Culture Representation: This very filtered documentary about singer Taylor Swift takes an inside look at her life as a multimillionaire celebrity whose inner circle and career team are almost exclusively white, with a few African Americans who have brief appearances as employees or video collaborators.
Culture Clash: The movie gives Swift’s perspective on conflicts she’s had with her critics over her image, her feud with Kanye West, her love life, her 2017 sexual assault trial and her outspoken liberal views on politics.
Culture Audience: “Miss Americana” will obviously appeal mostly to fans of Swift, but the movie should also interest people who like behind-the-scene stories of entertainment celebrity culture.
Taylor Swift in “Miss Americana” (Photo courtesy of Netflix)
“Miss Americana,” a completely sympathetic documentary about Grammy-winning superstar Taylor Swift, could have been subtitled “The Emancipation of Taylor Swift.” The main narrative of the film is that she’s all grown up now, and she’s no longer afraid to speak her mind and go public about her liberal political views. While she undoubtedly gets candid in the film about many issues she’s faced in her life, and it’s ultimately a feel-good portrayal of Swift, the documentary (directed by Lana Wilson) has a lot of glaring omissions. The biggest one is that it completely ignores the massive public feud that Swift has with music moguls Scott Borchetta and Scooter Braun—a feud in which she’s publicly accused them of using their “toxic male privilege” (Swift’s words) to try to take away power from her and other artists.
What viewers of “Miss Americana” will get are several visual montages (on stage and off stage) of Swift’s career over the years, starting when she was an unknown 12-year-old singer/songwriter from Pennsylvania trying to break into country music, to being a Nashville-based, polished 15-year-old aspiring country star, to becoming one of the best-selling female music artists of all time. There’s the expected footage of her on stage, backstage, on the sets of her music videos, and in the recording studio, including showing some of the songwriting process for her 2019 album “Lover,” with cameos from songwriter/producer Jack Antonoff and Panic! At the Disco’s Brendon Urie.
Swift has transitioned from being a country singer to a pop star. It’s a transformation that could have happened because her musical tastes have evolved, but she also admits in the documentary that any changes she makes to her image are mostly because female artists feel more pressure than male artists to constantly reinvent themselves to remain relevant.
The beginning of the film shows Swift (who’s famously a cat fanatic) playing the piano while one of her Scottish Fold cats walks all over the piano. Swift then shares some of her childhood diaries, and comments: “My moral code, then and now, is to be good. The main thing I tried to be is a good girl. I was so fulfilled by approval, that was it. I became the person everyone wanted me to be.”
It’s a story that people have heard many times from people who were child stars: They’ve been so programmed to get approval from the public that they can lose their true identities and self-esteem in the celebrity machine. There are too many tragic stories of former child stars who’ve been unable to cope with growing up and becoming less popular as they get older. It’s an underlying fear that Swift admits that she has, because she’s constantly seeking approval from fans and she feels pressure to maintain a certain level of popularity. She’s also well-aware that there’s an age double-standard for female entertainers, who are more likely than male entertainers to be cast aside by the industry once they’re over the age of 35.
The documentary clearly shows that Swift (who turned 30 in December 2019) is very good at marketing herself, and it’s a skill that she learned early in her career. There’s a clip of her on stage in 2003, shortly after her country breakthrough single “Tim McGraw” was released, where she mentions the local country radio station and charmingly asks the audience to contact the station to play the song. The movie also makes a point of showing how Swift avoided going public for years about her political views after she became old enough to vote. Her standard response back then was that she was just a singer and people wanted to hear her sing and not tell them how they should feel about politics.
Swift’s songs are very autobiographical; she’s famous for writing songs about her love affairs and breakups. And because she’s dated a lot of famous men (mostly musicians and actors), her love life has already been thoroughly dissected by fans and the media. The documentary includes a montage of media coverage about her love life and how people’s perceptions of her have been affected by the media coverage.
British actor Joe Alwyn, whom she’s been dating since 2016, is briefly shown in the documentary, as he hugs Swift backstage after one of her concerts. Alywn is not shown speaking on camera, but there are some clips of candid off-stage cell-phone footage of Swift where it’s obvious that Alwyn is the one filming it, such as a clip where Swift is singing and then mouths the words “I love you” to the person filming. All that Swift will say about her romance with Alwyn is that she’s in love, and they both decided that they wanted to keep their relationship private. She doesn’t even say his name in the documentary.
What she does reveal in the documentary that hasn’t been made public before is that she’s had an eating disorder for years and is in recovery, but it’s still a struggle for her. She first mentions her eating disorder in the film when she says she no longer looks at photos of herself every day because it can “trigger” the feelings of insecurity that she has about her body. She then goes on to describe that for years, she thought it was normal to starve herself and feel the physical effects of extreme hunger. She now says that she has healthy eating habits and is comfortable if she’s “a size 6 instead of size 00,” but she says the relentless public scrutiny about her physical appearance can still deeply affect her.
Over the years, Swift has openly talked about how the person she is closest to is her mother, Andrea Swift, who is shown several times in the documentary as a constant companion to her daughter. That strong family support is clearly one of the main reasons why Swift has not become a casualty of fame. Andrea Swift’s cancer diagnosis (which Swift has talked about in other interviews, as well as in this documentary) is something that Swift says has had a profound effect on everyone in the family, and it’s why Swift places family and friends as the highest priorities in her life.
Much has already been said and written about the feud between Swift and Kanye West. In the documentary, Swift says that the notorious incident that started it all did long-lasting damage to her self-esteem. That incident was when West got up on stage and interrupted Swift’s acceptance speech after she won the prize for Best Female Video at the 2009 MTV Video Music Awards, and he shouted that Beyoncé’s “Single Ladies” video (which was nominated in the same category) “was one of the best videos of all time.”
Although West was universally slammed for that stunt, and he later made several public apologies, Swift says that at the time she was on stage during the incident, she thought the audience booing was meant for her, not West. She says in the documentary that it was the first time she felt so much negativity from an audience while she was on stage, and it was a “formative experience” that took her down a “psychological path, not all of it beneficial.”
Swift is a celebrity who became famous right when social media became part of the culture, so she’s experienced the highs and lows of social media on a learning curve. On the one hand, Swift is one of the most popular celebrities on social media, with followers that total in the hundreds of millions. On the other hand, when she does something that’s considered controversial, that huge level of attention can turn quickly against her.
The documentary mentions the enormous backlash that she received when West’s wife Kim Kardashian released a secretly recorded video of Swift talking to West over the phone and giving West the go-ahead to mention her in his 2016 song “Famous,” which had not been released yet at the time the conversation happened. The song lyric that mentioned Swift turned out be very derogatory and called her a misogynistic name. After the song was released, Swift claimed that she didn’t know her name would be used in that way, while West and his camp said she did know in advance. That’s when Kardashian released the video.
The documentary makes a point of showing how Swift was virtually bullied by West’s fans, including viral footage of an audience at one of his concerts chanting a derogatory statement about Swift. But the documentary does not mention how some of Swift’s fans on the Internet can be just as vicious in showing hate for people who dare to criticize Swift. Several celebrities who have clashed with Swift have talked about how her most fanatical fans can be bullies. Her public feuds with other celebrities (such as Katy Perry, Demi Lovato, Nicki Minaj, Justin Bieber and ex-boyfriends Calvin Harris, John Mayer and Joe Jonas) are not mentioned in the documentary, probably because Swift is no longer feuding with them.
Whichever side you believe in the controversy over “Famous,” Swift reveals in the documentary that all the hate she received from “cancel culture” was the main reason why she took a year-long hiatus and came back to the spotlight with her 2017 album “Reputation.” There’s some footage of Swift writing songs that ended up on the album, as well as a scene that shows her disappointment when she gets a call from a handler informing her that the album didn’t get any Grammy nominations in the major categories. (Don’t feel too sorry for Swift. She’s already got several Grammys, including two Grammys for Album of the Year.)
The movie also covers the lawsuit that made Swift go public about being sexually groped by a radio DJ, who later sued her because he was fired over that incident. Swift countersued for $1, to prove that he did grope her without her consent, and she wasn’t going to let him get away with blaming her for the crime he committed. Her $1 counterclaim was her way of telling the world that this issue wasn’t about the money for her. Swift famously won the lawsuit and became an advocate of the #MeToo movement.
In the documentary, Swift makes it clear that her #MeToo experience was the biggest catalyst to her political awakening and her decision to no longer remain silent over the progressive political issues that she wants to publicly support. One of the best parts of the documentary is showing what happened behind the scenes when she made the major decision to give her first political endorsement.
Swift says she was constantly told for her entire career “not to be like the Dixie Chicks,” the female country trio that lost a lot of fans in the early 2000s, after the group spoke out against Republican politics and the war in Iraq. But Swift’s #MeToo experience and the subsequent lawsuits opened her eyes to social justice issues, and she decided for herself: “The next time there’s any opportunity to change anything, you’d better know what you stand for and what you want to say.”
Her decision to go public with her political views didn’t sit well with several members of her team, who told her that she would be making a big mistake. In the movie, the objectors are shown to be all middle-aged men (including her father), who tried to scare her by saying that they were concerned that she would get more death threats and would lose half of her audience if she came out as a political liberal. But Swift firmly did not back down, even though there was some expected fear of the unknown.
The movie shows her apprehension and excitement that she and publicist Tree Paine had together in the moments before she posted her endorsement of Phil Bredesen (a Democrat) over Marsha Blackburn (a Republican) in the 2018 race for Tennessee U.S. Senator. Not only did Swift endorse Bredesen, but she also publicly slammed Blackburn for voting against laws that support rights for the LGBTQ community and female victims of violence. Ultimately, Blackburn won the election, but Swift says she’s hopeful that in future elections, the younger generation will vote to sway politics in a more progressive and inclusive direction.
As Swift says in the movie: “I feel really good about not feeling muzzled anymore. And it was my own doing. I needed to learn a lot before I spoke to 200 million people. But I’ve educated myself now, and it’s time to take the masking tape off of my mouth forever.”
While Swift is obviously a positive inspiration in many ways, as this documentary makes very clear, there are still aspects of “Miss Americana” that aren’t entirely candid. One of the biggest criticisms of Swift is that she has a tendency to portray herself as a victim when things don’t go her way. No one is expecting her to be perfect, but there’s a limit to Swift being honest about her life for this documentary.
Although she admitted to having issues about eating and her body image, not once does she admit to doing anything mean-spirited or cutthroat in her life. There’s no mention of any friends or lovers she might have tossed aside, no remorse or regret about not treating a loved one better, no acknowledgement of less-than-wonderful things she’s done to rivals or former business associates. In reality, no one gets to her level of success by being nice to everyone. In the documentary, the only mistake she admits to making is not being politically outspoken in 2016 for the U.S. presidential election.
For a “behind the scenes” documentary about an artist who’s risen to the top of the music industry, it’s very unrealistic for Swift to not acknowledge any experiences that she might have had with illegal drugs, alcohol, diet pills, prescription medication or even nicotine. If you were to believe everything that’s presented this movie, those things just don’t exist in Swift’s world. The worst “vice” that Swift shows on camera is uttering a few curse words. The documentary might look “revealing” to many people who don’t know what really goes on behind the scenes in the entertainment industry, but for those who do know what really goes on, it’s very obvious that “Miss Americana” is very white-washed indeed.
The narrative here is that bad things keep happening to Swift (stalkers, intrusive paparazzi, tabloid media, haters on the Internet), and she always finds a way to triumph and overcome it all. That is, except for the battle that she lost against Borchetta and Braun, which is not mentioned at all in this documentary. It’s obvious that Swift and/or the documentary’s filmmakers didn’t want to put anything in the movie that would weaken Swift’s “female empowerment” image that she wants to have.
In July 2019, Swift went on the Internet to post a lengthy rant accusing Borchetta (the founder of Big Machine Records, her former record company) of unscrupulously taking her pre-2019 song catalogue and selling it to music manager Braun, whom Swift considers an enemy because Braun was West’s manager during the worst of Swift’s feud with West. Swift claims that she and her management/publishing team (which includes her father, Scott Swift) weren’t given a fair opportunity to buy these master recordings of her songs. Borchetta vehemently denies the accusation, and says that Swift had a chance to buy the songs but she didn’t agree to the deal that was presented. The “he said/she said” fight blew up to such an extent that many celebrities jumped into the fray by either taking Swift’s side or the Borchetta/Braun side.
For all of Swift’s preaching about female empowerment in this documentary, it’s odd that she and this movie’s director have cut out this chapter of her life that Swift has tried to present as part of her fight against male sexism. She used the feud as a platform to speak out about not only male sexism but also artists’ rights and what kinds of contracts artists sign that could have long-lasting effects on their careers.
Swift has presented herself as an outspoken advocate for artists’ rights before (her push to get Spotify to pay reasonable artist royalties is one example—something that’s also not mentioned in the movie), so it’s a major setback in her life and her career that one of her enemies now owns the vast majority of her songs. The fact that this life-changing experience wasn’t even acknowledged in the documentary indicates how much of a public-relations showcase “Miss Americana” is instead of a complete behind-the-scenes look at her life.
The documentary seems to want people to forget that Swift’s feud with Borchetta/Braun ever happened, even though she was the one who took the feud public in the first place and ended up getting a lot of backlash from people who think she misrepresented herself as a victim in this situation. Rather than being fully honest and sharing what she learned from this undoubtedly painful experience, Swift probably told the filmmakers directly or indirectly not to put it in the movie. Let’s be real: Even though she’s not listed as a producer of “Miss Americana,” she obviously had a lot of creative control over this documentary, based on what they chose to show and what they chose not to show.
Also absent from the documentary is any mention of Swift’s attempts to become a movie actress, which have resulted in her appearing in flops such as 2014’s “The Giver” and 2019’s “Cats.” Anything that makes Swift look like a failure or someone who made a really bad career decision is essentially shut out of the documentary. Instead, “Miss Americana” ends with Swift winning Video of the Year at the 2019 MTV Video Music Awards for “You Need to Calm Down,” her platform to show her as an ally to the LGBTQ community. The award show took place on August 26, 2019—several weeks after she started feuding with Borchetta and Braun, so there was plenty of time to include the feud in the movie.
Another thing the documentary makes clear is that even though Swift talks a lot about female empowerment, her team is led by men, while women are mostly relegated to traditionally female roles, such as publicist, backup dancer, makeup artist and hair stylist. There are several scenes in the movie where Swift is the only woman in the recording studio. Why not hire more female musicians, producers and engineers? Swift has the power to do that, so there’s really no excuse.
Beyoncé has an all-female touring band of musicians (and so did Prince), so there are artists who are actually doing something about breaking barriers for women in the music industry. It remains to be seen if Swift will take a lot of her talk about female empowerment in the music industry and actually be an agent for change. If she ever wins Album of the Year at the Grammys again, we’ll see if she’s surrounded by a diverse group of people on stage who would share the award with her, instead of the same men who constantly get preferential treatment in the music industry.
For now, “Miss Americana” shows that Swift wants to spread a progressive political agenda and she wants to be praised as a symbol for female empowerment. But if she really wants to empower more women in the industry, she can start with the people she hires to make music with her and who she puts in charge of her business interests, instead of blaming other people for being the problem.
Netflix premiered “Miss Americana” and released the movie in select U.S. cinemas on January 31, 2020.
Culture Representation: This documentary only interviews U.S. Supreme Court Justice Clarence Thomas and his wife, Virginia “Ginni” Thomas, who are upper-class religious conservatives.
Culture Clash: In the movie, Clarence Thomas tells his life story, including conflicts he’s had over politics, race and his biggest scandal: allegations from Anita Hill (a law professor and former co-worker) that he repeatedly sexually harassed her.
Culture Audience: “Created Equal” will appeal primarily to conservatives and admirers of Clarence Thomas, but people of any or no political persuasion might be curious to see the movie because it’s a rare video interview of Thomas as a sitting U.S. Supreme Court Justice.
Virginia “Ginni” Thomas and Clarence Thomas at their 1987 wedding. (Photo courtesy of Justice Thomas)
Regardless of what people might think of U.S. Supreme Court Justice Clarence Thomas, he’s certainly led a life of extremes. Born in 1948 as the middle child of a single mother who was a maid (his father left the family when he was just 2 years old), he’s gone from growing up poor in segregated Pin Point, Georgia, to becoming a wealthy member of society’s elite as a U.S. Supreme Court Justice. He’s gone from being a radical left-wing Democrat who shared the same views as Black Panthers to becoming a Libertarian and then a conservative Republican. He’s gone from being the chairman of the Equal Employment Opportunity Commission (EEOC) to being someone whose reputation will be forever tainted by allegations from women (most notably, Anita Hill) that he sexually harassed them. Thomas denies all of these allegations.
What does Thomas think about his life and how he’s dealt with his biggest challenges? He thinks he’s a misunderstood survivor who’s been able to withstand the constant criticism and prejudices he’s faced his entire life. From an early age, his own mother described him as “stubborn.” For better or worse, he says that stubborn personality trait has both hurt and helped him through his toughest obstacles.
This narrowly focused biographical documentary (directed, written and produced by Michael Pack) interviews only two people: Clarence Thomas and his second wife, Virginia “Ginni” Thomas. There’s nothing inherently wrong with having the couple as the only people interviewed in the film, but if the filmmakers wanted to stay true to the subtitle of the documentary (“Clarence Thomas in His Own Words”), it would have been a better choice to only interview Clarence Thomas and stick to that concept. Ginni Thomas (who is an advocate/fundraiser for politically conservative groups) is clearly an adoring and devoted wife, but her unwavering support of her husband is expected and doesn’t add anything new or particularly insightful to this profile of Justice Thomas.
By having a spouse interviewed for this film, it looks more like a family home movie, and it opens up other questions: If someone other than the documentary subject is going to be interviewed, why not just interview more people who know Clarence Thomas too? Having several interviews with various people would have been a more conventional way to make the documentary, but if the filmmakers wanted to take the more unconventional approach of it being a movie about Clarence Thomas reflecting on his life “in his own words,” it would have been more consistent with this first-person-viewpoint premise to just let only Justice Thomas take the proverbial podium.
Fortunately, the filmmakers took a responsible approach by including the good, the bad and the ugly aspects of Clarence Thomas’ life. Some people might assume before seeing this documentary that it’s a very one-sided film, but the criticism and scandals that Clarence Thomas have faced over the years are not ignored and actually get more screen time than a lot of people might expect. Even if the documentary doesn’t have new interviews with Clarence Thomas supporters (except for his wife) or detractors, other perspectives are shown though archival news footage and other media coverage. Many of the editorials that blast Thomas for being a “race traitor,” “Uncle Tom” and accused “sexual harasser” are included in the film. Footage of protests and speeches against him are also part of the documentary.
The interviews with Clarence Thomas and Ginni Thomas are done in close-up, in a stark room that could pass for a TV studio. Documentary filmmaker Pack (who doesn’t appear on camera) is sometimes heard asking the questions. Clarence Thomas’ demeanor ranges from calm and almost detached when he describes much of his youth to emotionally agitated when he talks about attacks he says he’s endured from his critics and enemies.
He previously opened up extensively about his life in his 2007 book, “My Grandfather’s Son: A Memoir.” Therefore, much of that information is repeated in this documentary. The film also includes excerpts from the audio book. One of the best qualities of “Created Equal: Clarence Thomas in His Own Words” is its skillful editing of archival footage to put into context a lot of what is being said on screen.
The first half of the movie covers Clarence Thomas’ life before he was nominated for the U.S. Supreme Court. A crucial turning point in his childhood was when he and his younger brother were sent to his mother’s parents: Myers Anderson (whom Clarence Thomas describes as “stern”) and Christine Anderson (whom he describes as “sweet as can be”).
Myers Anderson would end up being the most influential adult in Clarence Thomas’ life, and it’s clear that it was his approval that Clarence Thomas wanted the most. Myers Anderson was a farmer who dropped out of elementary school and could barely read and write, but he instilled in Clarence the importance of education, hard work and discipline. Clarence Thomas was educated at Catholic schools, which led to his enrollment as the only black student at Conception Seminary College in Conception, Missouri. In 1968, he left Conception Seminary College after becoming disillusioned with the Catholic Church for refusing to be pro-actively involved in the civil-rights movement and after hearing a racist remark from a seminary priest who allegedly said that Martin Luther King Jr. deserved to be assassinated.
Clarence Thomas’ grandfather Myers was so upset that Clarence quit college that he kicked Clarence out of the house, and they were estranged for many years, even after he enrolled as a student at College of the Holy Cross in Worcester, Massachusetts. Clarence Thomas then became a left-wing Democrat in his late teens and early 20s. Although he’s a Catholic, Thomas says in the documentary that race issues became his primary religion at that time in his life. He met his first wife, Kathy Ambush (a fellow student), while at Holy Cross, and they married the day after his graduation in 1971.
While enrolled in Yale Law School, he became a “lazy Libertarian,” as he says in the documentary. And after the birth of his first and only child, Jamal, his political views began to sway more to the right when he saw the effects of forced integration through busing of black students to predominately white schools, and white students being bused to predominantly black schools.
