nominees for its annual Heterodox Award. The Heterodox Award honors a narrative fiction film that imaginatively incorporates nonfiction strategies, content and/or modes of production.

The five films nominated this year for the Cinema Eye Heterodox Award are:

  • Arabian Nights: Volume One (The Restless One) directed by Miguel Gomes

  • God Bless the Child directed by Robert Machoian and Rodrigo Ojeda-Beck

  • Tangerine directed by Sean Baker

  • Taxi directed by Jafar Panahi

  • The Tribe directed by Myroslav Slaboshpytskiy

Celebrating the increasingly blurry line between documenting real lives/situations and creative, fictional storytelling, these films show how today’s fiction filmmakers are using tools from the traditional documentary toolbox to convey their visions.  This marks the sixth year for the Heterodox Award at Cinema Eye. Previous winners of the award were Matt Porterfield’s Putty Hill (2011), Mike Mills’ Beginners (2012), Jem Cohen’s Museum Hours (2013), Carlos Reygados’s Post Tenebras Lux (2014) and Richard Linklater’s Boyhood (2015).

With the announcement of this year’s Heterodox nominees, all of this year’s Cinema Eye nominated films and filmmakers have been revealed.  Nonfiction film nominees were announced last week at CPH:DOX in Copenhagen.

The Heterodox prize will be presented on Tuesday, January 12 in New York City at the 2nd annual Honors Lunch during Cinema Eye Week. This year’s Legacy Award, which will be announced soon, and this year’s Influential Films and Unforgettable Subjects (which were announced in October) will also be saluted at the luncheon.

Ten finalists for the Heterodox Award were selected in voting by the Cinema Eye Honors Nominations Committee, made up of more than 25 international programmers who specialize in nonfiction film. The ten finalists were then viewed and five nominees were selected by a second round committee, composed of 8 nonfiction programmers and journalists. The second round included Committee Chair Scott Macaulay (Editor in Chief, Filmmaker Magazine), Hadrian Belove (Executive Director, Cinefamily), Tine Fischer (Festival Director, CPH:DOX), Eric Hynes (Associate Curator of Film, Museum of the Moving Image), Doug Jones (Executive Director, Images Cinema), Mads Mikkelsen (Programmer, CPH:DOX), Dan Nuxoll (Program Director, Rooftop Films), Alison Willmore (Film Critic, Buzzfeed) and Rachel Rosen (Director of Programming, San Francisco Film Society).

About Cinema Eye, Cinema Eye Week and the 2016 Cinema Eye Honors

Cinema Eye was founded in 2007 to recognize excellence in artistry and craft in nonfiction filmmaking and the organization presents and produces the annual Cinema Eye Week and Honors Ceremony.  The Cinema Eye Honors were the first and remains the only international nonfiction award to recognize the whole creative team, presenting annual craft awards in directing, producing, cinematography, editing, composing and graphic design/animation.

Nonfiction film nominations for the 9th Annual Cinema Eye Honors were announced last week at CPH:DOX in Copenhagen.  A full list of nominees can be found on the Cinema Eye Honors website: www.cinemaeyehonors.com.

The Honors Ceremony is the centerpiece of Cinema Eye Week, a multi-day, multi-city celebration that acknowledges the best work in nonfiction film through screenings and events.  Last year, film screenings took place in New York, Toronto and Los Angeles.  The final four days of Cinema Eye Week culminated in New York City, where a series of celebratory events brought together many of the year’s most accomplished filmmakers.  This year’s dates are January 10-13, with awards presented at the Museum of the Moving Image in Queens on the 13th.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon