2019 Spearie Award Winners

BEST STUNT CHOREOGRAPHY

1917-Ben Cooke

Great stunt work is more than just courting danger. Stunts are like a dance, wherein precision and meaning ultimately take the top priority. For a film like 1917, where takes could be as long as ten minutes, that precision was ultimately stretched to the upper limits of difficulty. Not only did the stunt work have to accurately and intensely convey the dangers of warfare, it had to do so in such a way that the camera was able to move around the actors safely while remaining able to capture the footage properly. A difficult precise and beautiful ballet wherein the camera is also a dancer, the stunt work in 1917 is easily the strongest of the year.

BEST VISUAL EFFECTS
Ad Astra-Scott R. Fisher and Allen Maris

Ad Astra brilliantly uses it's visual effects to build a bridge between the more fantastical space-exploration films and the more realistic and grounded ones. The result is a film that is able to stretch believability without breaking it. The brilliant effects work uses unique, yet scientifically accurate lighting; updated yet familiar technology; and recognizable environments created in a new way. The environments, colors and weightlessness all feel grounded in a way that is unique for a more fantastical space film, all of which helps keep the focus on what truly matters in the end: the film's emotional impact.

BEST SOUND EDITING
Ford v. Ferrari-David Giammarco, Eric A. Norris, Donald Sylvester and Jay Wilkinson

Revving engines. Screeching tires. Powerful crashes. Though these effects are not new to the world of film, they are given a weight and life in Ford v. Ferrari that feels new. The immersiveness of the sound effects is like nothing ever seen before, and they put the viewer right in the car with Ken Miles, racing ahead of the competition. This feeling of being in the car adds greatly to the sense of tension in the races, as it makes the audience feel as though they have a stake in the outcome.

BEST SOUND MIXING
Ad Astra-Tom Johnson, Gary Rydstrom and Mark Ulano

In space, sound cannot travel due to the lack of atoms needed to carry it. In film, a complete lack of sound, no matter how realistic, can take an audience out of the moment and out of the intended emotional impact of a scene. Striking a balance between silence and necessary background noise is a difficult highwire act, which Ad Astra flawlessly executes. The film is mostly a quiet one, but uses its sound properly to still create an atmosphere, and a soundscape. The emptiness of space, the business of human culture, and the thrill of space travel are all brought to life without breaking suspension of disbelief. THAT is exactly what great sound mixing should do

BEST MAKEUP AND HAIRSTYLING
Us-Camille Friend and Scott Wheeler

Many films with great makeup seek to create creatures, age or injuries without landing in the uncanny valley, where the near-but-not-quite resemblance to humanity can make viewers uncomfortable. Us dives straight into that valley, and does so in the best way possible. The tethered are a horrifying creation. Using subtle changes that make them look just-off from being human, the tethered inherently terrify and shake us to our core. It's hard to make a horror villain iconic instantly, but the makeup and hair team of Us pulled it off and made it look easy.

BEST COSTUME DESIGN
The King-Jane Petrie

With period pieces, there is often a tendency to go extra flashy and colorful with the costumes. While this is undeniably fun, The King instead errs for realism, with clothing that looks worn, dirty and somewhat gross. The plentiful armor is also very well used. Light and heavy armor are distinct and incorporated into battle strategy. Armor's protective power is also played straight, with it proving useful against slashing weapons, and a deathtrap in mud. The research, care and effort are are all on display throughout the runtime of the film.

BEST PRODUCTION DESIGN
1917-Dennis Gassner

I was amazed when I found that all of the sets in 1917 were built for the film. As obvious as it may seem in retrospect, every location feels so natural that it seems nearly impossible that they were all created just for a movie. The locations also could not simply rest on looking good. They had to service a constantly-moving camera that would be spinning around the actors, allowing for the camera to take shortcuts that would keep the actors in frame and for seamless transitions to new sets. The fact that the film had to accomplish all of this, and manages to do so without it being instantly recognizable shows just how effectively these tasks were carried out.