Clarence Thomas says the violence and other disastrous effects of the forced school busing convinced him that it was an ineffectual way to achieve racial equality. As he says in the documentary: “Nobody was going to have some social experiment and throw my son in there.” Even though Clarence Thomas would eventually mend his relationship with his grandfather Myers, he says in the documentary that it still hurts him deeply that his grandfather and other family members did not attend his graduation from Yale.
If Myers Anderson was the most influential person in Clarence Thomas’ life, then John “Jack” Danforth (a former U.S. senator and attorney general for Missouri) was the most influential person in Clarence Thomas’ career. Thomas says that after he graduated from Yale, it was difficult for him to get a job—and he makes it clear that it was probably because of racism. As Thomas tells it, Danforth was the first and only person at the time who offered him a job: as an assistant district attorney. Thomas was reluctant to take the offer since Danforth was a Republican, and Thomas didn’t like Republicans at that time. But he ended up taking the job, which opened up new opportunities for him, including becoming chairman of the EEOC, a position he held from 1982 to 1990.
In 1981, Clarence Thomas and first wife Kathy separated, and they divorced in 1984. In the documentary, he is abrupt and vague when asked why his first marriage fell apart. He says that “things just didn’t work.” And when the interviewer comments that the divorce must’ve been hard on everyone, Clarence Thomas also comments in a dismissive tone when describing his feelings at the time: “Yeah, well you live with it.”
As reluctant as he is to talk about his first marriage, he practically gushes when talking about his marriage to Republican lobbyist Virginia “Ginni” Lamp, whom he calls “a gift from God.” They met at a political conference and got married in 1987. Ginni’s political influence and connections no doubt affected her husband’s life because by 1989, Clarence Thomas was a federal judge appointed by President George Bush Sr.
Becoming a federal judge was not something that Thomas says he really wanted, but he was convinced to take the position by Bush and other Republican power players. Clarence Thomas’ career trajectory, by his own admission, follows a certain pattern: He showed initial reluctance to take an opportunity given to him by a Republican, starting with his first post-law-school job with Danforth (who became his unofficial mentor) and then continuing to President George Bush Sr. appointing him as a federal judge and then nominating him as a U.S. Supreme Court Justice. Thomas already talked about it in his memoir, but he reiterates in the documentary that he really had no ambitions to be a U.S. Supreme Court Justice, and he was surprised that Bush nominated him.
It’s clear that Thomas’ acceptance by Republicans who had a positive affect on his life and career are eventually what changed his outlook toward the Republican Party. He no longer considered Republicans his enemy; he considered a lot of Republicans to be his allies and friends. It’s quite an about-face from the former hardcore left-wing Democrat. To understand why Thomas is the way he is now, he gives some insight when he says in the documentary that he’d rather deal with people who are open about being bigots, compared to liberals who claim to be open-minded but are really hypocrites who also practice selective discrimination.
The second half of the movie (the part that many people would consider the most newsworthy) covers the controversial 1991 U.S. Senate hearings over Clarence Thomas becoming a U.S. Supreme Court Justice and Anita Hill’s allegations and what life has been like for Thomas since then. “The attacks started immediately,” Thomas says in the documentary, as his demeanor and voice change from calm to fired-up.
He also doesn’t mince words over why he thinks so many people opposed his confirmation as a U.S. Supreme Court Justice. He claims that the Senate hearings were a witch hunt against him by Democrats who tried to trap him into publicly voicing his opinion on abortion. And he believes that his opponents have this opinion of him: “This is the wrong black guy.”
Throughout much of the film, Clarence Thomas states that because he’s a conservative, he doesn’t fit the mold of what people think black men should be—and that makes people uncomfortable. But, as he points out, the idea that black people and other people of color should automatically be politically liberal is in itself a racist stereotype. He’s also unequivocal in stating that he thinks many liberals (especially those in the media) are hypocritical when it comes to free speech, since conservative viewpoints are frequently excluded and discriminated against.
As for Hill’s allegations, Clarence Thomas still denies them all. He and Ginni show a lot of anger and indignation in describing how the allegations nearly destroyed his life, but they also express gratitude to the people who supported them throughout the controversy. The hearings, presided over by then-Delaware U.S. Senator Joe Biden, included salacious accusations that while Clarence Thomas was Hill’s supervisor at the EEOC in the early ’80s, he persistently asked her out on dates, which she says she refused. Hill also said that Thomas commented to her on the size of women’s breasts, and he described to her in explicit detail the pornography that he liked to watch.
Regardless of which side people were on, the hearings undoubtedly made sexual harassment an issue that got more news coverage than it had ever gotten before, long before the #MeToo movement ever existed. The controversy also sparked debates over how an accuser should be judged for when and how the accuser comes forward with the allegations. Clarence Thomas’ nomination to the Supreme Court was approved by a U.S. Senate vote of 52 to 48.
Clarence Thomas, who says he never watched Hill’s testimony, comments in the documentary that the FBI told him that Hill’s allegations were uncorroborated. However, in all factual fairness, Hill did have several witnesses testify that she told them about the alleged harassment at the time the harassment allegedly happened. Clarence Thomas does not comment on these witnesses’ sworn testimonies in this documentary, and it’s unknown if the filmmakers asked him to comment on those testimonies and reports that there were other female accusers who came forward but were not called to testify. Likewise, Ginni Thomas does not comment in the documentary about the voice mail she left for Anita Hill in 2010, when she called Hill’s office at Brandeis University and asked her when she was going to make an apology for lying about the harassment.
That voice mail message serves as the opening for the 2014 documentary “Anita Hill: Speaking Truth to Power” (directed by Freida Lee Mock), which chronicled the sexual harassment controversy and Hill’s current life as a public speaker and advocate for human rights. That documentary was also very sympathetic to its subject, since almost everyone who was interviewed is a supporter of Hill.
Why is Clarence Thomas doing an authorized documentary about himself now? One can only speculate, but the timing is interesting. History seemed to repeat itself in 2018 with the politically divisive confirmation of Brett Kavanagh (a conservative Republican) as a U.S Supreme Court Justice. Kavanaugh also faced accusations of sexual misconduct that allegedly took place several years before and were made public shortly after he had been nominated for the Supreme Court. Kavanaugh’s nomination was approved by the U.S. Senate in a 50 to 48 vote. And no, Clarence Thomas does not comment on Kavanaugh in this documentary. That’s not a surprise, because it would be rude and unprofessional for Thomas to publicly comment on fellow U.S. Supreme Court Justices when they currently working together.
Thomas’ participation in this documentary will inevitably be compared to U.S. Supreme Court Justice Ruth Bader Ginsburg’s decision to participate in the 2018 hit documentary “RBG” (directed by Julie Cohen and Betsy West), which received several awards and an Oscar nomination for Best Documentary Feature. “RBG” had unprecedented access to Ginsburg, including showing her doing her physical workout routines and spending time with her family. “RBG” also devoted a lot of time to Ginsburg’s legacy in the legal profession, by giving history lessons about many landmark court decisions that resulted from her work.
“Created Equal: Clarence Thomas in His Own Words” doesn’t go into any real depth over about his decisions while serving on the U.S. Supreme Court, but he does address why he’s known for not asking a lot of questions when cases are argued before the Supreme Court. He explains that oral and written arguments should have all the information he needs to make a decision. The documentary also points out that he has written more opinions on cases than any of the current U.S. Supreme Court Justices.
It isn’t until the near the end of “Created Equal: Clarence Thomas in His Own Words” that the documentary breaks from the one-on-one interview format and shows new footage of Thomas outside of the interview room. In one scene, he’s talking with and joking around with some of his clerks, and it shows a more light-hearted, humorous side to him. Ginni comments in an interview that her husband is not an Ivy League snob, since he goes out of his way to hire clerks who aren’t from the Ivy League.
At the end of the film, Clarence Thomas also mentions that he and Ginni love to travel by RV around the United States, to under-the-radar places where they can connect with everyday people. (There are brief photo flashes of the couple on these trips.) That’s the kind of documentary video footage a lot of people might want to see, but Clarence and Ginni Thomas seem to be too private for that kind of filmmaking.
“Created Equal: Clarence Thomas in His Own Words” probably won’t change a lot of people’s minds about Clarence Thomas if they are vehemently for or against him. But for people who can be more objective and want to look at both sides of the Anita Hill/Clarence Thomas controversy, this documentary can be viewed in addition to “Anita Hill: Speaking Truth to Power” to get these different perspectives, so people can make up their own minds.
Manifold Productions released “Created Equal: Clarence Thomas in His Own Words” in select U.S. cinemas on January 31, 2020.
Culture Representation: A documentary about the disastrous and tragic Altamont concert headlined by the Rolling Stones in 1969, “Days of Rage” focuses on the era’s youthful counterculture movement and the business of rock music, as represented by white men who are British and American.
Culture Clash: In addition to showing a history of the 1960s counterculture and Generation Gap, the movie also examines how violence affected the factions of pop culture that were involved in the Altamont concert.
Culture Audience: “Days of Rage” will appeal primarily to Rolling Stones fans and people interested in learning more about how the Altamont concert became a notorious example of the dark side of the 1960s counterculture movement.
Rolling Stones lead singer Mick Jagger (pictured at far left) on stage at the 1969 Altamont concert, in a photo still from “Days: of Rage: The Rolling Stones’ Road to Altamont” (Photo courtesy of Vision Films)
The first thing you should know about the absorbing documentary “Days of Rage: The Rolling Stones’ Road to Altamont” is that the Rolling Stones are not interviewed for this film. The second thing you should know is that the movie is not a rehash of “Gimme Shelter,” the 1970 documentary from director brothers Albert and David Maysles that chronicled the Rolling Stones’ ill-fated free Altamont concert in the San Francisco area on December 6, 1969. Even without the Rolling Stones’ participation, “Days of Rage” is a riveting historical account that explores much more than the Rolling Stones’ performance at Altamont concert. The movie takes an overall look at the circumstances and culture that led up to this tragic and violent event, during which an African American man named Meredith Hunter was stabbed to death in the audience by Hell’s Angels gang members while the Rolling Stones were performing “Sympathy for the Devil.” (The band didn’t perform the song for years after the tragedy happened.)
People who are interested in this documentary, which clocks in at a little over 100 minutes, should also know that the descriptions of the Altamont concert don’t come until the last third of the movie. The first two-thirds of the movie are a deep dive into how rock music and youth culture influenced each other in the 1960s, and led to the rise of the era’s counterculture movement. The 1960s counterculture was defined by rebellion against traditional establishment customs, and it included Vietnam War protests, liberal/left-wing politics, sexual liberation and rampant drug use, with marijuana and LSD being popular drugs of choice. Even though Altamont and the Rolling Stones are used as a hook in the title to sell this documentary, the movie is really about issues much larger than a rock band and a concert. The background information on how the 1960s counterculture happened might not be very revealing to aficionados who already know about the counterculture movement, but the documentary is a compelling visual journey into this part of history, regardless of how much knowledge people have about it.
Fortunately, director Tom O’Dell, who also wrote and edited “Days of Rage,” has constructed the story in such a fascinating way that viewers shouldn’t mind how long it takes for the film to get to the details of Altamont, since the preceding content provides much-needed context to explain how the Rolling Stones ended up in the most tragic moment of the band’s history. Unlike many unauthorized films about famous entertainers that are released direct to video, this isn’t a shoddy, “fly by night” money grab that interviews people with questionable credibility who have no connection to the artist. Two of the key people who were in the Rolling Stones’ inner circle in 1969 and who were at Altamont are interviewed for “Days of Rage”: former Rolling Stones tour manager Sam Cutler and Ronnie Schneider, who was a producer of the Rolling Stones’ 1969 tour.
The quality of “Days of Rage” is on par with a news documentary on CNN or BBC. Much of the Rolling Stones archival video footage in the documentary is from ABKCO, the company that owns the rights to most of the band’s 1960s recordings and official video archives. There are also clips from Rolling Stones documentaries, such as “Gimme Shelter,” “Sympathy for the Devil” and “Stones in the Park.” Given that “Days of Rage” is a low-budget independent film, the filmmakers wouldn’t have been able to afford the rights to license original recordings of Rolling Stones songs for use in the documentary, so generic facsimile music is used as the soundtrack instead, except for one snippet of the original recording of the Rolling Stones’ “Street Fighting Man.”
The documentary also includes the expected representation of authors and journalists (a mix of Brits and Americans) who provide commentary. They include “The Rolling Stones Discover America” author Michael Lydon, who attended the Altamont concert as a journalist; Rolling Stone magazine contributor Anthony DeCurtis; journalist Nigel Williamson, who’s known for his work for Uncut and Billboard magazines; “Altamont” author Joel Selvin, who was the San Francisco Chronicle’s pop-music critic from 1972 to 2009; Grateful Dead historian Peter Richardson; “Rolling Stones: Off the Record” author Mark Paytress; photographer Gered Mankowitz, who took some of the most iconic photos of the Rolling Stones in the 1960s; “1968 in America” author Joel Kaiser; and Keith Altham, who was a writer/editor at NME from 1964 to 1967, and who later became an entertainment publicist whose clients included the Rolling Stones. All of these talking heads provide articulate and insightful viewpoints. The documentary also benefits from the appealing British narration of Thomas Arnold.
The first third of the movie delves into the 1960s British Invasion (rock/pop acts from Great Britain taking over the American charts), the influential London youth culture, the Generation Gap and the Rolling Stones’ image as the rebellious antithesis to the more family-friendly Beatles. It was an image that was carefully crafted by Andrew Loog Oldham, a former publicist who was the Rolling Stones’ manager/producer from 1964 to 1967, when he was ousted in favor of American manager Allen Klein, whose background was in accounting. It was Klein who was a key player in the Rolling Stones getting lucrative record deals and becoming a top touring act, but he is described in most historical accounts of the Stones as a greedy bully who was involved in legal battles with the Stones for years after they fired him in 1969. (Klein, who died in 2009, founded the aforementioned ABKCO.)
The second third of the movie covers the rise of the counterculture in the mid-to-late 1960s, particularly in San Francisco, the home base of the Grateful Dead, which used Hell’s Angels gang members as peaceful security employees during the band’s concerts. (The Hell’s Angels were far from peaceful at Altamont.) All of these changes in society took place during the rise of LSD gurus Ken Kesey and Timothy Leary; California’s influential 1967 mass gatherings the Human Be-In (in San Francisco) and the Monterey Pop Festival; increasingly violent political protests; and the 1968 assassinations of civil-rights leaders Martin Luther King Jr. and Robert Kennedy.
During this era, the Beatles and the Rolling Stones (who had almost parallel careers in the 1960s) were part of the soundtracks to millions of people’s lives. The documentary notes the contrast between the two bands in the pivotal year of 1967: While the Beatles triumphed with the universally praised, artful masterpiece album “Sgt. Pepper’s Lonely Hearts Club Band” and with anthems such as “All You Need Is Love,” the Rolling Stones stumbled with the critically panned album “Their Satanic Majesties Request” and the sardonic “We Love You” single, which failed to resonate with audiences on a wide level. The Rolling Stones were further sidelined in 1967 by legal problems for lead singer Mick Jagger, rhythm guitarist Keith Richards (the two chief songwriters of the Rolling Stones) and lead guitarist Brian Jones, who all got busted for drugs, resulting in jail time and scandalous trials.
But with civil unrest happening in many parts of the world, the Stones returned with a vengeance to the top of their game, marking the beginning of what many music historians and Stones fans consider to be the band’s best and most creative period in the late 1960s to early 1970s. The zenith of the Rolling Stones began in 1968 with the release of the single “Jumpin’ Jack Flash” and the “Beggars Banquet” album, which included other Stones classics such as “Sympathy for the Devil” and “Street Fighting Man.” By 1969, the Stones were ready to tour again, this time with new guitarist Mick Taylor, the replacement for Rolling Stones co-founder Jones, who died by drowning on June 3, 1969, less than a month after he left the band. It was the first major lineup change to the Rolling Stones since the band began making records in 1963. The lineup was rounded out by drummer Charlie Watts and bass player Bill Wyman.
The Rolling Stones’ first concert with Taylor was a massive free show (with an estimated 250,000 to 500,000 people in attendance) at London’s Hyde Park on July 5, 1969, with the concert’s focus changing into a tribute to Jones because of his unexpected death. Even though the Hyde Park show was generally considered one of the worst concerts the Rolling Stones ever performed (their playing was out-of-tune and ragged), the show was a peaceful event with security provided by the British Hell’s Angels. The Hyde Park concert planted the seed for the idea of the Rolling Stones headlining a similar gigantic free concert in America, especially after the Woodstock Festival in August of 1969 became a cultural phenomenon. The Rolling Stones did not perform at Woodstock or the Monterey Pop Festival, and the documentary mentions that Jagger was particularly keen on performing at a huge counterculture event in America.
And when the Grateful Dead’s co-manager Rock Scully suggested that the Rolling Stones headline a free, one-day, Woodstock-inspired festival in San Francisco, with security provided by the Hell’s Angels, plans were set in motion for the concert that would become Altamont. In addition to the Rolling Stones, other bands on the bill were the Grateful Dead, Santana, Jefferson Airplane and the quartet Crosby, Stills, Nash & Young. All four of these California-based acts except for CSN&Y member Neil Young had performed at Woodstock. The Rolling Stones’ “Let It Bleed” album (which included the classic single “Gimme Shelter”) was scheduled to be released just one day before the Altamont concert, which was essentially supposed to be a high-profile launching pad for the album.
The documentary points out that the British Hell’s Angels who provided security at the Rolling Stones’ Hyde Park concert were pussycats compared to their violent counterparts in America. Selvin further notes that the San Francisco chapter of the Hell’s Angels that the Grateful Dead worked with were much more benevolent than the “thugs” of the San Jose chapter of the Hell’s Angels who ended up committing the majority of the mayhem at the Altamont concert. The festival was so mismanaged that it never would have happened by today’s standards, due to all the present-day safety/insurance requirements and liability prevention policies that most U.S. cities, concert venues and promoters have. Plans to have the concert at Golden Gate Park in San Francisco were scrapped after the city refused a permit because the park wasn’t large enough for the expected audience size. The concert location was then changed to Sears Point Raceway in suburban Sonoma, but two days before the show, that concert site was cancelled after the Sears Point Raceway owners demanded exorbitant fees that the concert promoters weren’t willing to pay.
Out of sheer desperation, the concert was moved to the Altamont Speedway in suburban Livermore. The site, which was in a state of disrepair, was woefully ill-equipped to handle the crowd of an estimated 300,000 people who showed up. There were major problems with inadequate space, sanitation, food and medical facilities. Making matters worse, the stage was dangerously close to the crowd. At the Sears Point Raceway, the stage had been safely located at the top of a steep incline, so it was inaccessible to the audience. At the Altamont Speedway, the opposite was true—the stage had to be built at the bottom of an incline—so it was very easy for audience members to slide down the incline and reach the bottom of the landfill pit where the stage was located. Attempts to put barricades around the incline proved to be ineffective.
Even with these production problems and the large quantities of illegal drugs taken by the audience, people interviewed in the documentary say that the concert would have been relatively peaceful if there hadn’t been a bad group of Hell’s Angels inflicting an excessive and disturbing amount of violence on innocent people. The documentary has a harrowing account of the inescapable sounds of people being beaten with pipes and other weapons by the gang members. And a few band members weren’t spared from the violence either. Jefferson Airplane singer Marty Balin was beaten when he tried to stop a Hell’s Angels assault. Jagger, upon arriving at the concert site, was punched in the face by a drugged-out audience member. Band members pleaded several times on stage for the violence to stop, but those pleas were essentially ignored, and it wasn’t unusual for a Hell’s Angel member to get up on stage and threaten the performers.
The Grateful Dead got so freaked out by the violence that they refused to perform and immediately left the area. Schneider, a nephew of former Rolling Stones manager Klein, was one of the chief people responsible for promoting the concert, and he partially blames the Grateful Dead for the escalating Altamont violence, because the band abandoned the show. Schneider believes that if the Grateful Dead had played, the band’s laid-back jamming would have mellowed out the audience. Instead, there was nothing to fill the long time gap left by the abrupt departure of the Grateful Dead, and the audience had to wait for hours before the Stones arrived, further ramping up the tensions and violence.
There are graphic descriptions of what happened during and after the murder of audience member Hunter. According to eyewitnesses, his bloodied body was shockingly placed on stage and then backstage during the Rolling Stones’ performance, in order for his body not to be further violated by the angry and out-of-control Hell’s Angels. These descriptions are not in the “Gimme Shelter” documentary, which rightfully edited out the most disturbing footage of the murder. (Hell’s Angel member Alan Passaro, who was arrested for the stabbing, claimed self-defense because Hunter had pulled out a gun. Passaro was later tried and acquitted of the murder in 1971.) Some of the commentators, especially Selvin, want it to be known that the Rolling Stones perpetuated a myth that the band didn’t know about the murder until after their performance. Selvin said that the lights were so bright on stage (since the concert was being filmed) and the audience was so close to the stage that it was impossible for people on stage not to see all the violence being committed just a few feet in front of them.
