Gotham Awards: '12 Years A Slave', 'Ain't Them Bodies Saints', 'Before Midnight', Inside Llewyn Davis' & 'Upstream Color' Win Best Picture Noms

The 2013 Gotham Independent Film Awards nominations  have been announced. The trophies will be handed out December 2 at Cipriani Wall Street. This is the first of the many upcoming awards shows, and because of the Gotham’s indie bent, the awards rarely reflect how the Oscars turn out. I always found that to be the most charming thing about them. Here are the nominees:

Best Feature

12 Years A Slave. Steve McQueen, director; Brad Pitt, Dede Gardner, Jeremy Kleiner, Bill Pohlad, Steve McQueen, Arnon Milchan, Anthony Katagas, producers. (Fox Searchlight Pictures)

Ain’t Them Bodies Saints, David Lowery, director; Tony Halbrooks, James M. Johnston, Jay Van Hoy, Lars Knudsen, Amy Kaufman, Cassian Elwes, producers (IFC Films)

Before Midnight, Richard Linklater, director; Richard Linklater, Christos V. Konstantakopoulos, Sara Woodhatch, producers (Sony Pictures Classics)

Inside Llewyn Davis, Joel Coen and Ethan Coen, directors; Scott Rudin, Joel Coen, Ethan Coen, producers (CBS Films)

Upstream Color, Shane Carruth, director; Shane Carruth, Casey Gooden, Ben LeClair, producers. (erbp)

Best Documentary

The Act Of Killing, Joshua Oppenheimer, director; Signe Byrge, Joshua Oppenheimer, producers (Drafthouse Films)

The Crash Reel, Lucy Walker, director; Julian Cautherly, Lucy Walker, producers (HBO Documentary Films)

First Cousin Once Removed, Alan Berliner, director and producer (HBO Documentary Films)

Let the Fire Burn, Jason Osder, director and producer (Zeitgeist Films)

Our Nixon, Penny Lane, director; Brian L. Frye, Penny Lane, producers (Cinedigm and CNN Films)

Bingham Ray Breakthrough Director Award

Ryan Coogler for Fruitvale Station (The Weinstein Company)

Adam Leon for Gimme The Loot (Sundance Selects)

Alexandre Moors for Blue Caprice (Sundance Selects)

Stacie Passon for Concussion (RADiUS-TWC)

Amy Seimetz for Sun Don’t Shine (Factory 25)

Best Actor

Chiwetel Ejiofor in 12 Years A Slave (Fox Searchlight Pictures)

Oscar Isaac in Inside Llewyn Davis (CBS Films)

Matthew McConaughey in Dallas Buyers Club (Focus Features)

Robert Redford in All Is Lost (Lionsgate and Roadside Attractions)

Isaiah Washington in Blue Caprice (Sundance Selects)

Best Actress

Cate Blanchett in Blue Jasmine (Sony Pictures Classics)

Scarlett Johansson in Don Jon (Relativity Media)

Brie Larson in Short Term 12 (Cinedigm)

Amy Seimetz in Upstream Color (erbp)

Shailene Woodley in The Spectacular Now (A24)

Breakthrough Actor

Dane DeHaan in Kill Your Darlings (Sony Pictures Classics)

Kathryn Hahn in Afternoon Delight (The Film Arcade and Cinedigm)

Michael B. Jordan in Fruitvale Station (The Weinstein Company)

Lupita Nyong’o in 12 Years A Slave (Fox Searchlight Pictures)

Robin Weigert in Concussion (RADiUS-TWC)

For the third consecutive year, IFP is proud to present the euphoria Calvin Klein Spotlight on Women Filmmakers ‘Live the Dream’ grant, a $25,000 cash award for an alumna of IFP’s Independent Filmmaker Labs. This grant aims to further the careers of emerging women directors by supporting the completion, distribution and audience engagement strategies of their first feature film.

The nominees:

Afia Nathaniel, director, Dukhthar

Gita Pullapilly, director, Beneath The Harvest Sky

Deb Shoval, director, AWOL

  1. Saw Dallas Buyers Club at a screening last night in NYC. It should absolutely be on this Best Picture list along with Jared Leto and Jean Marc Valet.

    1. Was there too. MM’s performance is awesome. Truly. Leto’s grew on me, but started weak. The director’s first film (CRAZY) was beautiful. This was an intersting personal movie. But the film itself and fine directing hardly stand up next to 12 Years, ATBS, or other omitted independent films like SHort Term 12, All Is Lost, or even Fruitvale and Mud from earlier this year.

  2. So pleased to see Upstream Color recognized, especially for the haunting work of Amy Seimetz. It’s a challenging, grown up film that doesn’t insult the intelligence of the audience.

    It was released early in the year and I didn’t think it would be remembered come awards time…glad I was wrong.

  3. Yes, Amy Seimetz was amazing in Upstream Color and I am surprised her work in that film was acknowledged alongside these major movie stars

  4. Where are Mud and The Place Beyond the Pines? They were two of the highest grossing indie films of the year, and just flat out good films. Big omissions.

  5. Now I know the Gotham Awards are crap. Upstream Color for Best Feature?! That film was insufferable. A stubbornly hapless, aimless, unwatchable mess. Beyond cringe-inducing. And don’t give me that garbage about it being a new wave abstraction; every review of this film starts with a “I don’t want to interpret it and ruin it for the viewer” statement along with a quote from Carruth saying the same. That’s because the film makes no statement other than the director felt like some mental masturbation. Even he doesn’t know what this it’s about. He’s afraid to discuss in too much detail because he knows he’ll be called out for the bullsh#$.
    Unless of course if his statement is what an “Emperor’s New Clothes” the whole world of Indie Cinema is and how gullible the viewing public is. And if you want a better example of an artist mocking the public’s embrace of a hack artist, then watch “Exit Through the Gift Shop.” At least Thierry Guetta, aka Mr. Brainwash, is a compelling bull$hitter.

  6. I agree that Upstream Color’s artistic value disintegrates upon scrutiny, though I wouldn’t term it so harshly. I was looking forward to this film and was disappointed. I also read the surrounding press and I gather that the director was bitter after dealing with unscrupulous Hollywood executives, but these are the same challenges that all independent film-makers face. The movie is loaded with affectations. From the karate-kid scene in the intro, to the poolside poetry recital to the awful worm-transfer scene, there were too many mistakes that finally overpowered what merit it may have once had. I’m suspicious anytime I read about a film-maker who insists on writing, producing, directing, acting, and editing a film (adding cinematographer and music score to this project). It’s the old adage of taking on too many jobs means doing each one half as well. I think this movie will serve as a cautionary tale to aspiring artists about what happens when you insist on doing everything yourself and refuse any advice or suggestions from outside parties.
    But I am also baffled why Gotham would nominate this film, thereby losing any credibility as an arbiter of what’s great in independent film.

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