BEST CINEMATOGRAPHY
The Lighthouse-Jarin Blashke

Shooting in Black & White has a tendency to be used as a crutch. Though it is unique in this day and age, not every film shot this way justifies its use. The Lighthouse absolutely and entirely owns it lack of color. The stark look, along with the nearly square aspect ratio, takes us back in time, a necessary feat for the audience to accept the film's oddities and superstitions. The lack of color would not matter, however, if the captured images themselves were not absolutely powerful. Equal parts horrifying, beautiful and lonely, The Lighthouse was easily the most visually powerful film of the year.

BEST FILM EDITING
Parasite-Jinmo Yang

One of the most important aspects of editing is keeping the proper pace of a film. This pacing can have a great impact on the film's ultimate tone. Though most films aim for a consistent tone, a film that intentionally changes its tone can provide a unique challenge for it's editor. It is then to Jinmo Yang's credit that Parasite's tonal shifts never take the viewer out of the film. The film flits frequently between comedy, drama, thriller and occasionally horror, and every step of the way the pacing shifts effortlessly, connecting all of the genres into one story. Yang's continuity, craft and overall coherence represent a remarkable feat of filmmaking, owing to Parasite's singular experience.

BEST ORIGINAL SONG

I'm Gonna Love Me Again-Rocketman

Music by Elton John, Lyrics by Bernie Taupin

Considering that Elton John is a still-working songwriter, it would have been a real missed opportunity not to have him write a new song for the film about his life. The song he and collaborator Bernie Taupin created does not disappoint. I'm Gonna Love Me Again, sung by John and Taron Egerton, the actor who plays him in the film, is a fun and energetic tune, which also ties into the struggles Elton John faced during his life. The song is representative of a man who has overcome his hardships, and come out the other side a better person, and he's going to enjoy his new life as much as he can.

BEST ORIGINAL SCORE

The Last Black Man in San Francisco

I for one hope that this film is the start of a long and wonderful career for composer Emile Mosseri. The score for the film lends a feeling of magical realism to the otherwise fully grounded film. The themes of loneliness, regret and hope all weave together in what is simultaneously a grand symphony and an intimate personal theme. The film and the score both enhance the other, tugging at heartstrings, inspiring imagination and taking you to a world that is familiar while also being new. Such is the power of a great score, and a brilliant new voice in film music.

BEST ADAPTED SCREENPLAY

A Beautiful Day in the Neighborhood-Noah Harpster & Micah Fitzerman-Blue

Inspired by the article "Can You Say... Hero" by Tom Junod

It would have been easy to turn a film about Fred Rogers into a standard birth-to-death biopic. Instead, Noah Harpster and Micah Fitzerman-Blue took the story in a different direction, one which no doubt Mr. Rogers himself would have approved of. The film itself is an episode of the show, of sorts, but for adults. A Beautiful Day in the Neighborhood is a parable meant to teach adults about the benefits of kindness and forgiveness, and how they can make the world a better and happier place. In doing so the film does not shy away from the harshness that can and does exist in the world, but rather shows how that does not preclude the benefits of rising above that harshness. A simple, but beautifully poignant script that was turned into a simple, yet beautifully poignant film.

BEST ORIGINAL SCREENPLAY

Parasite-Bong Joon-Ho and Jin Won-Han

Story by Bong Joon-Ho

Parasite is, at its core, a satirical thriller about class relations in the modern day. It is also an ensemble drama about families trying their best to stay together and live in the best circumstances possible. Every single character is fully developed. Likable yet flawed. The film is hysterical, occasionally horrifying and always thought provoking. Though tied fully into the social constructs present in South Korea, Parasite feels universally acceptable worldwide. Parasite is not only the best screenplay this year, it is one of the best ever committed to film.

BEST SUPPORTING ACTRESS

Thomasin McKenzie-Jojo Rabbit

The role of Elsa in Jojo Rabbit provides a unique challenge. She is a child thrown into a situation beyond her control, wherein she cannot truly be a child any longer. Her interactions with the titular Jojo show a young person who is scared, angry, playful, sad and lonely, occasionally all at the same time. A late 2nd act scene where she must interact with others puts all of these traits at the forefront, and shows just what a talent Thomasin McKenzie is. She shows a wisdom beyond her years in her performance, fully disappearing into this difficult role. 