The documentary also includes a photo of Jagger looking at a group of people standing around what is said to be Hunter’s dead body on stage. According to Selvin, it was Jagger’s decision for the Rolling Stones to continue performing, even after Jagger knew that someone had been murdered during the band’s set. Since Jagger has not publicly discussed the murder in detail, and he’s not interviewed for this documentary, his side of the story isn’t presented. However, the implication from the Rolling Stones insiders (Cutler and Schneider) who were at the Altamont concert and who were interviewed for this film is that Jagger probably thought that the violence would get worse if the Stones didn’t finish their performance.
Richards briefly told his memories of Altamont in his 2010 memoir, “Life,” but he did not go into any of the gruesome details. Wyman (who quit the band in 1993) ended his 1990 memoir, “Stone Alone,” with the death of Jones, who died six months before Altamont happened. Wyman barely mentioned Altamont in his 2019 biographical documentary “The Quiet One.” Taylor (who quit the Rolling Stones in 1974) and Watts have also not opened up publicly about how much of the murder and body disposal they saw.
Even if you’re a die-hard Rolling Stones fan who’s read numerous accounts of the Altamont concert or if you’ve seen “Gimme Shelter,” watching “Days of Rage” will still make an impact in showing how the peace and love dream of the ’60s counterculture turned into a sickening and brutal nightmare that’s also a cautionary and very tragic tale.
Vision Films released “Days of Rage: The Rolling Stones’ Road to Altamont” on VOD and digital on January 7, 2020.
Directed by Rachel Leah Jones and Phillipe Bellaïche
Hebrew with subtitles
Culture Representation: Taking place in Israel, this documentary has mostly Israeli Jews with a significant representation of Palestinian Muslims.
Culture Clash: This entire movie is about how the longtime and ongoing conflicts between Israeli Jews and Palestinian Muslims affect the criminal-justice system in Israel.
Culture Audience: “Advocate” will appeal primarily to those who like arthouse international documentaries that cover civil rights, legal issues and criminal justice from a left-wing/liberal point of view.
Lea Tsemel in “Advocate” (Photo courtesy of Film Movement)
Controversial attorney Lea Tsemel has gotten used to being called a traitor and a “devil’s advocate” in her native Israel, because her specialty is representing Palestinian Muslim minorities in Israel who are usually accused of violent acts of terrorism or hate crimes. Tsemel says her clients are frequently targeted for unfair criminal prosecutions and are given harsher sentences than non-Muslims. A self-described left-wing activist, Tsemel is Jewish (most of her family members on her mother’s side were murdered in the Holocaust), but she’s not overtly religious. Her true religion is taking up causes for people she considers misunderstood underdogs and fighting a criminal-justice system that she says is biased against them.
Tsemel says she is not anti-Israel, but she will usually side with those she sees as being persecuted and deprived of their civil rights. Instead of cowering from the onslaught of hateful criticism that she gets from much of the Israeli public, she uses it has a badge of honor that she’s doing something right in shaking up a system that she wants to hold accountable for civil-rights violations. “Advocate” directors Rachel Leah Jones and Phillipe Bellaïche have made a compelling portrait of Tsemel by alternating between up-close access to her present-day life and archival footage that shows glimpses of her past.
Born in 1945, Tsemel is at an age when most people have settled into retirement. However, she shows no signs of slowing down. Her reputation of being a tough defense lawyer is one she’s had since she began practicing law in the 1970s, but her iconoclastic activism started long before she became an attorney. In the movie, she recalls her days as a volunteer soldier in 1967, and she claims she was one of the first Israeli women to visit the Wailing Wall. She had interactions with Arabs from an early age, since she grew up in an Arab-owned house in her hometown of Haifa, Israel.
As a student at Hebrew University of Jerusalem, she frequently participated in activism rallies and protests organized by the radical Israeli group Marzpen. It was at one of these Marzpen protests that she was first seen by fellow Hebrew University student Michel Warschawski, who would later become her husband and a fellow left-wing activist. Warschawski, who is interviewed in the documentary, says he was intrigued not only by her physical appearance but also her fearless attitude. He vividly describes the first time he saw her at the protest as being a short, attractive, miniskirt-wearing woman who had a big voice and wasn’t shy about using crude language to make her point. When a disapproving man watching the protest told her she should be worried about finding a husband, she shouted him down by essentially telling him that he should be worried about his small penis size.
Even though Tsemel and Warshcawski have kids together, they freely admit that her obsessive devotion to her work has made her family her secondary priority. Their son Nissan (nicknamed “Nini”) and daughter Talila are interviewed in the documentary, and they offer their perspectives of growing up with a mother who is a controversial public figure. Nini remembers a rare occasion from his childhood when he and his mother were spending leisure time together by talking a walk outside. They were stopped by a stranger, who showed them he had a gun and told Tsemel that people were watching her. Nini remembers being very frightened by the incident and asking his mother why she wanted to do this work if it was so dangerous. She replied that she can’t do anything else besides her work. Even though death threats are part of her mother’s work, Talila says that because of her mother’s gritty courage in dealing with her enemies, she and her family feel protected.
From the very first scene of “Advocate,” viewers see Tsemel’s dominant, “take charge” personality when, during a meeting with a client who’s accused of stabbing 11 people on a bus, she tells him about how she wants things to go for an upcoming court appearance: “I’ll do the talking.” The client was charged with 11 counts of attempted murder, but Tsemel got the charges reduced to one count of attempted murder. In Tsemel’s line of work, that reduction of charges is a major victory. Viewers don’t find out the final outcome of the case because the documentary then shifts to the case that is the primary focus of the film, making “Advocate” not just a biography of Tsemel but also a tense legal drama.
Tsemel is the defense attorney for a boy named Ahmad, who is in his mid-teens and charged with two counts of attempted murder. Several facts of the case are disputed by the prosecution and the defense, but both sides agree that Ahmad and his older teenage cousin Hassan were going around Jerusalem’s Pisgat Zeev neighborhood, openly carrying knives (some of this activity was caught on surveillance video), and two Jewish people (a man and a boy) got stabbed. The stabbings were not caught on video. In the resulting melee, Ahmad ran out on a street and was hit by a car, while Hassan was shot and killed by police. Ahmad had head and arm injuries as a result of the car accident, but they weren’t life-threatening injuries, and he was arrested. His defense was that Hassan did the stabbing, and that their intent was to scare people with the knives, not kill them.
There are certain people (such as Ahmad) in the documentary whose identities are protected. The documentary doesn’t reveal their last names, and their faces are superimposed with animation, which is shown in split screen with unaltered images in the same scene. Many of Ahmad’s adult relatives, including his mother and father, are shown on camera. Cameras and other recording equipment are not allowed in the courtroom, although cameras and other recording equipment are allowed in the courthouse hallways, which is where the documentary gets the majority of the courthouse footage.
In this high-profile case against Ahmad, the prosecution portrays Ahmad as a terrorist who committed a hate crime. The defense’s argument is that there is no proof that Ahmad actually did the stabbing, the crime committed was not a terrorist act or hate crime, and the attempted murder charges should be dropped. At the heart of the case is the issue of intent: Was the intent murder or something else? Tsemel and her younger co-counsel Tareq Barghout are faced with the decision to do a plea-bargain deal or take the case to trial. Revealing their decision and the outcome of the case would be spoiler information, but it’s enough to say that Tsemel, by her own admission, is the kind of person who doesn’t just back down from a fight, she runs toward it and sometimes instigates it. The decision on whether or not to take the case to trial is divisive among members of her own legal team, who express their differing opinions on what to do.
Barghout is cocky with a sarcastic edge to his humor, but his bark turns out to be worse than his bite. Although Tsemel is clearly his mentor, Barghout doesn’t have the nerves of steel that she does. In one scene in the documentary, Tsemel and Barghout have to face the media in the courthouse hallway after getting a judge’s decision that’s a setback in Ahmad’s case. Tsemel barrels ahead to face the cameras and answer questions from reporters during the impromptu press conference, while Barghout decides he can’t deal with the media at that moment, so he ducks out and leaves through a back staircase. He eventually returns, somewhat sheepishly, when the press conference is nearly over, but his actions show how conflicted he feels about the public scrutiny of being Tsemel’s right-hand man. A major development involving Barghout has happened since “Advocate” had its world premiere at the 2019 Sundance Film Festival. This development won’t be a spoiler reveal in this movie review, but the documentary mentions this development in an updated postscript before the movie’s end credits.
“Advocate” makes it clear that although Tsemel can be compassionate with her clients, that compassion doesn’t always extend to her employees. In one scene in the film, Barghout and Tsemel joke about an intern in their office who abruptly quit because the intern didn’t like how Tsemel yelled at the intern and told him to “eat shit” (metaphorically) after the intern resisted doing a requested office task. Barghout comments that Tsemel has said things worse things to Barghout and other people who work for her, so they have to find an intern who can handle Tsemel’s cursing and abrasive manner.
One of the biggest legal issues that really gets Tsemel riled up is how authority figures use unethical interrogation techniques, which can lead to false confessions. She thinks that torture and illegal interrogation methods are much more common than what’s reported, and she believes almost all of her clients have been victims of this abuse of power. The documentary includes released footage clips of Ahmad being interrogated by police shortly after being hit by a car. The footage shows Ahmad wailing to an irate, screaming police officer that he doesn’t remember what happened and he wants to be taken to a doctor. It’s footage that may be difficult for some viewers to watch, but it’s essential to understand why people have different opinions on how suspects should be treated during interrogations.
The interrogation issue is also a personal matter for Tsemel, because her husband Warschawski was brutally interrogated after being arrested in 1987 for running the Alternative Information Center, a radical political resource base that served anyone who wanted it, but the center was perceived by the Israeli government as being a haven for anti-Israeli/anti-Semitic Muslims. In an interview for the documentary, Warschawski remembers the abusive interrogations that he endured while in jail. When he contacted Tsemel and begged her to get him out of jail, she refused, and told him that she wasn’t worthy of being her husband if he couldn’t toughen up. (And she reminded her husband that the main interrogator was stuck in the same job for years, which meant that he wasn’t considered good enough to be promoted, so he shouldn’t be feared.)
Tsemel is obviously a charismatic force who’s interesting enough to have an entire documentary made about her. However, viewers should know going into this movie that the filmmakers (who’ve known Tsemel since the 1990s) are clearly fans of her, because they present very little viewpoints from the opposing side, other than clips of media footage showing Tsemel in verbal spats with opponents on talk shows, or courthouse footage of a prosecutor making remarks during a hallway press conference. The movie’s main flaw is it shows no attempt to interview people on the victims’ side. Regardless of what people think should happen to Tsemel’s clients, there are people who’ve gotten killed or hurt as a result of violent actions, and the survivors’ perspectives are shut of out this film.
The talking heads in the movie include Palestinian feminist political activist Hanan Ashrawi, who talks about how normal it is for Palestinian families in Israel to have a family member who’s been a political prisoner. Also interviewed is Avigdor Feldman, an Israeli human/civil rights lawyer, who says that even though Israel passed tougher laws that restrict torture techniques in interrogations, the laws are ignored by Israel’s Secret Service. Although these intellectual viewpoints offer much-needed perspectives from people who aren’t clients, employees or family members of Tsemel, these talking heads obviously have similar left-wing mindsets.
As a biography that portrays Tsemel as a flawed but admirable anti-establishment hero, this documentary succeeds on all counts. As a balanced look at Israeli’s legal system, this documentary fails to tell a well-rounded story that can be considered true investigative journalism. But on a purely human level, “Advocate” is best enjoyed if you like to root for people who go against the system to take on unpopular causes at the risk of their own safety and comfort.
Film Movement released “Advocate” in select U.S. cinemas on January 3, 2020.
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ABC News’ “20/20” is an award-winning primetime program. A proven leader as a long-form newsmagazine for over 40 years, “20/20” features unforgettable, character-driven true-crime mysteries, exclusive newsmaker interviews, hard-hitting investigative reports and in-depth coverage of high-profile stories.
“48 Hours” is one of the most successful law and justice programs in television history. The enduring appeal of the program is based on original reporting and impact journalism. “48 Hours” has helped exonerate the wrongly convicted, helped solve cold cases, and is committed to investigating the most intriguing and compelling true crime cases. “48 Hours” has been recognized with multiple Peabodys, Emmys, RTNDA Edward R. Murrow Awards and the Alfred I. duPont-Columbia University Award. Erin Moriarty, Peter Van Sant, Maureen Maher, Richard Schlesinger, Tracy Smith are correspondents. Judy Tygard is executive producer, Nancy Kramer is executive story editor.
This one-of-a-kind documentary series brings viewers behind-the-scenes of the fast-paced, high-stakes world of a dynamic 911 call center outside of Cleveland. This is an up-close and personal look at an amazing team of 911 dispatchers as they take on a never-ending bombardment of panic-stricken callers, and save lives. These dedicated professionals really are the unsung heroes of law enforcement.
Series Premiere: November 6, 2021.
Available on Oxygen, Hulu, Peacock, YouTube TV and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Each hour-long episode retraces the investigation from start to finish, taking viewers through the twists and turns of these shocking cases, from dissecting the red flags to the undeniable evidence, and strange behavior that put the tragedy in question. With the families fighting for justice and the detectives on the case determined to find the truth, motives will be exposed and justice will be served as the families finally find out what caused the death of their loved ones.
Series Premiere: March 23, 2019.
Available on Oxygen, Hulu, Peacock, YouTube TV and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Imagine being accused of a crime, knowing you may spend years in prison. A&E Network’s documentary series “Accused: Guilty or Innocent?” follows the dramatic inside stories—as they unfold—of people facing trial for serious crimes they are alleged to have committed. “Accused: Guilty or Innocent?” offers an intimate account of what happens when someone is formally charged with a crime and sent to trial—all solely from the perspective of the accused, their legal team and family members. Each episode follows the accused person’s journey through the planning of their legal defense, the trial and, ultimately, the verdict. “Accused: Guilty or Innocent?” is produced by Brinkworth Productions. Malcolm Brinkworth and Xander Brinkwork are Executive Producers. Elaine Frontain Bryant, Shelly Tatro and Brad Holcman are Executive Producers for A&E.
Series Premiere: April 21, 2020.
Available on A&E, Hulu, Tubi, Sling TV and Philo. Individual episodes available for a price on YouTube.
This true-crime series hosted by Lt. Joe Kenda, one of America’s toughest detectives, features incredibly disturbing and mind-blowing cases from across the country. Lt. Kenda expertly guides us through the complex twists and turns of these bizarre crimes.
Series Premiere: January 4, 2021.
Available on Discovery+, Investigation Discovery, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Discover multimillion-dollar scams that build unimaginable wealth. Go to places where devious frauds feed deviant desires. And witness the fatal flaws that bring criminals to justice. “American Greed” takes you deep inside shocking true stories of brazen con artists who thrive on stealing fortunes, ruining and even taking lives. In-depth reporting exposes the devastating effects greed has on victims, bringing you up-close to heartless villains living large on other people’s life savings. How do these crooked masterminds defraud the wealthy, rip off their own families, and scam their friends? On “American Greed” (narrated by award-winning actor Stacy Keach), crime pays well, until the crooks get caught. Some people will do anything for money. With evil like this, no one is safe. “American Greed” is produced for CNBC by the independent documentary production company Kurtis Productions, which was formed in Chicago in 1988 by broadcast journalist Bill Kurtis.
Series Premiere: June 21, 2007.
Available on CNBC, Peacock, SlingTV, YouTube TV and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Narrated by actor Dennis Haysbert (“24,” “The Unit,”) the newly reimagined and iconic “American Justice” looks at recent criminal cases in the United States through the prism of the criminal justice system, and from the first-hand perspectives of the prosecutors, defense attorneys, investigators, victims and perpetrators involved. The series dives into significant crimes that were adjudicated within the last few years, from trials that made national headlines to gripping lesser-known cases, ensuring that the issues being explored are relevant. Each story reveals how our justice system works, and, sometimes, how it doesn’t. One of the original true crime documentary series, “American Justice” originally aired for 13 years (1992-2005) on A&E, and was revived in 2021.
Series Premiere: September 15, 1992; August 20, 2021 (reboot)
Available on A&E, A&E Crime Central, Hulu, Tubi, Sling TV and Philo. Individual episodes available for a price on YouTube.
Monsters can be found lurking behind any innocent smile and on any street corner in America. Never-before-seen-video footage stares straight into the eyes of these killers who hide in plain sight.
Series Premiere: June 1, 2016.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Offering an immersive portrayal of life on the streets, “Body Cam” engages a unique storytelling technique combining the body camera footage with first-hand accounts to virtually place viewers in harrowing moments as the suspense builds and the tension rises. Each episode tells multiple stories of those who vowed to protect and serve in unflinching detail, offering viewers their own personal perspective of officers in life-threatening circumstances. From domestic disputes to ambushes and traffic stops gone dangerously awry, “Body Cam” profiles just how quickly seemingly routine situations can escalate into tragic altercations. Produced by Arrow Media.
Series Premiere: November 27, 2018.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
“Buried in the Backyard” examines true-crime stories of victims found hidden in quintessential idyllic spaces. Unearthing the human remains is only the beginning, however, as each hour-long episode focuses on a compelling police investigation that unravels the mystery surrounding the victim’s identity and cause of death. “Buried in the Backyard” is produced by Renegade 83, an Entertainment One company, with Jay Renfroe, David Garfinkle, Bob Kusbit and Carolyn B. Day serving as executive producers. There are also the spinoff series “Buried in the Backyard: Buried in the House” and “Buried in the Backyard: Buried in the Sand.”
Series Premiere: June 3, 2018.
Available on Oxygen, Hulu, Peacock, YouTube TV and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
It’s an iconic line in any crime story: when a suspect is arrested, they get one call. In reality, once a person enters the criminal justice system, they have multiple opportunities to make calls as they await trial. The vast majority of those calls are recorded. An admission, a threat, a slip of the tongue, a bribe it’s all on tape and the suspect knows it. But this doesn’t always stop them from talking and talking. Calls From the Inside, uses jailhouse phone calls to frame the narrative of murder investigations steeped in mystery.
Series Premiere: December 29, 2021.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
What happens when the clues to a murder aren’t just physical, but digital? Caught in the Net presents gripping true stories of investigators entering the digital world to solve a brutal murder. In each case, detectives are up against a lack of physical clues. But every time anyone goes online, whether it’s chat rooms, cellphone apps, car GPS or fitness trackers, they leave a digital trail behind them. Now investigators must enter this virtual world and follow the data, as they race against time to secure justice for victims’ families and track down the killer.
Series Premiere: March 14, 2022.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
“Chaos in Court” examines clips of dramatic, unexpected, and cathartic courtroom moments captured in real time. Each hour brings the backstories of the crimes and legal proceedings to the forefront with actual courtroom footage, so shocking, it has to be seen, to be believed. With insightful analysis from a diverse panel of experts including judges, defense attorneys, prosecutors, and criminal psychologists, “Chaos in Court” takes you into the proceedings analyzing each case from start to finish. Featured within each of the ten episodes are interviews with defendants, family members, and others who witnessed the action to help bring dramatic courtroom moments to life, and the emotional realities of what happens when the ultimate stakes are on trial.
Series Premiere: September 18, 2020.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
“City Confidential” returns to explore crimes that have impacted cities and towns across America. The iconic, noir-style series goes beyond the headlines to showcase the emotional and unexpected stories that catapulted unique communities, both large and small, into the public eye. Narrated by actor Mike Colter, “City Confidential” tells the story of one crime, the ensuing investigation, and the ripple effect it had on a community. Speaking with family, friends, detectives, journalists, and others close to the case, the series weaves together firsthand accounts and archival footage to explore the crime and its outcome.
Series Premiere: November 7, 1998; October 28, 2021 (reboot)
Available on A&E, A&E Crime Central, Hulu, Tubi, Sling TV and Philo. Individual episodes available for a price on YouTube.
There are over 100,000 cold cases in America, and only about 1% are ever solved. With recent advancements in technology and the methods used to solve these cases, as well as the unwavering dedication of victims’ families, law enforcement and the public, “Cold Case Files” explores the cases the defied the odds. Narrated by the original host and producer of “Cold Case Files,” celebrated veteran journalist and newsman Bill Kurtis, each episode of the Emmy-nominated series examines the twists and turns of one murder case that remained unsolved for years, and the critical element that heated it up, leading to the evidence that finally solved it. Featuring interviews with family members, friends, detectives, and others close to the cases, the refreshed classic series examines all facets of the crime and shines a light on a range of voices and victims.
Series Premiere: January 1, 1999; February 27, 2017 (reboot); August 20, 2021 (reboot)
Available on A&E, A&E Crime Central, Hulu, Tubi, Sling TV and Philo. Individual episodes available for a price on YouTube.
From executive producer Dick Wolf and Magical Elves, the real-life crime series follows veteran prosecutor Kelly Siegler, who gets help from seasoned detectives—Johnny Bonds, Steve Spingola, Aaron Sam and Tonya Rider—as they dig into small town murder cases that have lingered for years without answers or justice for the victims. Together with local law enforcement from across the country, the “Cold Justice” team has successfully helped bring about 30 arrests and 16 convictions. No case is too cold for Siegler as the new season delves into new unsolved homicides while also bringing updates to previous cases. “Cold Justice” is produced by Wolf Reality & Magical Elves with Dick Wolf and Tom Thayer serving as executive producers for Wolf Reality and Jane Lipsitz, Dan Cutforth, Kelly Siegler, Nan Strait and Scott Patch serving as executive producers for Magical Elves.
