{"id":155056,"date":"2022-12-12T00:47:16","date_gmt":"2022-12-12T00:47:16","guid":{"rendered":"https:\/\/harchi90.com\/los-angeles-film-critics-name-everything-everywhere-and-tar-as-best-picture-deadline\/"},"modified":"2022-12-12T00:47:16","modified_gmt":"2022-12-12T00:47:16","slug":"los-angeles-film-critics-name-everything-everywhere-and-tar-as-best-picture-deadline","status":"publish","type":"post","link":"https:\/\/harchi90.com\/los-angeles-film-critics-name-everything-everywhere-and-tar-as-best-picture-deadline\/","title":{"rendered":"Los Angeles Film Critics Name ‘Everything Everywhere’ And ‘Tar’ As Best Picture \u2013 Deadline"},"content":{"rendered":"
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\tThe Los Angeles Film Critics Association Awards split the difference on its Best Picture award, naming \u201cEverything Everywhere All At Once\u201d and \u201cTar\u201d in a tie. <\/p>\n

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\tAlthough surprising, the tie was not shocking. The LAFCA has done it four other times: 1975, its inaugural year, with \u201cDog Day Afternoon\u201d and \u201cOne Flew Over Cuckoo’s Nest\u201d; 1976, with \u201cNetwork\u201d and \u201cRocky\u201d; and 2013, with \u201cHer\u201d and \u201cGravity.\u201d<\/p>\n

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\tThe organization has arguably a better record of syncing up with Oscar’s ultimate Best Picture winner than some New York awards orgs, ie some recent examples of their Best Picture Winners lining up with AMPAS include 2019’s parasite, <\/em>2016’s moonlight, <\/em>2015’s spotlight, <\/em>2009’s The Hurt Locker<\/em>. <\/p>\n

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\t\t\t\t\t\t<\/p><\/div>\n<\/p><\/div>

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\t\t\t\t\t‘Brazil’, courtesy of Universal<\/span><\/p>\n<\/figcaption><\/figure>\n<\/div>\n

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\tHowever, one thing about LAFCA \u2014 they’re not afraid to go rogue: IE 1985 when they anointed Terry Gilliam’s carnivalesque, trippy epic Brazil <\/em>Best Picture and Best Director; the filmmaker having made his war with Universal over the film, fresh meat for the trades. Brazil <\/em>was Oscar nominated for Art Direction and Original Screenplay. <\/p>\n

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\tOther examples of when LAFCA went against the grain in Best Picture was with 2003’s American Splendor<\/em>the comedy biopic about cartoonist Harvey Pekar and Steve McQueen’s collection of five films, Small Ax, <\/em>which wasn’t even up for Oscars in 2020; relegating that pic nomadland <\/em>to Runner-Up in the category \u2014 which was the ultimate Best Picture at the Oscars. <\/p>\n

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\tLast year, LAFCA gave Best Pictures to Ryusuke Hamaguchi’s Drive My Car, <\/em>which was in the Oscar mix with four Oscar noms, including Best Picture and Director, winning Best International Feature Film. <\/p>\n

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\tIt will not be surprising if filmmaker Todd Field’s return to the big screen after 16 years, tar, <\/em>comes up big today. LAFCA named his movie In the Bedroom <\/em>back in 2001 Best Picture. tar <\/em>won Best Film at New York Film Critics Circle as well as Best Actress for Cate Blanchett as well as one of AFI’s top pics of the year.<\/p>\n

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\tFor this year’s awards vote, LAFCA will also introduce gender-neutral acting categories, with two awards for Best Lead Performance and two awards for Best Supporting Performance<\/p>\n

\n\tBest Picture<\/strong>:<\/p>\n

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\tWinners: EVERYTHING EVERYWHERE ALL AT ONCE and TAR (tie)<\/p>\n

\n\tBest Director:<\/strong><\/p>\n

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\tWinner: Todd Field, TAR<\/p>\n

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\tRunner-up: SS Rajamouli<\/p>\n

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Best Lead Performance<\/strong>:<\/p>\n

\n\tWinners: <\/strong>Cate Blanchett, TAR and Bill Nighy, LIVING<\/p>\n

\n\tRunners-up:<\/strong> Danielle Deadwyler, TILL and Michelle Yeoh, EVERYTHING EVERYWHERE ALL AT ONCE<\/p>\n

\n\tBest Supporting Performer<\/strong>:<\/p>\n

\n\tWinners:<\/strong> Dolly de Leon, TRIANGLE OF SADNESS and Ke Huy Quan, EVERYTHING EVERYWHERE ALL AT ONCE<\/p>\n

\n\tRunner-ups:<\/strong> Jessie Buckley, WOMEN TALKING and Brian Tyree Henry, CAUSEWAY<\/p>\n

\n\tBest Documentary<\/strong>:<\/p>\n

\n\tWinner:<\/strong> ALL THE BEAUTY AND THE BLOODSHED<\/p>\n

\n\tRunner-up: <\/strong>FIRE OF LOVE<\/p>\n

\n\tBest Screenplay<\/strong>:<\/p>\n

\n\tWinner:<\/strong> Todd Field for TAR<\/p>\n

\n\tRunner-up:<\/strong> Martin McDonagh for THE BANSHEES OF INISHERIN<\/p>\n

\n\tBest Animation<\/strong>:<\/p>\n

\n\tWinner: <\/strong>GUILLERMO DEL TORO’S PINOCCHIO<\/p>\n

\n\tRunner-up: <\/strong>MARCEL THE SHELL WITH SHOES ON<\/p>\n

\n\tBest Editing<\/strong>: <\/p>\n

\n\tWinner: <\/strong>Winner: Blair McClendon for AFTERSUN<\/p>\n

\n\tRunner-up:<\/strong> Monika Willi for TAR<\/p>\n

\n\tBest Production Design<\/strong>:<\/p>\n

\n\tWinner: <\/strong>Dylan Cole, Ben Procter for AVATAR: THE WAY OF WATER<\/p>\n

\n\tRunner-up:<\/strong> Jason Kisvarday for EVERYTHING EVERYWHERE ALL AT ONCE<\/p>\n

\n\tBest Music\/Score<\/strong>:<\/p>\n

\n\tWinner:<\/strong> MM Keeravani, RRR<\/p>\n

\n\tRunner-up:<\/strong> Pawel Mykietyn, EO<\/p>\n

\n\tBest Cinematography<\/strong>:<\/p>\n

\n\tWinner:<\/strong> Michael Dymek, EO<\/p>\n

\n\tRunner-up:<\/strong> Runner-up: Hoyte van Hoytema, NOPE<\/p>\n

\n\tDouglas Edwards Experimental Film prize<\/strong>:<\/p>\n

\n\tWINNER:<\/strong> DE HUMANI CORPORIS FABRICA<\/p>\n

\n\tBest Film Not In The English Language<\/strong>:<\/p>\n

\n\tWinner:<\/strong> EO<\/p>\n

\n\tRunner-up: <\/strong>SAINT OMER<\/p>\n

\n\tNew Generation: <\/strong><\/p>\n

\n\tWinner<\/strong>: Davy Chou and Park Ji-Min, RETURN TO SEOUL<\/p>\n<\/p><\/div>\n