BEST SUPPORTING ACTOR

Willem Dafoe-The Lighthouse

Sometimes it is great to see a nuanced performance, where the meat is revealed in small looks and inflections of tone of voice. That is not this performance. In The Lighthouse Willem Dafoe goes so far over the top that he comes crashing back down to Earth, exploding in a crater of sheer theatrical brilliance. He plays a larger than life character in a larger than life way. Dafoe chews on two-minute-long monologues the way some actors spit out one-liners. It's a wonderfully batshit performance, and watching a brilliant actor like Willem Dafoe give it 150% is one of the greatest joys of this year.

BEST LEADING ACTRESS

Lupita Nyong'o-Us

Creating a sympathetic hero with a dark side is a great achievement for any actor. Creating a terrifying and completely original villain, who manages to somehow have understandable goals is a great achievement for any actor. Playing both of these roles in the same film, most often at the same time playing opposite each other is an achievement that is so singularly special that I cannot off hand think of a single other time it has happened. Giving what is, in my opinion, THE performance of the year, Lupita Nyong'o expertly flips between two sides of the same coin, inspiring fear, compassion, hatred and intrigue. She has proved herself to be one of this generation's most consistently fascinating performers.

BEST LEADING ACTOR

Baykali Ganambarr-The Nightingale

Watching The Nightingale it is hard to believe that it is Baykali Ganambarr's first acting performance. His role is so genuine, his character so fully lived in, that one assumes he has grown up in front of the screen. His character is one not often seen, an Aboriginal native who has learned to deal with the trauma he has been put through his entire life. The way he bonds with co-lead Clare and learns to take back some measure of control of his life makes for an engrossing and emotionally powerful film, despite it's intense brutality.

BEST CASTING

The Last Black Man in San Francisco-Julia Kim

Great casting can come in many forms. While much attention is paid to a casting director who can bring several big names together, The Last Black Man in San Francisco's Julia Kim accomplishes arguably a more difficult feat: creating a pitch perfect cast made up almost entirely of unknowns. Though the lion's share of the focus is on Jimmie Fails and Jonathan Majors, the rest of the cast bring so much history and personality to their roles that each and every minor character feels like a living breathing human being who goes on with their life whenever the camera isn't pointing at them. In truth, Julia Kim could this award solely for the discovery of Jonathan Majors. His Montgomery Allen is an incredibly unique character, breathed a heartfelt and joyful life by Majors. His friendship with star Jimmie Fails never shows a single moment of falsehood, and sets a new standard for emotional male friendships in film. 

BEST DIRECTOR

Jennifer Kent-The Nightingale

Many films before have been made about human atrocities, but it is often difficult for directors to resist sensationalizing the awful acts committed. Jennifer Kent manages to avoid this impulse to a greater degree than I have ever seen before. The violence and abuse are shown very bluntly, in a matter-of-fact manner that does not allow any entertainment value or "coolness" to be found, no matter how hard one may try. The violence then feels very real and incredibly disturbing. It is not just disturbing for its own sake, though. Treating these difficult scenes for what they are leads to a powerful arc for its two leads, as Kent highlights their journey learning to take what joy, friendship and control they can, and to continue living past the horrible events that have plagued them. Though it is one of the most difficult films to sit through that has ever been made, it is ultimately an incredibly powerful and rewarding experience, that I truly believe no other director could have pulled off. 

BEST PICTURE

Parasite

Parasite is one of the most impressive films in years. Universally watchable, endlessly entertaining, deeply thought-provoking, and a powerhouse of acting, writing, directing, and all other crafts. It's simply unfair how brilliantly made and put together this film is. There is truly something here for everyone to enjoy, to the degree that I truly think just about every single person who sees this movie would like it. It is a film that sticks with you, that you become excited to tell people about. So please everybody reading this, watch this movie. You will not be disappointed!