Series Premiere: September 3, 2013.
Available on TNT (2013-2015); Oxygen, Hulu, Peacock, YouTube TV and FuboTV (2017-present); Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
A&E Network takes viewers inside America’s courtrooms in the new series “Court Cam” executive produced by Law&Crime Productions and Dan Abrams, former host of A&E’s “Live PD” and chief legal analyst for ABC News. This eight-episode 30-minute series gives viewers a front row seat to some of the most wild, unruly and outrageous courtroom moments recently caught on tape.
Series Premiere: December 5, 2019.
Available on A&E, A&E Crime Central, Hulu, Tubi, Sling TV and Philo. Individual episodes available for a price on YouTube.
“Crimes Gone Viral” explores the riveting stories behind shocking crimes caught on camera that gain viral fame on the internet. From business security cameras to home surveillance systems and cell phone cameras, someone is almost always watching. Gripping clips of kidnappings, break-ins, wild car chases, violent road rage incidents and other crimes rack up millions of views. But “Crimes Gone Viral” goes beyond the jaw-dropping footage to tell the full story. This series features compelling interviews and behind-the-scenes information of some of the internet’s most viral crime clips.
Series Premiere: September 9, 2020.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
In her 12 years as a Crime Scene Investigator for Orange County, Florida, C.S.I Alina Burroughs investigated some of the most startling and devastating cases in the country – from the tragic 2008 death of toddler Caylee Anthony to the 2016 Pulse nightclub massacre. Through her work she has learned that people may not always tell the truth, but the forensic evidence never lies. In this gripping ID series, Burroughs revisits controversial and shocking murder cases from across the country, taking a fresh look at the forensic evidence with the hope to bring more clarity to these complex crimes and closure to those the victims left behind.
Series Premiere: March 8, 2022.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Certain cases are seared into the American consciousness. They are a part of how we look at society, good and evil. But what would happen if we could go back in time, or back in crime, and look again? This unique series fully re-immerses the viewer in these cases as we experienced them at the time by pairing the best news archive with audio interviews, reintroducing these cases from a new standpoint. Each episode shows the evolution of how these cases were perceived by the public then and how we view them now, exposing how the times have changed, and revealing the lessons learned from each case.
Series Premiere: November 11, 2020.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
“Dateline” is NBC’s signature newsmagazine, bringing viewers storytelling at its best. The stories range from compelling mysteries to powerful documentaries and in-depth investigations. When major news breaks, they go to the scene, putting the pieces together to bring the viewer the full picture. And in every story they tell, they help the real people who lived the events share their journeys with the viewer. On the air since 1992, “Dateline” is the longest-running prime-time program on NBC. “Dateline’s” work has been honored time and again with broadcast journalism’s highest awards. Lester Holt is the principal anchor, joined by correspondents Andrea Canning, Hoda Kotb, Josh Mankiewicz, Keith Morrison and Dennis Murphy.
Series Premiere: March 31, 1992.
Available on NBC, Peacock, SlingTV, YouTube TV and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
“Dateline: Secrets Uncovered,” hosted by Craig Melvin, explores chilling stories through first-hand accounts, told by those closest to the issue, including investigators entrusted with cracking the case and the families confronting tragedy.
Series Premiere: July 21, 2017.
Available on Oxygen, Hulu, Peacock, YouTube TV and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Hell hath no fury like a woman scorned, especially when she’s on a mission to murder. There’s no shortage of these tempestuous “Deadly Women,” Investigation Discovery’s signature hit series about women who have been driven to kill. Jealousy, revenge, desperation, and greed all play their devilish hand in driving these daughters, sisters, mothers, and wives to commit the ultimate sin. While male murderers are often motivated by anger, impulse, and destruction, women usually have more complex, long-term motives. Former FBI criminal profiler Candice DeLong helps viewers distinguish between the emotionally charged impulses and sociopathic intentions that lace each story.
Series Premiere: February 8, 2005 (as a limited series); December 24, 2008 (as a regular series).
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Deep in the woods, inside an abandoned house, or along the shores of a sleepy lake, every snap of a twig or unidentified rustle can be a sign of danger. “Dead Silent” shows just how dark and desolate the great outdoors can be when no one can reach you, where myth, urban legend, and horror movie dread collide to showcase twisted tales too frightening to be imaginary. Each hour-long episode features one spine-tingling and terrifying true story, interwoven with expert commentary from local authorities, true-crime experts, and psychologists, as well as first-person accounts from many of the victims who survived these nightmarish events.
Series Premiere: October 25, 2016.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Each one-hour episode of “Devoured” is a deep dive into a single true crime story that centers on one American city or region’s food specialty. Viewers will be taken through a thrill-ride of twists and turns as narrator Jon Cryer uncovers the unbelievable stories of how food fuels criminal enterprises, both large and small. Along the way, the series dishes up the food’s origin story and impact on the culinary landscape—while revealing how our passion for eating well can become a recipe for doing wrong.
What if the person closest to you was a devil in disguise—would you see the signs? Investigation Discovery’s original series “Evil Lives Here” explores the true, heart-stopping stories of people who shared a home and a life with a loved one who would become a killer. “Evil Lives Here” has exclusive interviews and never-before-told accounts of the years and critical moments leading up to these vicious acts, “Evil Lives Here” showcases the devastating and often undiscussed consequences on the people who have nurtured, loved and raised a murderer.
Series Premiere: January 17, 2016.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
“Family Massacre” is a gripping and powerful exploration of some of the most ruthless murders ever committed. This series follows the true and gruesome tales of the unthinkable: multiple members of the same family slain in cold blood. In each episode, we hear from friends and surviving relatives, those people closest to the family that was massacred, while also detailing the work of the dedicated investigators and prosecutors tasked with finding their killer and bringing them to justice. Through first-hand accounts, archival footage and cinematic recreations, we see the twists and turns of the investigation unfold and delve deep into who could have committed such a shocking crime and just how they were caught and made to answer for it.
Series Premiere: December 3, 2021.
Available on Oxygen, Hulu, Peacock, YouTube TV and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Each pulse-pounding hour-long episode of “Fatal Attraction” centers around an incredible and dangerous romance. Shocking crime, kidnapping or even murder is only half of the story. Driven by powerful, real-life stories, “Fatal Attraction” weaves together intimate, first-person interviews, exclusive interrogation footage and rare archival material. Listen as the key players, family of the survivors and those that investigated the horrific crimes reveal the secrets to each sordid tale.
“The FBI Declassified” features FBI agents and analysts taking viewers behind the scenes of some of the biggest cases they’ve solved during their careers. Through never-before-seen footage and in-depth interviews, each episode will focus on a different investigation and showcase the cooperation between the FBI and other law enforcement agencies. Agents and analysts reveal the thinking, teamwork, technology, techniques and pure gut instinct that goes into solving a critical case. The show’s narrator is Alana De La Garza, star of CBS’s “FBI” drama series.
Series Premiere: October 6, 2020.
Available on CBS, Paramount+, YouTube TV and FubuTV.
The biggest enemy for any homicide detective is not the suspect…it’s the clock. In fact, if they don’t find a lead in the first 48 hours, their chances of catching the killer are cut in half. The “First 48” tracks real homicide detectives as they struggle to solve murder cases across the country. Gripping, authentic and dramatic, viewers are brought along for the ride as the detectives hunt for killers to bring to justice.
Series Premiere: June 3, 2004.
Available on A&E, A&E Crime Central, Hulu, Tubi, Sling TV and Philo. Individual episodes available for a price on YouTube.
Long considered the gold standard of crime docuseries, “Forensic Files” returned after an eight-year production hiatus, now produced by CNN Development for HLN under the guidance of executive producer Nancy Duffy. “Forensic Files II” continues the franchise, featuring the amazing work of scientists and investigators who use cutting edge forensics to crack the most baffling criminal cases. Acclaimed film, stage and television actor Bill Camp (“Dark Waters,” “Joker,” “The Night Of”) is the narrator.
“For My Man” is a true-crime series that features the salacious and shocking stories of women who have been arrested for a crime they did in the name of love. From a killing spree across the mid-west to being an inside informant at the DEA and from murdering an unsupportive mother to robbing fifteen banks in under a year, these women have no limits as to how far they’ll go for their men. And do not be misled; these are not the women you’d expect. They are straight-A students, career police officers and once happily married women. These are the stories of the obsessions and weakness that fueled their fall from grace.
“Homicide City” takes a deep dive into the crimes that shook Philadelphia to its core. The series explores cases from a darker time that had police detectives banding together across the metropolitan landscape in a sequence of manhunts. From the mansions of the wealthy suburbs to the rowhouse-lined streets of the inner city, each episode is told through the eyes of veteran homicide detectives, local beat reporters and the victims’ families who lost so much.
Series Premiere: January 1, 2018:
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
The holiday season is usually the busiest and happiest time of the year and spent with family and friends, but unfortunately can leave a painful surprise when it begins with a shocking murder. Each hour-long episode examines a devastating case as police investigate and go to incredible lengths to unveil secrets about the true motive of the killer, giving families justice about their loved ones’ death. With firsthand accounts from those close to the victim, the limited series delves into the alarming cases that prove the holidays can turn the happiest time of the year upside down in a split second.
Series Premiere: December 3, 2016.
Available on Oxygen, Hulu, Peacock, YouTube TV and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Hosted by lauded actor Hill Harper (“The Good Doctor,” “CSI: NY”), “How It Really Happened With Hill Harper” delves deeply into some of the most notorious crimes, mysteries, trials and celebrity tragedies of our time, with enlightening interviews and access to the vast CNN news library. Nancy Duffy is executive producer of the HLN Original Series “How It Really Happened with Hill Harper.”
Their lives are portrayed in movies, TV shows and books and their shocking acts are woven into the fabric of scary stories about real monsters in the world. But what happens when the monster is someone you live with and love? Every hour-long episode of “I Lived with a Killer” brings a haunting new twist to cases that terrified the public with the powerful stories from the family members of killers. Viewers will also hear from members of the victims’ families, detectives on each case and experts who break down the media frenzy around the crimes. “I Lived with a Killer” is produced by Breakthrough Entertainment.
“I Survived a Serial Killer” documents the harrowing, heroic stories of one or more survivors of the same serial killers. Told from the survivors’ point of view, the series highlights the strength and perseverance of regular people encountering and overcoming pure evil. Interviews with those closest to the cases will round out the stories of these unimaginable crimes.
Series Premiere: December 5, 2019.
Available on A&E, A&E Crime Central, Hulu, Tubi, Sling TV and Philo. Individual episodes available for a price on YouTube.
Putting the victim at the forefront, Investigation Discovery’s “Impact of Murder” utilizes the emotionally gripping victim’s impact statement delivered in court as the driving storytelling technique. Through a victim’s own words, viewers understand the horror they endured or the significance of the life that was taken, providing an acute understanding of the collateral damage of murder. Impact statements act as a source of strength for those who may feeling helpless after a senseless tragedy, showcasing the empowerment that they feel when they stand up in court to address the perpetrator.
Series Premiere: July 14, 2019.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Grammy and NAACP Image Award winner Ice-T (“Law & Order: Special Victims Unit”) is host and executive producer, using his distinct voice to guide viewers through shocking true stories involving sex, money, obsession – or a fatal cocktail of all three. With in-depth interviews and archival footage, each hour-long episode spotlights a shocking mystery characterized by expert detective work, unforeseen twists and jaw-dropping discoveries. When some of the most basic human desires—sex and money—cloud our judgment with lust and greed, they run the risk of dangerous consequences. “In Ice Cold Blood” is produced by The Content Group with Steven Michaels, Jonathan Koch, Brian Knappmiller, and Ryann Lauckner serving as executive producers, along with Final Level Entertainment with Ice-T and Jorge Hinojosa serving as executive producers.
Series Premiere: April 1, 2018.
Available on Oxygen, Hulu, Peacock, YouTube TV and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Legal analyst Nancy Grace gets to the bottom of some of the most challenging and multi-layered true crime stories. Each episode of “Injustice With Nancy Grace” will expose an untold and riveting case involving wrongful accusations, botched investigations, suppressed evidence, unclear motives, unjust sentences and the path forward in seeking justice. “Injustice With Nancy Grace” is produced by The Intellectual Property Corporation, an Industrial Media company, in conjunction with KT Studios and TAP INc., with Eli Holzman, Aaron Saidman, Nancy Grace, John Terenzio, Stephanie Lydecker and showrunner Steve Katz serving as executive producers.
Series Premiere: July 13, 2019.
Available on Oxygen, Hulu, Peacock, YouTube TV and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
“In Pursuit With John Walsh” unites the power of Investigation Discovery’s dedicated fanbase with John Walsh’s lifelong mission of putting fugitives behind bars, finding missing children, and empowering the public to assist law enforcement. Showcasing time-sensitive, unsolved cases in desperate need of attention, this new real-time investigation series mobilizes ID’s audience to actively engage in the pursuit of justice. Backed by decades of victim advocacy with a mission stemming from his own personal tragedy, “In Pursuit With John Walsh” utilizes Walsh’s unique and unrivaled experience in this field coupled with a call center able to help law enforcement find leads in real time.
Series Premiere: January 16, 2019.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
“I Was a Teenage Felon” tells some of the most brazen stories of youthful ambition gone haywire as “average American kids” become smugglers, dealers, hackers, scammers and thieves.
“Judgment With Ashleigh Banfield” is an original series hosted by original Court TV alum and respected former CNN and MSNBC legal analyst Ashleigh Banfield, who made her Court TV return as a special contributor in 2020. “Judgment With Ashleigh Banfield” is a weekly hour-long series taking viewers on a deep dive into the most provocative and talked about trials and cases of all-time. With brand-new interviews and exclusive first-time ever reveals, each installment looks to further explore everything people only thought they knew about these touchstones in judicial history.
“Kids Behind Bars: Life or Parole” tells the individual stories of eight previously convicted child offenders sentenced to mandatory life terms, without parole, who are now seeking resentencing on the heels of a recent United States Supreme Court ruling. While some may be resentenced to life, others could be immediately released or given a new sentence that makes them eligible for parole.
Series Premiere: April 30, 2019.
Available on A&E, A&E Crime Central, Hulu, Tubi, Sling TV and Philo. Individual episodes available for a price on YouTube.
“Killer Motive,” from the producers of NBC’s “Dateline,” is hosted by two award-winning journalists, NBC News correspondent Stephanie Gosk and Emmy Award winner Troy Roberts. Each hour-long episode uncovers dark and twisted motives, from vengeance to jealousy to greed that led to gruesome killings. “Killer Motive” is produced by NBC News’ award-winning production arm Peacock Productions with Paul Ryan serving as executive producer and Alexa Danner as co-executive producer.
Series Premiere: July 11, 2019.
Available on Oxygen, Hulu, Peacock, YouTube TV and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
“Killer Relationship with Faith Jenkins” investigates burgeoning romances from their sweet beginnings, and follows what happened all the way through to their bitter endings. With her background as a criminal prosecutor in the Manhattan District Attorney’s Office, and with her expertise in matters of the heart, Faith Jenkins gives her professional POV of the nightmarish cases. With first-hand accounts from victims’ family, friends and law enforcement, each hour-long episode reveals the inner workings of intimate attachments that seemed fated to last forever and ended in murder.
Series Premiere: January 16, 2022.
Available on Oxygen, Hulu, Peacock, YouTube TV and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
“Killer Siblings” tells the twisted stories of some of the most maniacal siblings in history. Each hour-long episode explores the psychology and pasts of cold-blooded siblings who have carried out vicious murders. Through exclusive interviews and firsthand accounts, the series delves into the evil minds of siblings who partnered together to commit some of the most heinous and sophisticated homicides. “Killer Siblings” is produced by Scott Sternberg Productions with Scott Sternberg and Matthew Watts serving as executive producers.
Series Premiere: October 27, 2019.
Available on Oxygen, Hulu, Peacock, YouTube TV and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Hosted by renowned plastic surgeon Dr. Terry Dubrow (“Botched”), “License to Kill” chronicles the harrowing accounts of patients put into jeopardy by medical professionals’ insidious use of their expertise. Told from the perspective of victims, families, colleagues and law enforcement, each episode of “License to Kill” exposes what happens when the hands that should heal are used to cause harm on patients at the most vulnerable times. “License to Kill” is produced by Shed Media with Pam Healey, Dan Peirson, Adam Kassen, Haylee Vance, Dave Kuba and Terry Dubrow serving as executive producers.
Series Premiere: June 23, 2019.
Available on Oxygen, Hulu, Peacock, YouTube TV and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
“Lies, Crimes & Video” gives viewers an intimate look into terrifying 911 calls, police interrogations, jail house recordings, body camera and surveillance video captured as part of a criminal investigation. This series features riveting stories that incorporate video evidence in criminal cases and shocking courtroom testimony. The lies, deceit and bad behavior are all caught on camera and presented in this candid true crime docuseries. Produced by HLN Investigations, Elizabeth Yuskaitis is the executive producer.
“Locked Up Abroad” is a cult cable favorite known for taking viewers inside accounts of capture, incarceration and terror far away from home with intimate personal interviews and dramatic reenactments. Hear the firsthand accounts not only of those who were locked up but also of those who were directly part of the story, such as the undercover agent compiling the evidence against the suspect or the person making the drug dealing offers.
Series Premiere: July 24, 2007.
Available on National Geographic Channel, Hulu, ABC. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Middle American towns are explored through the murders that tore through them. The townspeople not only become storytellers, they also hold clues to the puzzle that forever changed their lives and how they understand their home.
Series Premiere: November 29, 2017.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Homicide investigations unfold through dramatic real footage in this groundbreaking series. Viewers get an up-close perspective of each case using raw, unfiltered footage from body cams at the crime scene, surveillance cameras and interrogation room video.
Series Premiere: August 28, 2019.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Across the country, high school football unites small-town communities. But when a heinous murder shatters that Friday night dream world, the crime ripples beyond those immediately impacted, and the community will never be the same again.
Series Premiere: January 24, 2022.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Oxygen, the home for high quality true crime programming, is diving deep into some of the most chilling murder cases in New York City’s recent history. New York is a shining beacon of opportunity to people across the world, and the convergence of almost innumerable cultures, customs and languages, makes it a true melting pot. It’s a city with a gritty core, where tensions run high. The series, from Good Caper Content, details the brazen crimes that could only happen in New York and the intense work by law enforcement and civilians who race to take murderers off the streets.
Series Premiere: January 1, 2022.
Available on Oxygen, Hulu, Peacock, YouTube TV and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
“On the Case With Paula Zahn” takes viewers on an exciting journey inside the most fascinating crime and mystery investigations. First person accounts, along with insight from experts are featured as each case reaches its dramatic conclusion.
Series Premiere: October 18, 2009.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
“Real Life Nightmare” presents heart-wrenching, personal mysteries and unexplained deaths that continue to baffle investigators and horrify those left behind. Featured in the series is never-before-seen evidence plus a call-to-action that provides viewers an opportunity to be part of the investigation. This docuseries is produced by HLN Investigations, headed by executive producer Elizabeth Yuskaitis.
“The Real Murders of Atlanta” portrays the unbelievable cases of homicide that highlight the boundaries between gentrified Southern dynasties, hip hop hustlers and the flashy nouveau riche of this metropolitan mecca of music, entertainment and tech. Told by the investigators, witnesses, reporters and loved ones who have direct connections to the cases, each hour-long story brings Atlanta’s hustle and deadly decadence into sharp focus. It’s the dark side of the New South, where deadly battles for status and affluence emerge between those who are willing to kill for the good life and those willing to kill to keep it.
Series Premiere: January 18, 2022.
Available on Oxygen, Hulu, Peacock, YouTube TV and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
“The Real Murders of Orange County” delves into the most horrific, sinful and salacious cases that rocked Southern California’s wealthy coastal community. From a murder for hire gone wrong to families turning on their own, viewers will hear the harrowing tales of when privilege leads to problems and greed leads to murder. as one wrong turn led to a brutal murder. “The Real Murders of Orange County” is produced by 44 Blue Productions, a Red Arrow Studios company, with Stephanie Noonan Drachkovitch, Josh Bingham, David Hale and Dan Snook serving as Executive Producers.
Series Premiere: November 8, 2020.
Available on Oxygen, Hulu, Peacock, YouTube TV and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
“Reasonable Doubt” explores controversial murder convictions through an objective lens. With their parallel expertise of the law, hosts retired homicide detective Chris Anderson and criminal defense attorney Fatima Silva know that the justice system doesn’t always get it right. As cries of innocence reverberate through prison cells across the country, this series sets out to help families who are desperate for someone to listen to their evidence and theories, convinced that their loved ones were wrongfully convicted of murder. Each episode is an intense and thorough re-examination of a murder case, where the two pore over evidence, interview witnesses, and consult experts previously overlooked by police or barred by the courts to hopefully reveal the truth. Each episode culminates with the gut-wrenching reveal to the family that either brings hope for an appeal, or clarity to accept the guilty verdict.
