By Ray Pride

Cinema Eye Honors Announces “The Unforgettables,” The Year’s Most Signficant Doc Subjects

List of Year’s Most Notable & Significant Film Subjects
Museum of Moving Image Launches “Pushing the Envelope” Screening Series Highlighting Cinema Eye’s First Decade
O Cinema Eye, the organization that recognizes outstanding craft and artistry in nonfiction filmmaking, today announced their annual list of The Unforgettables – this year’s most notable and significant nonfiction film subjects.
In addition, the Museum of the Moving Image, which has been home to the Cinema Eye Awards Ceremony since 2011, announced its 10-week series highlighting films from the first #CEHDecade: “Pushing the Envelope: A Decade of Documentary’s Cinema Eye Honors”. The series will kick off Friday, November 4, 2016withthe first winner of Cinema Eye’s Outstanding Nonfiction Feature award, Jason Kohn’s Manda Bala (Send a Bullet). The series will continue through November and December with highlights from Cinema Eye’s first decade, including CEH winning films from Laura Poitras, Sarah Polley, Banksy, Joshua Oppenheimer, Asif Kapadia, James Marsh and Bill & Turner Ross.  Click here to here to see the full lineup.
This is the 10th anniversary year for Cinema Eye and the 4th straight year for Cinema Eye’s list of the Unforgettables, which annually celebrates the exciting collaborations between filmmaker and subjects.  This year’s selection represents the wide range of style and content of this year’s documentary films.
The list includes a director/cinematographer that is barely glimpsed on-screen (Kirsten Johnson inCameraperson), a couple who have remained in the national news even as their film opened in theatres this summer (Huma Abedin and Anthony Weiner in Weiner) and two subjects who ride the sometimes blurry line between participant and performer (Michal Huszcza in All These Sleepless Nights and Kate Lyn Sheil inKate Plays Christine).
In all, 18 individuals from 15 films were selected for the Unforgettables list by Cinema Eye’s nominations committee, which is comprised of some of the world’s top documentary film programmers and curators, as well as the 2016 filmmakers in the running for this year’s awards, nominations for which will be announcedNovember 2, 2016 in Brooklyn at the newly-opened Alamo Drafthouse.
“For the fourth year, we are proud to celebrate the collaborative process of documentary filmmaking by acknowledging the role that subjects play in creating many of the year’s best films”, said Cinema Eye Managing Director Will Lennon.  “Particularly this year, we note the extraordinary access granted by the subjects and earned by the filmmakers that led to unforgettable moments in nonfiction cinema.”
The Unforgettables is one of Cinema Eye’s non-competitive Distinctive Honors. Subjects selected to this list of Unforgettables will be acknowledged at the Cinema Eye Honors Lunch, held on Tuesday, January 10, 2017 in Manhattan.
2016 Cinema Eye Honors Unforgettables
Michal Huszcza / All These Sleepless Nights
Audrie Pott and Daisy Coleman / Audrie and Daisy
Laura Albert / Author: The JT Leroy Story
Kirsten Johnson / Cameraperson
Aisholpan Nurgaiv / The Eagle Huntress
Samuele Pucillo / Fire at Sea
Steve Gleason and Michel Varisco / Gleason
Ye Haiyan / Hooligan Sparrow
Kate Shiel / Kate Plays Christine
Owen Suskind / Life, Animated
Sharon Jones / Miss Sharon Jones!
Peter Dunning / Peter and the Farm
Princess Shaw / Presenting Princess Shaw
Sonita Alidazeh / Sonita
Huma Abedin and Anthony Weiner / Weiner
Selections for the Unforgettables were made by open voting from this year’s eligible filmmakers and Cinema Eye’s nominations committee.  While voters were given a list of eligible films to select from, no suggestions were made as to individuals in those films.
The 2017 Cinema Eye Nominations Committee includes: Claire Aguilar (Sheffield), Pamela Cohn (Dokufest Kosovo), David Courier (Sundance), Cara Cusumano (Tribeca), Bruno Dequen (RIDM), Sarafina DiFelice (Hot Docs), Joanne Feinberg (formerly Programmer, Ashland), Elena Fortes (Morelia/Ambulante), Nominations Committee Chair Ben Fowlie (Camden), Tom Hall (Montclair), Sarah Harris (Dallas), Lane Kneedler (AFI Fest), Jim Kolmar (SXSW), Amir Labaki (It’s All True), Artur Liebhart (Planete Doc Review), Mads Mikkelsen (CPH:DOX), David Nugent (Hamptons), Veton Nurkollari (Dokufest Kosovo), Janet Pierson (SXSW), Thom Powers (Toronto), Rachel Rosen (San Francisco), Shane Smith (Hot Docs), Martijn te Pas (IDFA), Sadie Tillery (Full Frame), Basil Tsiokos (DOC NYC) and David Wilson (True/False).
About the 10th Annual Cinema Eye Honors and Cinema Eye Week 2017
The Cinema Eye Honors for Nonfiction Filmmaking were founded in late 2007 to recognize and honor exemplary craft and innovation in nonfiction film.  Cinema Eye’s mission is and has been to advocate for, recognize and promote the highest commitment to rigor and artistry in the nonfiction field.  At its inception, Cinema Eye was the first US or international organization to present annual awards for documentary in the fields of production, cinematography, original score and graphic design and the only organization, aside from the guilds, to recognize outstanding direction and editing.
The Honors Awards 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.  The final three days of Cinema Eye Week culminate yearly  in New York City, where a series of celebratory events bring together many of the field’s most accomplished filmmakers.
Cinema Eye Year 10 Celebration and Announcement of #CEH17 Nominees
Wednesday, November 2, 2016
Cinema Eye Week
Friday, January 6 – Wednesday, January 11, 2017
Cinema Eye Honors Awards Ceremony
Wednesday, January 11, 2017
Museum of the Moving Image
For more information about Cinema Eye, visit the website at
Be Sociable, Share!

Comments are closed.

Quote Unquotesee all »

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