Series Premiere: April 26, 2017.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
“See No Evil” reveals how the deadliest crimes are solved by the only witnesses that never lie and never forget: surveillance cameras. With more shocking CCTV footage than ever before, “See No Evil” proves there’s nowhere killers can hide.
Series Premiere: February 17, 2015
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
When you are playing with fire, someone is bound to get burned. In the HLN series “Sex & Murder,” detectives undercover dirty secrets, scandalous sex affairs, online sex addictions, dangerous jealousy, and stunning twisted fantasies which have all led to murder.
Charm. Narcissism. Lack of empathy. Impulsiveness. Manipulation. Deception. These traits and others are the telltale “Signs of a Psychopath.” This harrowing archive series revisits some of the most dangerous killers in modern history, reviewing news footage—and the words of the killers themselves—to see which terrifying traits each killer exhibited.
Series Premiere: August 23, 2020.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
“Sins of the City” is a close-ended series that exposes the dark underbelly of a city you thought you knew, by highlighting the mysterious crimes that changed the community forever. Combining informative takeaways and chilling first-hand storytelling, “Sins of the City” focuses on one shocking murder and begins with the discovery of a body as investigators are called to the scene in each hour-long episode. Each episode concludes with a verdict and the impact the case had on the victim’s family, law enforcement, the city, and the people living there.
Oxygen’s ultimate guilty pleasure profiles the fascinating cases of every day, seemingly average moms, wives and girlfriends accused of murder. Did they really do it? And if so, why? Was it a cheating spouse, years of constant abuse or that dirty dish in the sink? “Snapped” attracts millions of fans, including a wide range of celebrities from Anderson Cooper to Kelly Ripa. There are also the spinoff series “Snapped: Killer Couples” and “Snapped: Notorious.”
Series Premiere: August 6, 2004.
Available on Oxygen, Hulu, Peacock, YouTube TV and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Just because a case is closed doesn’t mean the truth has been revealed. Suicide or murder? Runaway or kidnapping? Accidental or premeditated? “Still a Mystery” re-examines cases where unanswered questions remain. Through original interviews with law enforcement, family members and private investigators, news footage and social media, “Still a Mystery” dissects the evidence and presents new theories in a quest to uncover the truth.
Series Premiere: May 27, 2019.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Suspicion is contagious. What starts as a tiny spark of doubt focused on one individual can metastasize and cast a shadow on everything you, your community, and ultimately law enforcement thought to be true. “Suspicious Minds” creates a visceral viewing experience where a murder mystery unfolds as a psychological thriller where suspicion and doubt cloud the perceptions of everyone involved.
Series Premiere: October 8, 2020.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
“Taking the Stand” tells the story of a crime from the unique lens of the accused as they take the witness stand. Hosted by Dan Abrams, each episode will cover everything from first-hand defendant testimony, juxtaposed with the contentious cross examination to the final verdict. There is a reason that taking the witness stand in your own defense is a gamble that very few criminal defendants ever take. In addition to interviews with key members of the investigation, the series features original video from law enforcement, surveillance camera footage, 911 audio recordings, digital forensic evidence and some exclusive interviews and responses from the defendants themselves, to provide an in-depth look at dozens of raw and real cases.
Series Premiere: January 13, 2022.
Available on A&E, A&E Crime Central, Hulu, Tubi, Sling TV and Philo. Individual episodes available for a price on YouTube.
The key to solving the toughest murders lies somewhere in the final 24 hours of a victim’s life. Determined investigators must piece together events to reconstruct the timeline, unlock the motive, and ultimately close in on the killer.
Series Premiere: June 4, 2020.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
“Trafficked With Mariana van Zeller” is an original documentary series that explores the complex and dangerous inner-workings of the global underworld, black and informal markets. Each adventure follows Mariana on a mission to follow the chain of custody of trafficked goods, understand how to obtain the contraband, or see the 360-degree view of the trafficking world from the point of view of the smugglers, law enforcement and those caught in the crossfire.
Series Premiere: December 2, 2020.
Available on National Geographic Channel, Hulu, ABC. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
“True Conviction” explores how homicides are solved on the street and won in the courtroom. Anna-Sigga Nicolazzi, a decorated Brooklyn homicide prosecutor, travels across the country to reveal how the nation’s top prosecutors tackled their toughest cases.
Series Premiere: January 1, 2018.
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
The most baffling cases. The most bizarre killers. What drives acts of evil? “Twisted Killers” tells the shocking stories of some of America’s darkest, most unusual murderers. Along the way, a trio of criminal experts, including former NYC DA Beth Karas, retired LAPD Homicide Detective Tracey Benjamin and Forensic Psychologist Kate Termini, provide insight and expertise on how these twisted killers were brought to justice.
Series Premiere: January 6, 2022.
Available on Oxygen, Hulu, Peacock, YouTube TV and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
From a quiet town near the Smoky Mountains, to the sunny skies of St. Petersburg, Florida, stories in this season span the nation, and across multiple different family dynamics. It’s not always the sister who is the culprit of the crime, but sometimes the accomplice, victim, whistle-blower or unintended spy. Each episode of the Khloé Kardashian-produced series “Twisted Sisters” is shrouded in mystery, heartbreak and hidden emotions, proving that where there are family ties, there are also family lies.
Series Premiere: September 3, 2018
Available on Investigation Discovery, Discovery+, Hulu, YouTube TV, Philo and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
Each standalone episode takes viewers on a riveting ride that explores a jaw-dropping murder investigation in which detectives discover the killer is someone completely shocking and unexpected. The series takes a deep dive into homicide investigations through captivating interviews with potential suspects, in-depth examinations of the crime scene and re-enactments. “An Unexpected Killer” is produced by Our House Media with Simon Lloyd, Matt Hanna, Samantha De France, Tom Adams, and Carey Zeiser serving as executive producers.
Series Premiere: December 5, 2019.
Available on Oxygen, Hulu, Peacock, YouTube TV and FuboTV. Individual episodes available for a price on Prime Video, Google Play, Vudu and YouTube.
HLN’s “Vengeance” franchise is about revenge, betrayal and murder. “Vengeance: Killer Lovers” premiered in March 2019 as the first series under the franchise, followed by “Vengeance: Killer Coworkers” in January 2020. “Vengeance: Killer Families” debuted in September 2021. “Vengeance: Killer Newlyweds” premiered in January 2022.
Hosted by actor and musician Donnie Wahlberg, “Very Scary People” details many of history’s scariest and most notorious characters, through captivating news footage and interviews with people close to the case.
This documentary series delves into the gripping real-life stories of the world’s most terrifying and sinister celebrities of the crime world. “World’s Most Evil Killers” gives viewers first-hand accounts as told by detectives involved with the case, journalists who reported on the stories, relatives and survivors. The series examines the triggers that drove the most evil to kill delving into their insatiable appetites for murder and their now chilling legacies. “World’s Most Evil Killers” is produced by Keshet International.
“Well Groomed” is a documentary that explores the exuberant world of competitive dog grooming and follows the lives of dog owners who are challenging the definition of art.
The film offers a rare look into the lives of dog owners who are dedicated to transforming their poodles into living sculptures. It delves deep into an all-consuming subculture of America where the motivation to win drives them into devoting their lives to the competition.
The documentary follows a group of determined dog groomers who are driven to succeed while facing a series of challenges in each of their personal and professional lives over the course of a year. It will also offer a peek into their limited-time outside the ring, where they groom other people’s dogs, care for own pets and test out new designs on their show dogs.
“Well Groomed” is from Cattle Rat Productions in association with Spacestation; directed and written by Rebecca Stern; produced by Rebecca Stern, Justin Levy and Matthew C. Mills, executive produced by Chris Vivion, Annie Roney, Sue Turley; co-executive produced by Meryl Goldsmith; cinematography, Alexander W. Lewis; edited by Katharina Stroh; original music by Dan Deacon. For HBO, executive producers, Bill Simmons and Peter Nelson.
Premiere: December 17, 2019, at 9 p.m. ET on HBO, HBO Go and HBO Now. Available on HBO on Demand on December 18, 2019.
Here are excerpts of some reviews of “Well Groomed”:
The Hollywood Reporter: “With its benign view of the world it captures, ‘Well Groomed’ asks us to laugh along with the cheerful women on camera. Its non-intrusive approach leaves the door open, just a crack, for anyone ready to laugh at people who turn their dogs into turkeys and chickens.”
The Playlist:“Remarkably, the element that heightens the film’s enjoyability is its pure-hearted nature. Even at its darkest moments, ‘Well Groomed’ never lingers too long on sorrow to knock the movie off-course. Moreover, while the subject matter of creative grooming encompasses enough oddball characteristics to float on its own, the documentary wisely opts to focus on the personalities of the groomers.”
POV Magazine: “A boon for any dog lover or someone just wanting to learn about this subculture, ‘Well Groomed’ is a slight yet generally satisfying look into this odd topic. Larger questions about the exploitation of the animals, the obsessions of the individuals for their pets at the expense of people, etc. are left aside for a gentle film about an intense but agreeable competition.”
When it comes to awards, it’s nice to be nominated, but it’s even better to win. After several major studio films that were released in 2018 (such as “Green Book,” “Bohemian Rhapsody” and “Black Panther”) ended up dominating the Academy Awards, the industry is waiting to see how Netflix will fare in the awards race against traditional movie studios. Here’s a tally of the feature films released in U.S. theaters in 2019 that have gotten the most awards so far. This list, which is in alphabetical order, will be updated as more award winners are announced.
Updated: February 9, 2020
“63 Up”
https://www.youtube.com/watch?v=Ugw7hUoJ0C0
International Press Academy Satellite Awards
Best Documentary
“1917”
Academy Awards
Best Cinematography (Roger Deakins)
Best Sound Mixing
Best Visual Effects
American Film Institute (AFI) Awards
AFI Top 10 Movie of the Year
American Society of Cinematographers Awards
Best Theatrical Release (Roger Deakins)
BAFTA Film Awards
Best Film
Outstanding British Film
Best Director (Sam Mendes)
Best Cinematography (Roger Deakins)
Best Sound (Scott Millan, Oliver Tarney, Rachael Tate, Mark Taylor, Stuart Wilson)
Best Production Design (Dennis Gassner, Lee Sandales)
Best Special Visual Effects (Greg Butler, Guillaume Rocheron, Dominic Tuohy)
Black Film Critics Circle Awards
Best Cinematography (Roger Deakins)
Chicago Film Critics Association Awards
Best Cinematography (Roger Deakins)
Critics’ Choice Awards
Best Director (Sam Mendes) *Tie with Bong Joo Ho of “Parasite”
Best Cinematography (Roger Deakins)
Best Editing (Lee Smith)
Dallas-Fort Worth Film Critics Association Awards
Best Picture
Best Director (Sam Mendes)
Best Cinematography (Roger Deakins)
Best Musical Score (Thomas Newman)
Denver Film Critics Society Awards
Best Picture
Best Director (Sam Mendes)
Visual Effects
Directors Guild of America Awards
Outstanding Directorial Achievement in Feature Film (Sam Mendes)
Florida Film Critics Circle Awards
Best Cinematography (Roger Deakins)
GALECA Dorian Awards
Visually Striking Film of the Year *Tied with “Portrait of a Lady on Fire”
Georgia Film Critics Association
Best Cinematography (Roger Deakins)
Best Production Design (Dennis Gassner and Lee Sandales)
Bes Original Score (Thomas Newman)
Golden Globe Awards
Best Motion Picture – Drama
Best Director (Sam Mendes)
Hollywood Critics Association Awards
Best Picture
Best Action/War Film
Best Cinematography (Roger Deakins)
Best Editing (Lee Smith)
International Press Academy Satellite Awards
Best Cinematography (Roger Deakins)
Kansas City Film Critics Circle Awards
Best Picture
Best Director (Sam Mendes)
Best Cinematography (Roger Deakins)
Las Vegas Film Critics Circle Awards
Best Cinematography (Roger Deakins)
Music City Film Critics Association Awards
Best Picture
Best Director (Sam Mendes)
Best Cinematography (Roger Deakins)
Best Editing (Lee Smith)
Best Sound
National Board of Review Awards
Outstanding Achievement in Cinematography (Roger Deakins)
Nevada Film Critics Society Awards
Best Cinematography (Roger Deakins)
North Texas Film Critics Association Awards
Best Director (Sam Mendes)
Best Cinematography (Roger Deakins)
Online Association of Female Film Critics Awards
Best Cinematography (Roger Deakins)
Online Film and Television Association Awards
Best Cinematography (Roger Deakins)
Best Sound Effects
Best Breakthrough Performance: Male (George MacKay)
Best Original Score (Thomas Newman)
Phoenix Critics Circle Awards
Best Cinematography (Roger Deakins)
Producers Guild of America Awards
Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures (Sam Mendes, Pippa Harris, Jayne‐Ann Tenggren and Callum McDougall)
St. Louis Film Critics Association Awards
Best Action Film
Best Cinematography (Roger Deakins)
Best Music Score (Thomas Newman)
San Diego Film Critics Society Awards
Best Production Design (Dennis Gassner)
San Francisco Bay Area Film Critics Circle Awards
Best Cinematography (Roger Deakins)
Seattle Film Critics Society Awards
Best Cinematography (Roger Deakins)
Utah Film Critics Association Awards
Best Director (Sam Mendes)
Best Cinematography (Roger Deakins)
Washington, D.C. Area Film Critics Association Awards
Best Cinematography (Roger Deakins)
“Abominable”
African American Film Critics Association Awards
Best Animated Film
“Ad Astra”
Chicago Film Critics Association Awards
Best Use of Visual Effects (Allen Maris, Jedediah Smith, Guillaume Rocheron and Scott R. Fisher)
Phoenix Critics Circle Awards
Best Science Fiction Film
San Diego Film Critics Society Awards
Best Visual Effects
Seattle Film Critics Society Awards
Best Visual Effects (Allen Maris, Jedediah Smith, Guillaume Rocheron and Scott R. Fisher)
“After”
E! People’s Choice Awards
Drama Movie of 2019
Teen Choice Awards
Choice Drama Movie
Choice Drama Movie Actor (Hero Fiennes-Tiffin)
Choice Drama Movie Actress (Josephine Langford)
“Aladdin”
E! People’s Choice Awards
Family Movie of 2019
Teen Choice Awards
Choice Sci-Fi/Fantasy Movie
Choice Sci-Fi/Fantasy Movie Actor (Will Smith)
Choice Sci-Fi/Fantasy Movie (Naomi Scott)
“Alita: Battle Angel”
Florida Film Critics Circle Awards
Best Visual Effects (Joe Letteri and Eric Saindon)
Hollywood Critics Association Awards
Best Animated of VFX Performance (Rosa Salazar)
International Press Academy Satellite Awards
Best Visual Effects (Joe Letteri and Eric Saindon)
“Amazing Grace”
Kansas City Film Critics Circle Awards
Best Documentary (tied with “Apollo 11”)
“American Factory”
Academy Awards
Best Documentary Feature
Critics’ Choice Documentary Awards
Best Director (Steven Bognar and Julia Reichert) *Tied with Peter Jackson of “They Shall Not Grow Old”
Best Political Documentary
Directors Guild of America Awards
Outstanding Directorial Achievement in Documentary
Film Independent Spirit Awards
Best Documentary
IFP Gotham Awards
Best Documentary
International Documentary Association Awards
Best Director (Steven Bognar and Julia Reichert)
Los Angeles Critics Association Awards
Best Documentary
Oklahoma Film Critics Circle Awards
Best Documentary
Sundance Film Festival
US Documentary Directing Award (Steven Bognar and Julia Reichert)
Toronto Film Critics Association Awards
Best Documentary
“Apollo 11”
American Cinema Editors (ACE) Eddie Awards
Best Edited Documentary
Chicago Film Critics Association Awards
Best Documentary
Critics’ Choice Documentary Awards
Best Documentary Feature
Best Editing (Todd Douglas Miller)
Bes Score (Matt Morton)
Best Archival Documentary
Best Science/Nature Documentary
Dallas-Forth Worth Film Critics Association Awards
Best Documentary
Detroit Film Critics Society Awards
Best Documentary
Florida Film Critics Circle Awards
Best Documentary
Georgia Film Critics Association Awards
Best Documentary
Hollywood Critics Association Awards
Best Documentary
Kansas City Film Critics Circle Awards
Best Documentary (tied with “Amazing Grace”)
Las Vegas Film Critics Circle Awards
Best Documentary
Los Angeles Critics Association Awards
Best Editing (Todd Douglas Miller)
Music City Film Critics Association Awards
Best Documentary
Nevada Film Critics Society Awards
Best Documentary
North Texas Film Critics Association Awards
Best Documentary
Online Association of Female Film Critics Awards
Best Documentary
Online Film and Television Association Awards
Best Documentary
Phoenix Critics Circle Awards
Best Documentary
Producers Guild of America Awards
Outstanding Producer of Documentary Motion Picture (Todd Douglas Miller and Thomas Petersen)
St. Louis Film Critics Association Awards
Best Documentary
San Francisco Bay Area Film Critics Circle Awards
Best Documentary
Seattle Film Critics Society Awards
Best Documentary
Utah Film Critics Association Awards
Best Documentary Feature
Best Film Editing (Todd Douglas Miller)
Best Original Score (Matt Morton)
Washington, D.C. Area Film Critics Association Awards
Best Documentary
“Atlantics”
BFI London Film Festival
Sutherland Prize (for a director’s first feature film)
Cannes Film Festival
Grand Prix (second place)
Los Angeles Critics Association Awards
Best Cinematography (Claire Mathon)
New York Film Critics Circle Awards
Best First Film
“Avengers: Endgame”
Art Directors Guild Awards
Excellence in Production Design – Fantasy Film (Charles Wood)
Critics’ Choice Awards
Best Action Movie
Best Visual Effects
E! People’s Choice Awards
Movie of 2019
Action Movie of 2019
Male Movie Star of 2019 (Robert Downey Jr.
Hollywood Critics Association Awards
Best Blockbuster
Best Visual Effects
Hollywood Film Awards
Hollywood Blockbuster Award (Kevin Feige and Victoria Alonso)
Las Vegas Film Critics Circle Awards
Best Visual Effects
MTV Movie & TV Awards
Best Movie
Best Hero (Robert Downey Jr.)
Best Villain (Josh Brolin)
Music City Film Critics Association Awards
Best Action Film
Nevada Film Critics Society Awards
Best Visual Effects
Online Film and Television Association Awards
Best Visual Effects
St. Louis Film Critics Association Awards
Best Visual Effects
Screen Actors Guild Awards
Outstanding Action Performance by a Stunt Ensemble in a Motion Picture
Teen Choice Awards
Choice Movie
Choice Action Movie Actor (Robert Downey Jr.)
Choice Action Movie Actress (Scarlett Johansson)
Choice Movie Villain (Josh Brolin)
Utah Film Critics Association Awards
Vice/Martin Award for Performance in a Science-Fiction, Fantasy or Horror Film (Robert Downey Jr.)
Washington, D.C. Area Film Critics Association Awards
Best Visual Effects
Best Motion Capture Performance (Josh Brolin)
“A Beautiful Day in the Neighborhood”
North Texas Film Critics Association Awards
Best Supporting Actor (Tom Hanks)
“The Black Godfather”
African American Film Critics Association Awards
Best Documentary
“Bombshell”
Academy Awards
Best Makeup and Hairstyling (Kazu Hiro, Anne Morgan and Vivian Baker)
BAFTA Film Awards
Best Makeup and Hair (Kazu Hiro, Anne Morgan and Vivian Baker)
Critics’ Choice Awards
Best Hair and Makeup (Kazu Hiro, Anne Morgan and Vivian Baker)
Hollywood Critics Association Awards
Best Hair and Makeup (Kazu Hiro, Anne Morgan and Vivian Baker)
Las Vegas Film Critics Circle Awards
Best Supporting Actress (Margot Robbie)
Make-Up and Hair Stylist Guild Awards
Best Contemporary Make-up in a Feature-length Motion Picture (Vivian Baker, Cristina Waltz and Richard Redlefsen)
Best Special Make-up Effects in a Feature-length Motion Picture (Kazu Hiro, Vivian Baker and Richard Redlefsen)
Best Contemporary Hair Styling in a Feature-length Motion Picture (Anne Morgan, Jaime Leigh Mcintosh and Adruitha Lee)
Nevada Film Critics Society Awards
Best Actress (Charlize Theron) *Tie with Scarlett Johansson of “Marriage Story”
North Texas Film Critics Association Awards
Best Actress (Charlize Theron)
Online Film and Television Association Awards
Best Makeup and Hair
St. Louis Film Critics Association Awards
Best Supporting Actress (Margot Robbie) *Also awarded for “Once Upon a Time in Hollywood”
“Booksmart”
Film Independent Spirit Awards
Best First Feature
GALECA Dorian Awards
Unsung Film of the Year
Hollywood Critics Association Awards
Best Comedy/Musical *Tied with “Rocketman”
Best Female Director (Olivia Wilde)
Best Performance by an Actress 23 and Under (Kaitlyn Dever)
Hollywood Film Awards
Hollywood Breakthrough Director Award (Olivia Wilde)
Indiana Film Journalists Association Awards
Breakout of the Year (Olviia Wilde)
Las Vegas Film Critics Circle Awards
Breakout Filmmaker (Olivia Wilde)
Online Film and Television Association Awards
Best breakthrough Director (Olivia Wilde)
Philadelphia Film Critics Circle Awards
Best Directorial Debut (Olivia Wilde) *Tied with Joe Talbot of “The Last Black Man in San Francisco”
St. Louis Film Critics Association Awards
Best Comedy
Toronto Film Critics Association Awards
Best First Feature (Olivia Wilde)
“Brittany Runs a Marathon”
Sundance Film Festival
U.S. Dramatic Audience Award
“The Cave”
International Documentary Association Awards
Best Writing (Alisar Hasan and Feras Fayyad)
Toronto International Film Festival
People’s Choice Documentary Award
“Clemency”
Sundance Film Festival
U.S. Dramatic Grand Jury Award
Cold Case Hammarskjöld
Sundance Film Festival
World Cinema Documentary Grand Jury Directing Award (Mads Brügger)
“Dolemite Is My Name”
African American Film Critics Association Awards
Best Actor (Eddie Murphy)
Best Supporting Actress (Da’Vine Joy Randolph)
Black Film Critics Circle Awards
Best Picture
Best Actor (Eddie Murphy)
Best Supporting Actor (Da’Vine Joy Randolph)
Best Ensemble
Critics’ Choice Awards
Best Comedy Film
Best Costume Design (Ruth E. Carter)
International Press Academy Satellite Awards
Best Costume Design (Ruth E. Carter)
San Diego Film Critics Society Awards
Best Comedic Performance (Wesley Snipes)
Best Costume Design (Ruth E. Carter)
Kansas City Film Critics Circle Awards
Best Supporting Actress (Da’Vine Joy Randolph)
Las Vegas Film Critics Circle Awards
Best Comedy
Best Costume Design (Ruth E. Carter)
Online Film and Television Association Awards
Best Costume Design (Ruth E. Carter) *Tied with “Little Women”
Seattle Film Critics Society Awards
Best Costume Design (Ruth E. Carter)
“Downton Abbey”
Hollywood Film Awards
Hollywood Costume Design Award (Anna Mary Scott Robbins)
Make-Up and Hair Stylist Guild Awards
Best Period Hair Styling and/or Character Hair Styling in a Feature-length Motion Picture (Anne Nosh Oldham, Elaine Browne and Marc Pilcher)
“The Farewell”
American Film Institute (AFI) Awards
AFI Top 10 Movie of the Year
Chicago Film Critics Association Awards
Milos Stehlik Award for Breakthrough Filmmaker (Lulu Wang)
Film Independent Spirit Awards
Best Feature
Best Supporting Female (Shuzhen Zhao)
Golden Globe Awards
Best Actress in a Motion Picture – Comedy (Awkwafina)
Hollywood Critics Association Awards
Best Independent Film *Tied with “Waves”
IFP Gotham Awards
Best Actress (Awkwafina)
International Press Academy Satellite Awards
Best Actress in a Motion Picture – Comedy or Musical (Awkwafina)
North Texas Film Critics Association Awards
Best Supporting Actress (Zhao Shuzhen)
Online Association of Female Film Critics Awards
Breakthrough Filmmaker (Lulu Wang)
Online Film and Television Association Awards
Best Breakthrough Performance: Female (Awkwafina)
San Diego Film Critics Society Awards
Best Supporting Actress (Zhao Shuzhen)
“Fighting With My Family”
Detroit Film Critics Society Awards
Breakthrough (Florence Pugh) *Also awarded for “Midsommar” and “Little Women”
Florida Film Critics Circle Awards
Pauline Kael Breakout Award (Florence Pugh) *Also awarded for “Midsommar” and “Little Women”
Georgia Film Critics Association Awards
Breakthrough Award (Florence Pugh) *Also awarded for “Midsommar” and “Little Women”
Las Vegas Film Critics Circle Awards
Best Family Film
“Five Feet Apart”
E! People’s Choice Awards
Drama Movie Star of 2019 (Cole Sprouse)
“For Sama”
BAFTA Film Awards
Best Documentary
British Independent Film Awards
Best British Independent Film
Best Documentary
Best Director (Waad al-Khateab and Edward Watts)
Best Editing (Chloe Lambourne and Simon McMahon)
Cannes Film Festival
L’oeil d’or (Best Documentary)
Indiana Film Journalists Association Awards
Best Documentary
International Documentary Association Awards
Best Feature
London Film Critics Circle Awards
Best Documentary
National Board of Review Awards
NBR Freedom of Expression Award
South by Southwest Film Festival
Grand Jury Award for Best Documentary
Audience Award for Best Documentary
“Ford v Ferrari”
Academy Awards
Best Film Editing
Best Sound Mixing
BAFTA Film Awards
Best Editing (Andrew Buckland, Michael McCusker)
Cinema Audio Society Awards
Best Motion Picture – Live-Action
Hollywood Film Awards
Hollywood Director Award (James Mangold)
Hollywood Editor Award (Michael McCusker and Andrew Buckland)
Hollywood Sound Award (Donald Sylvester, Paul Massey, David Giammarco and Steven A. Morrow)
Indiana Film Journalists Association Awards
Hoosier Award (Jason Keller)
International Press Academy Satellite Awards
Best Motion Picture – Drama
Best Director (James Mangold)
Best Actor in a Motion Picture – Drama (Christian Bale)
Best Film Editing (Andrew Buckland and Michael McCusker
Best Sound Editing and Mixing (Donald Sylvester, Paul Massey, David Giammarco and Steven A. Morrow)
Las Vegas Film Critics Circle Awards
Best Action Film
Best Film Editing (Andrew Buckland and Michael McCusker)
San Diego Film Critics Society Awards
Best Editing (Andrew Buckland, Michael McCusker and Dirk Westervelt)
San Francisco Bay Area Film Critics Circle Awards
Best Film Editing (Andrew Buckland)
Washington, D.C. Area Film Critics Association Awards
Best Editing (Andrew Buckland and Michael McCusker)
“Frozen 2”
Annie Awards
Best Acting in an Animated Feature Production (Josh Gad)
Best Animated Effects in an Animated Feature Production
“Harriet”
Black Film Critics Circle Awards
Best Director (Kasi Lemmons) *Tied with Martin Scorsese of “The Irishman”
Hollywood Film Awards
Hollywood Breakout Actress Award (Cynthia Erivo)
Las Vegas Film Critics Circle Awards
Best Song (“Stand Up,” written by Cynthia Erivo and Joshuah Brian Campbell)
Philadelphia Film Critics Circle Awards
Elaine May Award
Society of Composers and Lyricists Awards
Outstanding Original Song for Visual Media (“Stand Up,” written by Cynthia Erivo and Joshuah Brian Campbell)
“Honey Boy”
Directors Guild of America Awards
Outstanding Directorial Achievement of a First-Time Feature Film Director (Alma Har’el)
Sundance Film Festival
U.S. Dramatic Special Jury Award for Vision and Craft
Hollywood Critics Association Awards
Best Performance by an Actor 23 and Under (Noah Jupe)
Hollywood Film Awards
Hollywood Breakthrough Screenwriter Award (Shia LaBeouf)
Las Vegas Film Critics Circle Awards
Best Male Youth Performance – Actor Under 21 (Noah Jupe)
Online Association of Female Film Critics Awards
Best Supporting Actor (Shia LaBeouf)
“Honeyland”
American Society of Cinematographers Awards
Best Documentary (Fejmi Daut and Samir Ljuma )
Boston Society of Film Critics Awards
Best Documentary
Critics’ Choice Documentary Awards
Best First Documentary Feature (Tamara Kotevska and Ljubomir Stefanov)
Denver Film Critics Society Awards
Best Documentary
GALECA Dorian Awards
Documentary of the Year
International Documentary Association Awards
Best Cinematography (Fejmi Daut and Samir Ljuma)
Pare Lorentz Award
Sundance Film Festival
World Cinema Documentary Grand Jury Award
World Cinema Documentary Special Jury Award for Impact for Change (Tamara Kotevska and Ljubomir Stefanov)
World Cinema Documentary Special Jury Award for Cinematography (Fejmi Daut and Samir Ljuma)
New York Film Critics Circle Awards
Best Nonfiction Film
Vancouver Film Critics Circle Awards
Best Documentary
“How to Train Your Dragon: The Hidden World”
Annie Awards
Best Special Production
Indiana Film Journalists Association Awards
Best Animated Film
National Board of Review Awards
Best Animated Feature
Vancouver Film Critic Circle Awards
Best Animated Film
“Hustlers”
GALECA Dorian Awards
Film Performance of the Year — Supporting Actress (Jennifer Lopez)
Hollywood Critics Association Awards
Best Supporting Actress (Jennifer Lopez)
Indiana Film Journalists Association Awards
Best Supporting Actress (Jennifer Lopez)
International Press Academy Satellite Awards
Best Supporting Actress in a Motion Picture (Jennifer Lopez)
Los Angeles Critics Association Awards
Best Supporting Actress (Jennifer Lopez)
Nevada Film Critics Society Awards
Best Supporting Actress (Jennifer Lopez)
Oklahoma Film Critics Circle Awards
Best Supporting Actress (Jennifer Lopez)
Online Association of Female Film Critics Awards
Best Supporting Actress (Jennifer Lopez)
Online Film and Television Association Awards
Best Supporting Actress (Jennifer Lopez)
San Francisco Bay Area Film Critics Circle Awards
Best Supporting Actress (Jennifer Lopez)
Seattle Film Critics Society Awards
Best Supporting Actress (Jennifer Lopez)
Washington, D.C. Area Film Critics Association Awards
Best Supporting Actress (Jennifer Lopez)
“I Lost My Body”
Annie Awards
Best Feature – Independent
Writing in an Animated Feature Production (Jérémy Clapin and Guillaume Laurant)
Black Film Critics Circle Awards
Best Animated Film
Boston Society of Film Critics Awards
Best Animated Film
Florida Film Critics Circle Awards
Best Animated Film
International Cinephile Society Awards
Best Animated Picture
Los Angeles Critics Association Awards
Best Animated Film
Best Music/Score (Dan Levy)
New York Film Critics Circle Awards
Best Animated Film
San Diego Film Critics Society Awards
Best Animated Film
San Francisco Bay Area Film Critics Circle Awards
Best Animated Film
Utah Film Critics Association Awards
Best Animated Feature
“The Irishman”
American Film Institute (AFI) Awards
AFI Top 10 Movie of the Year
Black Film Critics Circle Awards
Best Director (Martin Scorsese) *Tied with Kasi Lemmons of “Harriet”)
Best Adapted Screenplay (Steven Zaillian)
Boston Society of Film Critics Awards
Best Editing (Thelma Schoonmaker)
Chicago Film Critics Association Awards
Best Editing (Thelma Schoonmaker)
Critics’ Choice Awards
Best Acting Ensemble
Detroit Film Critics Society Awards
Best Director (Martin Scorsese)
Best Supporting Actor (Joe Pesci)
Florida Film Critics Circle Awards
Best Supporting Actor (Joe Pesci)
Georgia Film Critics Association Awards
Best Supporting Actor (Joe Pesci)
Best Adapted Screenplay (Steven Zaillian)
Hollywood Critics Association Awards
Best Supporting Actor (Joe Pesci)
Hollywood Film Awards
Hollywood Supporting Actor Award (Al Pacino)
Hollywood Producer Award (Emma Tillinger Koskoff)
Hollywood Visual Effects Award (Pablo Helman)
International Cinephile Society Awards
Best Supporting Actor (Joe Pesci)
Kansas City Film Critics Circle Awards
Best Supporting Actor (Joe Pesci)
London Film Critics Circle Awards
Best Supporting Actor (Joe Pesci)
National Board of Review Awards
Best Film
Best Adapted Screenplay
NBR Icon Award (Martin Scorsese, Robert De Niro, Al Pacino)
Nevada Film Critics Society Awards
Best Supporting Actor (Joe Pesci)
New York Film Critics Circle Awards
Best Film
Best Supporting Actor (Joe Pesci)
North Texas Film Critics Association Awards
Best Picture
Oklahoma Film Critics Circle Awards
Best Director (Martin Scorsese)
Best Adapted Screenplay (Steven Zaillian)
Philadelphia Film Critics Circle Awards
Best Director (Martin Scorsese)
Best Supporting Actor (Joe Pesci) *Tied with Brad Pitt of “Once Upon a Time in Hollywood”
Best Soundtrack
St. Louis Film Critics Association Awards
Best Adapted Screenplay (Steven Zaillian)
San Diego Film Critics Society Awards
Best Picture
Best Supporting Actor (Joe Pesci) *Tied with Brad Pitt of “Once Upon a Time in Hollywood”
Toronto Film Critics Association Awards
Best Screenplay (Steven Zaillian)
Utah Film Critics Association Awards
Best Supporting Actor (Joe Pesci)
“Jawline”
Sundance Film Festival
US Documentary Special Jury Award for Emerging Filmmaker (Liza Mandelup)
“John Wick: Chapter 3 – Parabellum”
Hollywood Critics Association Awards
Best Stunt Work
Online Film and Television Association Awards
Best Stunt Coordination
Seattle Film Critics Society Awards
Best Action Choreography
“Jojo Rabbit”
Academy Awards
Best Adapted Screenplay (Taika Waititi)
American Cinema Editors (ACE) Eddie Awards
Best Edited Feature Film (Comedy)
American Film Institute (AFI) Awards
AFI Top 10 Movie of the Year
BAFTA Film Awards
Best Adapted Screenplay (Taika Waititi)
Casting Society of America Artios Awards
Best Studio or Independent Comedy
Critics’ Choice Awards
Best Young Actor/Actress (Roman Griffin Davis)
Hollywood Critics Association Awards
Best Adapted Screenplay (Taika Waititi)
Hollywood Film Awards
Hollywood Cinematography (Mihai Mălaimare Jr.)
Hollywood Production Design Award (Ra Vincent)
Music City Film Critics Association Awards
Best Young Actor (Roman Griffin Davis)
Nevada Film Critics Society Awards
Best Adapted Screenplay (Taika Waititi)
North Texas Film Critics Association Awards
Best Newcomer (Roman Griffin Davis)
Online Association of Female Film Critics Awards
Best Adapted Screenplay (Taika Waititi)
Online Film and Television Association Awards
Best Youth Performance (Roman Griffin Davis)
Phoenix Critics Circle Awards
Best Comedy Film
Best Supporting Actress (Thomasin McKenzie)
San Francisco Bay Area Film Critics Circle Awards
Best Adapted Screenplay (Taika Waititi)
Seattle Film Critics Society Awards
Best Youth Performance (Thomasin McKenzie)
Toronto International Film Festival
People’s Choice Award
Washington, D.C. Area Film Critics Association Awards
Best Youth Performance (Roman Griffin Davis)
Writers Guild of America Awards
Best Adapted Screenplay (Taika Waititi)
“Joker”
Academy Awards
Best Actor (Joaquin Phoenix)
Best Original Score (Hildur Guðnadóttir)
American Film Institute (AFI) Awards
AFI Top 10 Movie of the Year
BAFTA Film Awards
Best Actor (Joaquin Phoenix)
Best Original Score (Hildur Guðnadóttir)
Best Casting (Shayna Markowitz)
Critics’ Choice Awards
Best Actor (Joaquin Phoenix)
Best Original Score (Hildur Guðnadóttir)
Denver Film Critics Society Awards
Best Actor (Joaquin Phoenix)
Best Original Score (Hildur Guðnadóttir)
Golden Globe Awards
Best Actor in Motion Picture – Drama (Joaquin Phoenix)
Best Original Score (Hildur Guðnadóttir)
Hollywood Critics Association Awards
Best Actor (Joaquin Phoenix)
Best Original Score (Hildur Guðnadóttir)
International Press Academy Satellite Awards
Best Adapted Screenplay (Todd Phillips and Scott Silver)
Best Score (Hildur Guðnadóttir)
London Film Critics Circle Awards
Best Actor (Joaquin Phoenix)
Make-Up and Hair Stylist Guild Awards
Best Period and/or Character Make-up in a Feature-length Motion Picture (Nicki Ledermann, Tania Ribalow and Sunday English)
Music City Film Critics Association Awards
Best Actor (Joaquin Phoenix)
Best Original Score (Hildur Guðnadóttir)
North Texas Film Critics Association Awards
Best Actor (Joaquin Phoenix)
Philadelphia Film Critics Circle Awards
Steve Friedman Award
Phoenix Critics Circle Awards
Best Score (Hildur Guðnadóttir)
San Diego Film Critics Society Awards
Best Actor (Joaquin Phoenix) *Tied with Adam Driver of “Marriage Story”
Screen Actors Guild Awards
Outstanding Performance by a Male Actor in a Leading Role (Joaquin Phoenix)
Society of Composers and Lyricists Awards
Outstanding Original Score for a Studio Film (Hildur Guðnadóttir)
Venice International Film Festival
Golden Lion Award
“Judy”
Academy Awards
Best Actress (Renée Zellweger)
BAFTA Film Awards
Best Actress (Renée Zellweger)
British Independent Film Awards
Best Actress (Renée Zellweger)
Best Makeup & Hair Design (Jeremy Woodhead)
Critics’ Choice Awards
Best Actress (Renée Zellweger)
Film Independent Spirit Awards
Best Female Lead (Renée Zellweger)
GALECA Dorian Awards
Film Performance of the Year — Actress (Renée Zellweger)
Golden Globe Awards
Best Actress in Motion Picture – Drama (Renée Zellweger)
Hollywood Film Awards
Hollywood Actress Award (Renée Zellweger)
Las Vegas Film Critics Circle Awards
Best Actress (Reneé Zellweger)
London Film Critics Circle Awards
Best Actress (Reneé Zellweger)
National Board of Review Awards
Best Actress (Reneé Zellweger)
Screen Actors Guild Awards
Outstanding Performance by a Female Actor in a Leading Role (Reneé Zellweger)
“Just Mercy”
African American Film Critics Association Awards
Best Supporting Actor (Jamie Foxx)
“Klaus”
Annie Awards
Best Character Animation in an Animated Feature Production
Best Character Design in an Animated Feature Production
Best Directing in an Animated Feature Production (Sergio Pablos)
Best Production Design in an Animated Feature Production (Szymon Biernaki, Marcin Jakubowski)
Best Storyboarding in an Animated Feature Production (Sergio Pablos)
Best Editorial in an Animated Feature Production
BAFTA Film Awards
Best Animated Film
“Knives Out”
American Film Institute (AFI) Awards
AFI Top 10 Movie of the Year
Casting Society of America Artios Awards
Best Big Budget Comedy
Denver Film Critics Society Awards
Best Original Screenplay (Rian Johnson)
Hollywood Critics Association Awards
Best Cast Ensemble
Indiana Film Journalists Association Awards
Best Ensemble Acting
International Press Academy Satellite Awards
Best Ensemble – Motion Picture
Kansas City Film Critics Circle Awards
Best Original Screenplay (Rian Johnson)
Las Vegas Film Critics Circle Awards
Best Ensemble
Music City Film Critics Association Awards
Best Comedy Film
Best Ensemble
National Board of Review Awards
Best Ensemble
North Texas Film Critics Association Awards
Gary Murray Award (Best Ensemble)
Oklahoma Film Critics Circle Awards
Best Ensemble
Best Original Screenplay (Rian Johnson)
Online Association of Female Film Critics Awards
Best Acting Ensemble
Philadelphia Film Critics Circle Awards
Best Picture
Best Script (Rian Johnson)
Phoenix Critics Circle Awards
Best Comedy Film
Best Screenplay (Rian Johnson)
Special Achievement Award: Ensemble Acting
San Diego Film Critics Society Awards
Best Ensemble
Washington, D.C. Area Film Critics Association Awards
Best Ensemble
“Knock Down the House”
Sundance Film Festival
U.S. Documentary Audience Award
“The Last Black Man in San Francisco”
African American Film Critics Association Awards
Best Independent Film
Boston Society of Film Critics Awards
Best New Filmmaker (Joe Talbot)
Casting Society of America Artios Awards
Best Low-Budget Comedy or Drama
Los Angeles Critics Association Awards
New Generation Prize (Joe Talbot, Jimmie Fails, Jonathan Majors)
Oklahoma Film Critics Circle Awards
Best First Feature (Joe Talbot)
Philadelphia Film Critics Circle Awards
Best Directorial Debut (Joe Talbot) *Tied with Olivia Wilde of “Booksmart”
San Francisco Bay Area Film Critics Circle Awards
Best Original Score (Emile Mosseri)
Marlon Riggs Award (Jimmie Fails and Joe Talbot)
Sundance Film Festival
U.S. Dramatic Directing Award (Joe Talbot)
U.S. Dramatic Special Jury Award for Creative Collaboration
“Les Misérables”
Cannes Film Festival
Jury Prize
“The Lighthouse”
American Society of Cinematographers Awards
Spotlight Award (Jarin Blaschke)
Dallas-Forth Worth Film Critics Association
Russell Smith Award (for low-budget or cutting-edge films)
Film Independent Spirit Awards
Best Supporting Male (Willem Dafoe)
Best Cinematography (Jarin Blaschke)
Indiana Film Journalists Association Awards
Best Supporting Actor (Willem Dafoe)
Original Vision Award (Robert Eggers)
International Press Academy Satellite Awards
Best Supporting Actor – Motion Picture (Willem Dafoe)
Las Vegas Film Critics Circle Awards
Best Supporting Actor (Willem Dafoe)
Philadelphia Film Critics Circle Awards
Best Cinematography (Jarin Blaschke)
San Diego Film Critics Society Awards
Best Cinematography (Jarin Blaschke)
Seattle Film Critics Society Awards
Best Supporting Actor (Willem Dafoe)
“The Lion King”
Casting Society of America Artios Awards
Best Animation *Tie with “Toy Story 4”
E! People’s Choice Awards
Animated Movie Star of 2019 (Beyoncé)
International Press Academy Satellite Awards
Best Motion Picture – Animated or Mixed Media
“Little Women”
Academy Awards
Best Costume Design (Jacqueline Durran)
American Film Institute (AFI) Awards
AFI Top 10 Movie of the Year
BAFTA Film Awards
Best Costume Design (Jacqueline Durran)
Boston Society of Film Critics Awards
Best Picture
Best Actress (Saoirse Ronan)
Best Ensemble Cast
Best Original Score (Alexandre Desplat)
Chicago Film Critics Association Awards
Best Supporting Actress (Florence Pugh)
Best Adapted Screenplay (Greta Gerwig)
Best Costume Design (Jacqueline Durran)
Best Original Score (Alexandre Desplat)
Critics’ Choice Awards
Best Adapted Screenplay (Greta Gerwig)
Denver Film Critics Society Awards
Best Adapted Screenplay (Greta Gerwig)
Best Supporting Actress (Florence Pugh) *Tie with Laura Dern
Detroit Film Critics Society Awards
Breakthrough (Florence Pugh) *Also awarded for “Midsommar” and “Fighting With My Family”
Florida Film Critics Circle Awards
Best Ensemble
Best Adapted Screenplay (Greta Gerwig)
Breakout Award (Florence Pugh) *Also awarded for “Midsommar” and “Fighting With My Family”
Georgia Film Critics Association Awards
Best Supporting Actress (Florence Pugh)
Best Ensemble
Breakthrough (Florence Pugh) *Also awarded for “Midsommar” and “Fighting With My Family”
Indiana Film Journalists Association Awards
Best Adapted Screenplay (Greta Gerwig)
Kansas City Film Critics Circle Awards
Best Adapted Screenplay (Greta Gerwig)
Music City Film Critics Association Awards
Best Supporting Actress (Florence Pugh)
New York Film Critics Circle Awards
Best Supporting Actress (Laura Dern)
Online Film and Television Association Awards
Best Adapted Screenplay (Greta Gerwig)
Best Costume Design (Jacqueline Durrance) *Tied with “Dolemite Is My Name”
Philadelphia Film Critics Circle Awards
Best Supporting Actress (Florence Pugh)
Best Breakthrough Performance (Florence Pugh)
San Diego Film Critics Society Awards
Breakthrough Artist (Florence Pugh) *Also awarded for “Midsommar”
USC Libraries Scripter Awards
Best Film
Utah Film Critics Association Awards
Best Supporting Actress (Florence Pugh)
Best Adapted Screenplay (Greta Gerwig)
Washington, D.C. Area Film Critics Association Awards
Best Adapted Screenplay (Greta Gerwig)
“Luce”
San Diego Film Critics Society Awards
Best Adapted Screenplay (Julius Onah)
“Maiden”
Critics’ Choice Documentary Awards
Best Sports Documentary
National Board of Review Awards
Best Documentary
“Marriage Story”
Academy Awards
Best Supporting Actress (Laura Dern)
American Film Institute (AFI) Awards
AFI Top 10 Movie of the Year
BAFTA Film Awards
Best Supporting Actress (Laura Dern)
Boston Society of Film Critics Awards
Best Actor (Adam Driver)
Best Supporting Actress (Laura Dern)
Casting Society of America Artios Awards
Studio or Independent Drama
Chicago Film Critics Association Awards
Best Actor (Adam Driver)
Critics’ Choice Awards
Best Supporting Actress (Laura Dern)
Dallas-Forth Worth Film Critics Association Awards
Best Actor (Adam Driver)
Best Actress (Scarlett Johansson)
Best Supporting Actress (Laura Dern)
Best Screenplay (Noah Baumbach)
Denver Film Critics Society Awards
Best Actress (Scarlett Johansson)
Best Supporting Actress (Laura Dern) *Tied with Florence Pugh of “Little Women”
Detroit Film Critics Society Awards
Best Actor (Adam Driver)
Best Actress (Scarlett Johansson)
Best Supporting Actress (Laura Dern)
Best Screenplay (Noah Baumbach)
Film Independent Spirit Awards
Robert Altman Award
Best Screenplay (Noah Baumbauch)
Florida Film Critics Circle Awards
Best Actor (Adam Driver)
Best Actress (Scarlett Johansson)
Best Supporting Actress (Laura Dern)
Golden Globe Awards
Best Supporting Actress in Motion Picture (Laura Dern)
Georgia Film Critics Association Awards
Best Actor (Adam Driver)
Hollywood Critics Association Awards
Best Male Director (Noah Baumbach)
Hollywood Film Awards
Hollywood Supporting Actress Award (Laura Dern)
Hollywood Film Composer Award (Randy Newman)
IFP Gotham Awards
Best Feature
Gotham Audience Award
Best Actor (Adam Driver)
Best Screenplay (Noah Baumbach)
Indiana Film Journalists Association Awards
Best Picture
Best Actor (Adam Driver)
Best Original Screenplay (Noah Baumbach)
International Press Academy Satellite Awards
Best Actress in a Motion Picture – Drama (Scarlett Johansson)
Best Original Screenplay (Noah Baumbach)
Kansas City Film Critics Circle Awards
Best Actor (Adam Driver)
London Film Critics Circle Awards
Screenwriter of the Year (Noah Baumbach)
Best Supporting Actress (Laura Dern)
Los Angeles Critics Association Awards
Best Screenplay (Noah Baumbach)
Nevada Film Critics Society Awards
Best Film
Best Director (Noah Baumbach)
Best Actor (Adam Driver)
Best Actress (Scarlett Johansson) *Tie with Charlize Theron of Bombshell”
New York Film Critics Circle Awards
Best Supporting Actress (Laura Dern)
Online Association of Female Film Critics Awards
Best Actor (Adam Driver)
Best Actress (Scarlett Johansson) *Tied with Lupita Nyong’o of “Us”
Best Original Screenplay (Noah Baumbach)
Online Film and Television Association Awards
Best Actor (Adam Driver)
Best Adapted Song (“Being Alive”)
Philadelphia Film Critics Circle Awards
Best Actor (Adam Driver)
Phoenix Critics Circle Awards
Best Actor (Adam Driver)
St. Louis Film Critics Association Awards
Best Actor (Adam Driver)
Best Original Screenplay (Noah Baumbach} *Tied with Quentin Tarantino’s “Once Upon a Time in Hollywood”
San Diego Film Critics Society Awards
Best Actor (Adam Driver) *Tied with Joaquin Phoenix of “Joker”
Best Original Screenplay (Noah Baumbach)
Screen Actors Guild Awards
Outstanding Performance by a Female Actor in a Supporting Role (Laura Dern)
Seattle Film Critics Society Awards
Best Actor (Adam Driver)
Toronto Film Critics Association Awards
Best Actor (Adam Driver)
Best Supporting Actress (Laura Dern)
Utah Film Critics Association Awards
Best Actor (Adam Driver)
Best Actress (Scarlett Johansson)
Vancouver Film Critics Circle Awards
Best Actor (Adam Driver)
Best Actress (Scarlett Johansson)
Best Supporting Actress (Laura Dern)
Best Screenplay (Noah Baumbach)
Washington, D.C. Area Film Critics Association Awards
Best Actor (Adam Driver)
Best Original Screenplay (Noah Baumbach)
“Midnight Family”
International Documentary Association Awards
Best Editing (Luke Lorentzen and Paloma López Carrillo)
“Midsommar”
Detroit Film Critics Society Awards
Breakthrough (Florence Pugh) *Also awarded for “Fighting With My Family” and “Little Women”
Florida Film Critics Circle Awards
Pauline Kael Breakout Award (Florence Pugh) *Also awarded for “Fighting With My Family” and “Little Women”
Georgia Film Critics Association
Breakout Award (Florence Pugh) *Also awarded for “Fighting With My Family” and “Little Women”
Las Vegas Film Critics Circle Awards
Best Horror Film
Online Association of Female Film Critics Awards
Breakthrough Performance (Florence Pugh)
San Diego Film Critics Society Awards
Breakthrough Artist (Florence Pugh) *Also awarded for “Little Women”
“Mike Wallace Is Here”
International Documentary Association Awards
ABC News VideoSource Award
“Missing Link”
Golden Globe Awards
Best Animated Film
Las Vegas Film Critics Circle Awards
Best Animated Film
Toronto Film Critics Association Awards
Best Animated Film
“Monos”
Sundance Film Festival
World Cinema Dramatic Special Jury Award
“Motherless Brooklyn”
International Press Academy Satellite Awards
Auteur Award (Edward Norton)
Best Art Direction and Production Design (Beth Mickle and Michael Ahern)
“Murder Mystery”
E! People’s Choice Awards
Comedy Movie of 2019
“The Mustang”
IFP Gotham Awards
Breakthrough Director (Laure de Clermont-Tonnerre)
International Press Academy Satellite Awards
Best First Feature (Laure de Clermont-Tonnerre)
“Once Upon a Time in Hollywood”
Academy Awards
Best Supporting Actor (Brad Pitt)
Best Production Design (Barbara Ling and Nancy Haigh)
American Film Institute (AFI) Awards
AFI Top 10 Movie of the Year
Art Directors Guild Awards
Excellence in Production Design – Period Film (Barbara Ling)
BAFTA Film Awards
Best Supporting Actor (Brad Pitt)
Black Film Critics Circle Awards
Best Supporting Actor (Brad Pitt)
Boston Society of Film Critics Awards
Best Supporting Actor (Brad Pitt)
Best Screenplay (Quentin Tarantino)
Casting Society of America Artios Awards
Best Big Budget Drama
Chicago Film Critics Association Awards
Best Supporting Actor (Brad Pitt)
Critics’ Choice Awards
Best Picture
Best Original Screenplay (Quentin Tarantino)
Best Supporting Actor (Brad Pitt)
Best Production Design (Barbara Ling)
Dallas-Forth Worth Film Critics Association Awards
Best Supporting Actor (Brad Pitt)
Best Art Direction (Barbara Ling)
Denver Film Critics Society Awards
Best Supporting Actor (Brad Pitt)
Detroit Film Critics Society Awards
Best Use of Music
Best Ensemble
Florida Film Critics Circle Awards
Best Art Direction/Production Design (Barbara Ling)
Golden Globe Awards
Best Motion Picture – Musical or Comedy
Best Supporting Actor in a Motion Picture (Brad Pitt)
Best Screenplay (Quentin Tarantino)
Best Production Design (Barbara Ling and Nancy Haigh)
International Press Academy Satellite Awards
Best Motion Picture – Comedy or Musical
Las Vegas Film Critics Circle Awards
Best Picture
Best Director (Quentin Tarantino)
Best Original Screenplay (Quentin Tarantino)
Best Score
Best Production Design (Barbara Ling)
Best Female Youth Performance – Actress Under 21 (Julia Butters)
Los Angeles Critics Association Awards
Best Production Design (Barbara Ling)
Music City Film Critics Association Awards
Best Supporting Actor (Brad Pitt)
Best Production Design (Barbara Ling)
National Board of Review Awards
Best Director (Quentin Tarantino)
Best Supporting Actor (Brad Pitt)
Nevada Film Critics Society Awards
Best Original Screenplay (Quentin Tarantino)
Best Production Design (Barbara Ling)
Philadelphia Film Critics Circle Awards
Best Supporting Actor (Brad Pitt) *Tied With Joe Pesci of “The Irishman”
St. Louis Film Critics Association Awards
Best Picture
Best Director (Quentin Tarantino)
Best Supporting Actor (Brad Pitt)
Best Supporting Actress (Margot Robbie) *Also awarded for “Bombshell”
Best Original Screenplay (Quentin Tarantino) *Tied with Noah Baumbach’s “Marriage Story”
Best Editing (Fred Raskin)
Best Production Design (Barbara Ling)
Best Music Soundtrack (Holly Adams, music supervisor/soundtrack producer)
Best Scene (Spahn Ranch)
San Diego Film Critics Society Awards
Best Supporting Actor (Brad Pitt) *Tied with Joe Pesci of “The Irishman”
Best Use of Music
San Francisco Bay Area Film Critics Circle Awards
Best Picture
Best Supporting Actor (Brad Pitt)
Best Production Design (Barbara Ling)
Seattle Film Critics Society Awards
Best Production Design (Barbara Ling)
Screen Actors Guild Awards
Outstanding Performance by a Male Actor in a Supporting Role (Brad Pitt)
Toronto Film Critics Association Awards
Best Supporting Actor (Brad Pitt)
Vancouver Film Critics Circle Awards
Best Supporting Actor (Brad Pitt)
Washington, D.C. Area Film Critics Association Awards
Best Supporting Actor (Brad Pitt)
Best Production Design (Barbara Ling)
“One Child Nation”
Sundance Film Festival
U.S. Documentary Grand Jury Award
“Pain and Glory”
Cannes Film Festival
Best Actor (Antonio Banderas)
GALECA Dorian Awards
Film Performance of the Year — Actor (Antonio Banderas)
Los Angeles Critics Association Awards
Best Actor (Antonio Banderas)
Best Foreign Language Film
Hollywood Film Awards
Hollywood Actor Award (Antonio Banderas)
International Cinephile Society Awards
Best Picture
Best Actor (Antonio Banderas)
New York Film Critics Circle Awards
Best Actor (Antonio Banderas)
San Francisco Bay Area Film Critics Circle Awards
Best Actor (Antonio Banderas)
“Parasite”
Academy Awards
Best Picture
Best Director (Bong Joo Ho)
Best Original Screenplay (Bong Joo Ho and Han Jin Won)
Best International Feature Film
African American Film Critics Association Awards
Best Screenplay (Bong Joo Ho and Han Jin Won)
Best Foreign Film
American Cinema Editors (ACE) Eddie Awards
Best Edited Feature Film (Drama)
American Film Institute (AFI) Awards
Special Award
Art Directors Guild Awards
Excellence in Production Design – Contemporary Film (Lee Ha-Jun)
BAFTA Film Awards
Best Original Screenplay (Bong Joo Ho and Han Jin Won)
Best Film Not in the English Language
Black Film Critics Circle Awards
Best Foreign Film
Boston Society of Film Critics Awards
Best Director (Bong Joo Ho)
Best Foreign Language Film
British Independent Film Awards
Best International Film
Cannes Film Festival
Palme d’Or
Chicago Film Critics Association Awards
Best Picture
Best Director (Bong Joon Ho)
Best Original Screenplay (Bong Joo Ho and Han Jin Won)
Best Foreign Language Film
Critics’ Choice Awards
Best Director (Bong Joo Ho) *Tied With Sam Mendes of “1917”
Best Foreign Language Film
Dallas-Forth Worth Film Critics Association Awards
Best Foreign Language Film
Denver Film Critics Society Awards
Best Foreign Language Film
Detroit Film Critics Society Awards
Best Picture
Film Independent Spirit Awards
Best International Film
GALECA Dorian Awards
Best Film of the Year
Best Director (Bong Joo Ho)
Film Performance of the Year — Supporting Actor (Song Kang Ho)
Foreign Language Film fo the Year
Screenplay of the Year (Bong Joo Ho and Han Jin Won)
Georgia Film Critics Association Awards
Best Picture
Best Director (Bong Joo Ho)
Best Original Screenplay (Bong Joo Ho and Han Jin Won)
Best Foreign Language Film
Golden Globe Awards
Best Foreign Language Film
Hollywood Critics Association Awards
Best Original Screenplay (Bong Joo Ho and Han Jin Won)
Best Foreign Language Film
Hollywood Film Awards
Hollywood Filmmaker Award (Bong Joo Ho)
Indiana Film Journalists Association Awards
Best Director (Bong Joon Ho)
Best Foreign Language Film
International Cinephile Society Awards
Best Original Screenplay (Bong Joo Ho and Han Jin Won)
Best Production Design
Kansas City Film Critics Circle Awards
Best Foreign Language Film
Las Vegas Film Critics Circle Awards
Best Foreign Language Film
London Film Critics Circle Awards
Best Film
Best Director (Bong Joo Ho)
Los Angeles Critics Association Awards
Best Picture
Best Director (Bong Joo Ho)
Best Supporting Actor (Song Kang Ho)
Music City Film Critics Association Awards
Best Screenplay (Bong Joo Ho and Han Jin Won)
Best Foreign Film
National Board of Review Awards
Best Foreign Language Film
New York Film Critics Circle Awards
Best Foreign Language Film
North Texas Film Critics Association Awards
Best Foreign Lanuage Film
Oklahoma Film Critics Circle Awards
Best Foreign Language Film
Online Association of Female Film Critics Awards
Best Picture
Best Director (Bong Joo Ho)
Online Film and Television Association Awards
Best Picture
Best Director (Bong Joo Ho)
Best Ensemble
Best Original Screenplay (Bong Joo Ho and Han Jin Won)
Best Film Editing
Best Foreign Language Film
Philadelphia Film Critics Circle Awards
Best Foreign Film
Phoenix Critics Circle Awards
Best Picture
Best Director (Bong Joo Ho)
Best Supporting Actor (Song Kang Ho)
Best Foreign Language Film
St. Louis Film Critics Association Awards
Best Foreign Language Film
San Diego Film Critics Society Awards
Best Foreign Language Film
San Francisco Bay Area Film Critics Circle Awards
Best Director (Bong Joo Ho)
Best Original Screenplay (Bong Joo Ho and Han Jin Won)
Best Foreign Language Film
Seattle Film Critics Society Awards
Best Picture
Best Director (Bong Joo Ho)
Best Ensemble Cast
Best Screenplay (Bong Joo Ho and Han Jin Wan)
Best Foreign Language Film
Screen Actors Guild Awards
Outstanding Performance by a Cast in a Motion Picture
Toronto Film Critics Association Awards
Best Picture
Best Director (Bong Joo Ho)
Best Foreign Language Film
Utah Film Critics Association Awards
Best Picture
Best Original Screenplay (Bong Joo Ho and Han Jin Wan)
Best Non-English-Language Film
Vancouver Film Critics Circle Awards
Best Picture
Best Director (Bong Joo Ho)
Best Foreign Language Film
Washington, D.C. Area Film Critics Association Awards
Best Picture
Best Director (Bong Joo Ho)
Best Foreign Language Feature
Writers Guild of America Awards
Best Original Screenplay (Bong Joo Ho and Han Jin Wan)
“The Perfect Date”
E! People’s Choice Awards
Comedy Movie Star of 2019 (Noah Centineo)
Teen Choice Awards
Choice Comedy Movie Actor (Noah Centineo)
Choice Comedy Movie Actress (Laura Marano)
“The Personal History of David Copperfield”
British Independent Film Awards
Best Supporting Actor (Hugh Grant)
Best Costume Design (Suzie Harman and Robert Worley)
Best Production Design (Cristina Casali)
Best Casting (Sarah Crowe)
“Portrait of a Lady on Fire”
Boston Society of Film Critics Awards
Best Cinematography (Claire Mathon)
Cannes Film Festival
Best Screenplay (Céline Sciamma)
GALECA Dorian Awards
LGBTQ Film of the Year
Most Visually Striking Movie of the Year *Tied with “1917”
International Cinephile Society Awards
Best Director (Céline Sciamma)
Best Supporting Actress (Adèle Haenel)
Florida Film Critics Circle Awards
Best Picture
Best Director (Céline Sciamma)
Kansas City Film Critics Circle Awards
Tom Poe Award (Best LGBTQ Film)
London Film Critics Circle Awards
Best Foreign Language Film
Los Angeles Critics Association Awards
Best Cinematography (Claire Mathon)
New York Film Critics Circle Awards
Best CInematography (Claire Mathon)
Online Association of Female Film Critics Awards
The Rosie Award (for a film that best promotes women)
“Queen & Slim”
African American Film Critics Association Awards
Impact Award
Black Film Critics Circle Awards
Best Original Screenplay (Lena Waithe)
Florida Film Critics Circle Awards
Best First Feature (Melina Matsoukas)
National Board of Review Awards
Best Directorial Debut (Melina Matsoukas)
“Richard Jewell”
American Film Institute (AFI) Awards
AFI Top 10 Movie of the Year
National Board of Review Awards
Breakthrough Performance (Paul Walter Hauser)
Best Supporting Actress (Kathy Bates)
“Rocketman”
Academy Awards
Best Original Song (“(I’m Gonna) Love Me Again”)
Critics’ Choice Awards
Best Original Song (“(I’m Gonna) Love Me Again”) *Tied with “Glasgow (No Place Like Home)” from “Wild Rose”
Golden Globe Awards
Best Actor in Motion Picture – Musical or Comedy (Taron Egerton)
Best Original Song (“(I’m Gonna) Love Me Again”)
Hollywood Critics Association Awards
Best Comedy/Musical *Tied with “Booksmart”
Best Costume Design (Julian Day)
Hollywood Film Awards
Hollywood Breakout Actor Award (Taron Egerton)
Hollywood Make-up and Hair Styling Award (Lizzie Yianni-Georgiou, Tapio Salmi and Barrie Gower)
International Press Academy Satellite Awards
Best Actor in a Motion Picture – Comedy or Musical (Taron Egerton)
Music City Film Critics Association Awards
Best Music Film
Best Song (“(I’m Gonna) Love Me Again”)
Online Film and Television Association Awards
Best Original Song (“(I’m Gonna) Love Me Again”)
“Share”
Sundance Film Festival
US Dramatic Waldo Salt Screenwriting Award (Pippa Bianco)
US Dramatic Special Jury Award for Breakthrough Performance (Rhianne Barreto)
“The Souvenir”
Sundance Film Festival
World Cinema Dramatic Grand Jury Award
“Spider-Man: Far From Home”
E! People’s Choice Awards
Female Movie Star of 2019 (Zendaya)
Action Movie Star of 2019 (Tom Holland)
Teen Choice Awards
Choice Summer Movie
Choice Summer Movie Actor (Tom Holland)
Choice SummerMovie Actress (Zendaya)
“Toni Morrison: The Pieces I Am”
Black Film Critics Circle Awards
Best Documentary
Critics’ Choice Documentary Awards
Best Biographical Documentary
Society of Composers and Lyricists Awards
Outstanding Original Score for an Independent Film (Kathryn Bostic)
“Toy Story 4”
Academy Awards
Best Animated Feature
American Cinema Editors (ACE) Eddie Awards
Best Edited Animated Feature Film
Art Directors Guild Awards
Excellence in Production Design – Animated Film (Bob Pauley)
Casting Society of America Artios Awards
Best Animation *Tie with “The Lion King”
Chicago Film Critics Association Awards
Best Animated Film
Cinema Audio Society Awards
Best Motion Picture – Animated
Critics’ Choice Awards
Best Animated Film
Dallas-Forth Worth Film Critics Association Awards
Best Animated Film
Detroit Film Critics Society Awards
Best Animated Film
Georgia Film Critics Association Awards
Best Animated Film
Hollywood Critics Association Awards
Best Animated Film
Hollywood Film Awards
Hollywood Animation Award
Music City Film Critics Association Awards
Best Animated Film
Nevada Film Critics Society Awards
Best Animated Movie
North Texas Film Critics Association Awards
Best Animated Film
Oklahoma Film Critics Circle Awards
Best Animated Film
Online Association of Female Film Critics Awards
Best Animated Film
Online Film and Television Association Awards
Best Animated Picture
Best Voiceover Performance (Tom Hanks)
Philadelphia Film Critics Circle Awards
Best Animated Film
Phoenix Critics Circle Awards
Best Animated Film
Producers Guild of America Awards
Outstanding Producer of Animated Theatrical Motion Pictures (Mark Nielsen and Jonas Rivera)
St. Louis Film Critics Association Awards
Best Animated Film
Seattle Film Critics Society Awards
Best Animated Film
Washington, D.C. Area Film Critics Association Awards
Best Animated Feature
Best Vocie Performance (Tonhy Hale)
“The Two Popes”
Hollywood Film Awards
Hollywood Screenwriter Award (Anthony McCarten)
Las Vegas Film Critics Circle Awards
Best Adapted Screenplay (Anthony McCarten)
“Uncut Gems”
Boston Society of Film Critics Awards
Best Actor (Adam Sandler)
Florida Film Critics Circle Awards
Best Original Screenplay (Josh Safdie, Benny Safdie and Ronald Bronstein)
Best Original Score
Film Independent Spirit Awards
Best Male Lead (Adam Sandler)
Best Director (Josh Safdie and Benny Safdie)
Best Editing (Ronald Bronstein and Benny Safdie)
Las Vegas Film Critics Circle Awards
Best Actor (Adam Sandler)
Best Original Score (Daniel Lopatin)
National Board of Review Awards
Best Actor (Adam Sandler)
Best Original Screenplay (Josh Safdie, Benny Safdie and Ronald Bronstein)
New York Film Critics Circle Awards
Best Director (Josh Safdie and Benny Safdie)
Oklahoma Film Critics Circle Awards
Best Actor (Adam Sandler)
St. Louis Film Critics Association Awards
Best Actor (Adam Sandler)
San Diego Film Critics Society Awards
Best Director (Josh Safdie and Benny Safdie)
Seattle Film Critics Society Awards
Best Film Editing (Ronald Bronstein and Benny Safdie)
Best Original Score (Daniel Lopatin)
“Us”
African American Film Critics Association Awards
Best Film
Best Director (Jordan Peele)
Best Actress (Lupita Nyong’o)
Black Film Critics Circle Awards
Best Actress (Lupita Nyong’o)
Chicago Film Critics Association Awards
Best Actress (Lupita Nyong’o)
Critics’ Choice Awards
Best Sci-Fi or Horror Film
Georgia Film Critics Association Awards
Best Actress (Lupita Nyong’o)
Hollywood Critics Association Awards
Best Actress (Lupita Nyong’o)
Best Horror Film
Indiana Film Journalists AssociationAwards
Best Actress (Lupita Nyong’o)
Best Original Score (Michael Abels)
Kansas City Film Critics Circle Awards
Best Actress (Lupita Nyong’o)
Vince Koehler Award (Best Sci-Fi, Fantasy or Horror Film)
Music City Film Critics Association Awards
Best Actress (lupita Nyong’o)
Best Horror Film
New York Film Critics Circle Awards
Best Actress (Lupita Nyong’o)
Oklahoma Film Critics Circle Awards
Best Actress (Lupita Nyong’o)
Online Association of Female Film Critics Awards
Best Actress (Lupita Nyong’o) *Tied with Scarlett Johansson of “Marriage Story”
Online Film and Television Association Awards
Best Actress (Lupita Nyong’o)
Best Movie Trailer
Best Movie Poster
Philadelphia Film Critics Circle Awards
Best Actress (Lupita Nyong’o)
Phoenix Critics Circle Awards
Best Actress (Lupita Nyong’o)
Best Horror Film
St. Louis Film Critics Association Awards
Best Horror Film
San Diego Film Critics Society Awards
Best Actress (Lupita Nyong’o)
San Francisco Bay Area Film Critics Circle Awards
Best Actress (Lupita Nyong’o)
Seattle Film Critics Society Awards
Best Actress (Lupita Nyong’o)
Toronto Film Critics Association Awards
Best Actress (Lupita Nyong’o)
Washington, D.C. Area Film Critics Association Awards
Best Actress (Lupita Nyong’o)
Best Original Score (Michael Abels)
“Waves”
African American Film Critics Association Awards
Best Breakout Performance (Kelvin Harrison Jr.)
We See You Award (Taylor Russell)
Hollywood Critics Association Awards
Best Independent Film *Tied with “The Farewell”
Breakthrough Performance Actor (Kelvin Harrison Jr.)
IFP Gotham Awards
Breakthrough Actor (Taylor Russell)
“Wild Rose”
Critics’ Choice Awards
Best Original Song (“Glasgow (No Place Like Home)”) *Tied with “(I’m Gonna) Love Me Again” from “Rocketman”
Denver Film Critics Society Awards
Best Original Song (“Glasgow (No Place Like Home)”)
Georgia Film Critics Association Awards
Best Original Song (“Glasgow (No Place Like Home)”)
Hollywood Critics Association Awards
Best Performance Actress (Jessie Buckley)
Best Original Song (“Glasgow (No Place Like Home)”)
World premiere at DOC NYC in New York City on November 13, 2019.
There have been many pop stars who have changed their safe, politically neutral images to making music that’s edgy or politically controversial. But what if a pop star does that and is then persecuted by the government? That’s what Vietnamese singer Mai Khoi has experienced, according to this compelling film that clocks in at a brisk 70 minutes. This documentary chronicles her ongoing struggles in fighting that persecution and for her rights to freedom of expression.
She first became famous in Vietnam for doing fluffy, inoffensive pop songs. In 2010, Vietnam Television awarded her the prizes of Album of the Year and Song of the Year (for “Viet Nam”). But, as she says in the documentary about her former life as a pop star: “I felt comfortable having a lot of money, but I felt something missing inside me.” Her Australian husband, Ben Swanton, a fellow left-wing social activist whom she married in 2013, says: “She caused a major national scandal when she said that she didn’t want to get married and have children.”
She caused another scandal with her song “Selfie Orgasm,” which essentially dropped the final bomb in her “safe” pop-star image. Khoi says that the song was a social commentary on narcissism, but it was eventually banned by Zing, which is the Vietnamese version of YouTube. By then, a political fire had been began to roar inside her, and she ran for political office as an independent, for a seat in the National Assembly of Vietnam. However, the Vietnamese government, specifically the Vietnamese Fatherland Front, made sure that her name was left off of the ballot.
Khoi’s 2016 meeting with then-U.S. president Barack Obama when he visited Vietnam made her even more of an enemy to the Vietnamese government, she says in the movie. In March 2016, the police raided her concert in Saigon, and she’s been banned from performing in Vietnam. But in one scene in the movie, she does a secret show anyway, and braces herself for the consequences. Viewers see in the film that the government’s reaction is swift and severe: In retaliation for Khoi doing the secret show, the government forced her landlord to evict her. One of the people interviewed in the documentary is Nguyen Qui Duc, also known as radical blogger Anh Chi, who says he’s also been harassed by the Vietnamese government for speaking out against the government.
The movie also shows her botched attempt to hang a banner saying “Keep the Internet Free” from the Long Biên Bridge in Hanoi. She dropped the banner into the Red River after only five minutes, out of fear of being arrested. However, that experience perhaps emboldened her to do an even more daring protest publicity stunt.
The election of Donald Trump as U.S. president added more fuel to her fire. In 2017, when Trump visited Vietnam for the first time as U.S. president, she made headlines around the world for holding a banner up as his motorcade passed by on the streets of Hanoi. The banner said, “Piss on you Trump,” with “iss” crossed out to read “Peace on You Trump.” She was quickly visited by the police, who harassed her. Some of the harassment was caught on camera, but the police eventually forced the cameraperson to stop filming. Despite the police attempting to silence Khoi, her protest achieved its goal of international attention, since video of Khoi holding up the banner became a viral sensation.
A great deal of the movie also documents the recording of Khoi’s first album with her all-male band the Dissidents, whose members all have left-leaning political beliefs, but some of them express a certain trepidation about how being in the band will make them targets of harassment from the government. The musicianship isn’t particuarly impressive, but the album isn’t about crafting catchy pop songs, and the song lyrics clearly mean more to the band than the music.
It’s not a spoiler to say the “Mai Khoi & the Dissidents” album was released in 2017. The album, which was picked up by a Norwegian record company to be released in Norway, became only the second album from a Vietnamese artist to be released outside of Vietnam, according to the documentary. Khoi also received the Human Rights Award from the Oslo Freedom Forum, but the Vietnam government censored this news in the BBC report that was televised in Vietnam.
As a documentary, “Mai Khoi & the Dissidents” is at its most riveting when it conveys the fear and tension after Khoi does something to agitate the Vietnam government. It leaves viewers wondering what’s going to happen next, and what kind of harassment Khoi will experience. What’s less interesting is footage of Khoi and her bandmates in the recording studio, because the musicianship is, frankly, mediocre.
There’s a poignant scene at the end of the film when Khoi seriously contemplates moving from Vietnam to Australia, even though she would be leaving her entire biological family behind. You’ll have to see the movie to find out what she decided in her dilemma to leave Vietnam or stay. The biggest downside to this movie is that in the unpredictable world of a firebrand like Mai Khoi, she’ll inevitably make headlines again for bold and risk-taking activism, and this documentary will then be rendered very outdated.
World premiere at DOC NYC in New York City on November 13, 2019.
The rise of hate crimes in recent years has led to an increase in documentaries and news reports about bigotry and its effects on our culture. “Healing From Hate: Battle for the Soul of a Nation” focuses on former extreme racists who have devoted their lives to helping others get out of the belief systems and lifestyles of hate groups. The three main stars of the film are Life After Hate co-founder Frank Meeink, the real-life inspiration for the dramatic film “American History X”; Life After Hate co-founder Tony McAleer; and Sammy Rangel, a Latino former gang member who founded the group Formers Anonymous for ex-bigots. (Rangel says in the documentary that he used to hate white people.) All of the men openly admit to committing several hate crimes in the past, and they’ve spent time in prison.
The film points out several common denominators of people who join extreme racist groups: They usually had abusive childhoods; they feel mistreated by mainstream society and joined hate groups to have surrogate families; and they often abuse drugs and/or alcohol, even if they leave the hate groups. All of the ex-racists in this documentary fit this profile, and they talk about their ongoing struggles with substance abuse.
McAleer, who is originally from Vancouver, says he changed his hate-filled lifestyle after the births of his daughter and son. One of the more effective parts of the film is when he returns to his hometown to visit members at Temple Shalom, where his hate crimes started. Another standout scene is when McAleer and Rangel visit the Sikh temple (gurdwara) in Oak Creek, Wisconsin, where in 2012, a white supremacist murdered six people and wounded four others before committing suicide. In an emotionally powerful moment, the documentary shows McAleer and Rangel going to the scene of the crime to meet with Amar Kaleka, son of the gurdwara’s murdered founder, as they talk and pray about the tragedy. The movie’s archival footage includes the 2017 deadly Unite the Right rally in Charlottesville, Virginia.
Other people featured in the movie are Randy Blazak, a criminologist and researcher of hate groups; Thomas Engelmann, founder and ex-member of the Aryan Brotherhood, which does a lot of recruiting in prisons; and author Michael Kimmel, a founder of Stony Brook University’s Center for the Study of Men and Masculinities. Also interviewed are former neo-Nazi Randy Furniss and African American activist/radio host Julius Long, who formed an unlikely friendship with each other after Long rescued Furniss from being attacked by an angry crowd protesting against white supremacist Richard Spencer’s 2017 speech at the University of Florida in Gainesville. Spencer is featured in the movie getting into a spirited debate about racism with Life After Hate co-founder Christian Picciolini, who is no longer affiliated with Life After Hate. You might notice a pattern here: This is a very male-centric movie.
The documentary, although well-intentioned, can’t quite overcome its biggest flaw: It basically ignores women. Current and former racists who are women are not mentioned or interviewed. In addition, most of the men in these reform groups have children, but the mothers of these children aren’t interviewed either. The film never bothers to answer these questions: What are these mothers’ perspectives? How are these children being raised? What happens when one parent leaves a hate group, but the other parent wants to stay? The filmmakers don’t mention if any effort was made to include an adequate number of female viewpoints in the documentary.
Although it’s true that the vast majority of violent hate crimes are committed by men, and most of the white supremacists who march at rallies are men, it’s also indisputable that women are a big part of white supremacy. Women’s roles in this damaging movement have been irresponsibly overlooked in this documentary. For example, women who are racists have other insidious methods of inflicting fear on the targets of their hate, besides committing violence. Viral videos and several news reports have proven that female racists like to call the police on people of color who are minding their own business and not breaking the law.
“Healing From Hate” also avoids discussing that within the white supremacy movement is an inherent culture of misogyny because of the belief that white Christian males are the most superior of the human race. However, the movie does not address any sexist beliefs these former racists probably had while in the movement, and the documentary never mentions if their therapy also includes “detoxing” from the overwhelming sexism in white supremacy. (A more accurate title of the movie is “Healing From Male Racists,” not “Healing From Hate.”)
Since men are the only focus of this documentary about current and reformed bigots, it paints an incomplete and inaccurate picture that male racists should be more important priorities than female racists. And this documentary’s emphasis on male redemption is itself kind of sexist. Not surprisingly, all the group therapy leaders in this documentary are men, and almost everyone interviewed for this movie is a man.
A friendly reminder to the filmmakers: Females are 51 percent of the U.S. population. If you’re going to do a documentary whose subtitle is “Battle for the Soul of a Nation,” it would help if you included perspectives from the gender that represents the majority of this nation. “Healing From Hate” director Peter Hutchison plans to make two companion documentaries: “Angry White Men: American Masculinity in the Age of Trump” (based on the sociology work of Kimmel) and “Auschwitz: Facing the Legacy of Hatred,” which will focus on McAleer’s redemption by showing him visiting the sites of Polish death camps. Let’s hope that the makers of these companion documentaries don’t forget that healing from hatred doesn’t exist in only a male vacuum. Female voices need to be valued and heard too.
UPDATE: Media Education Foundation will release “Healing From Hate: Battle for the Soul of a Nation” in select U.S. cinemas on September 4, 2020.
World premiere at DOC NYC in New York City on November 13, 2019.
There comes a time in professional athletes’ lives when they have to decide when they’ll retire from professional sports competitions. But most athletes who’ve been world champions would say that even if they stop competing in professional sports, their sport of choice will always been in their blood. That’s certainly true for windsurfer Robby Naish, who started winning world championships in 1976 at the age of 13. Now that he’s middle-aged, he’s reached a crossroads in the inevitable decision on how much longer it will be before he officially retires.
“The Longest Wave” is ostensibly about Naish’s quest to find and ride the longest wave possible before his advancing age prevents him from taking the kinds of surfing risks that he could when he was younger. It’s a dream he’s been chasing since 2016. But the real issue, which becomes clear early on the documentary, is that Naish is kind of having a mid-life identity crisis. He didn’t really have a “normal” childhood. For decades, his entire life has been about surfing, so it’s unthinkable for him to have any career that doesn’t involve the sport.
“The Longest Wave” director Joe Berlinger doesn’t assume that viewers will know who Naish is before seeing this movie, so Berlinger takes a great deal of time (approximately the first half of the film) to show Naish’s life story, before the second half of the film focuses on Naish’s ultimate quest of finding the longest wave. Naish’s family members (including his father, mother, older brother and two daughters) and colleagues (including surfers Matt Schweitzer, Kai Lenny and Chuck Patterson) are among those who are interviewed. Naish chose Lenny (a Naish protégé in his 20s) and Patterson (a longtime friend who’s closer to Naish’s age) to accompany him on his international journey to chase the longest wave. Their globetrotting included trips to Namibia, Peru and Costa Rica.
Naish’s family members, friends and associates consistently describe him as someone who has a single-minded obsession with surfing and winning any surfing competition that he enters. One of his biggest flaws, they say, is that he’s a sore loser. But on the flip side, he’s also generous about helping and teaching other surfers. Naish essentially admits all of this is true, and he knows that his unwavering commitment to being a pro surfer (which includes constant traveling) has ruined his two marriages. He has a daughter from each of his failed marriages. Naish was going through his second divorce while making this documentary. His ex-wives are not in the film.
Lenny idolized Naish since he was a kid, and he is one of Naish’s best-known protégés, who went into business with Naish’s self-titled brand and signed with many of the same sponsors that Naish has. It should be noted that Red Bull has been a longtime sponsor of Naish, and “The Longest Wave” is from Red Bull Films, so there’s a lot of Red Bull product placement in the movie. Lenny’s smirky cockiness and mugging for the camera easily make him the most annoying person in the film. It’s not surprising later in the movie when he makes a decision that blindsides Naish, but an outside observer watching this documentary can see it coming from a mile away. Meanwhile, Naish’s longtime buddy Patterson has a laid-back presence that’s welcome when Naish and the other members of the team get too high-strung and agitated.
As if going through a divorce hadn’t been bad enough, Naish experienced some major setbacks during the making of this documentary, including a broken pelvis (which required a recovery of at least six months) and a broken foot. While traveling to Walvis Bay, Namibia, the Naish team had the bad luck of several of their luggage items (including Naish’s most-prized surfboard) not arriving, so they spent about six frustrating days watching the surf that they couldn’t ride.
It’s a testament to Naish’s perseverance that he didn’t let these obstacles deter him, but you have to speculate how much longer Naish will be willing to risk getting severe injuries, in order to pursue the kind of extreme surfing that he likes to do. He makes it clear in the movie that he has no regrets, and he’ll keep surfing as long as he’s physically able.
One of the best qualities of the film is the cinematography (there are some truly stunning aerial shots), and it’s why this movie should be seen on the big screen. However, the film’s editing needed to be tighter, because it looks like the filmmakers couldn’t really decide to make this movie a Naish biography or a story about his journey to find the longest wave, so they decided to mash up the two concepts in one movie. You’ll have to see this documentary to find out if Naish ever got to ride his longest wave. You don’t have to be a surfing fan to enjoy this film, because the movie is really about people defining for themselves how they want to chase their dreams.
UPDATE: 1091 Pictures will release “The Longest Wave” on digital and VOD on August 10, 2021.
