In the days when studio films boast mega budgets and mega concepts, independent films are left to carry story-driven and character-driven films that don’t reek of Hollywood and excess. Yet, this year there is much to cheer about in the Oscar nomination of intelligent films. Of the ten Best Picture Oscar nominations, only “The Wolf of Wall Street,” “Captain Phillips” and “Gravity” are out-and-out studio films. The rest are wonderful films that echo independent filmmaking: “American Hustle,” “Dallas Buyers Club,” “Her,” “Nebraska,” “Philomena,” and “12 Years a Slave.”
Independent films are specifically honored at the Film Independent Spirit Awards, held the day before the Academy Awards on the boardwalk in Santa Monica. I recommend seeing all of the films nominated in all of the categories! Although I haven’t seen each and every one of them, the selections contain top-notch films that should appeal to everyone.
To qualify for a Spirit Award, a film must have a budget under $20 million and have either been commercially released or screened at one of six film festivals: Los Angeles, New Directors/New Films, New York, Sundance, Telluride or Toronto. Many independent films now raise funds through private investors, crowd funding, small production houses, then get support from larger studios and distributors after exhibiting at the festivals.
The overlap of nominated best picture, best director and best acting nominations between the Spirit Awards and the Academy Awards signifies the importance of the independents. The overlapping nominees include “Dallas Buyers Club,” “12 Years a Slave,” “Inside Llewyn Davis” and “Nebraska.” The frontrunner for best picture for both awards ceremonies is Steve McQueen’s unflinching melodrama “12 Years a Slave.”
This year, even the big budget films were full of powerful writing. The most universally loved film of my friends would be the studio-produced “Captain Phillips,” having a budget of $55 million. I also loved the adaptation of the Tony-awarding winning play “August: Osage County.” “Gravity” and “American Hustle” both appealed to the festival crowd as well.
Four of the five nominated documentaries originated from Sundance Film Festival. The runaway hit was “20 Feet to Stardom,” a compelling story of unknown backup singers. My favorite doc was “Cutie and the Boxer,” so small and yet so effective (reviewed for LA YOGA Magazine, see article here).
The acting in the independent films was exceptional. You have to cheer for both leads in “Dallas Buyers Club” – when I saw the film at the LA premiere, despite seeing Jared Leto on stage before the film, I never recognized him in the film as a transsexual. Quite a transformation! Not to mention Matthew McConoughy’s powerful performance as an AIDS victim, in addition to his strong role in the small film “Mud” (nominated for a Spirit award for best directing). I also am rooting for the Cate Blanchett in “Blue Jasmine,” Bruce Dern and June Squib in “Nebraska,” and Lupita Nyong’o in “12 Years a Slave.”
Some smaller films that were overlooked at the Academy Awards altogether are nevertheless worth a look at. These include Robert Redford’s “All is Lost,” “Fruitvale Station,” “The Way Way Back,” “The Spectacular Now,” “Blue Caprice,” and “Short Term 12.” “Before Midnight,” the third chapter in the remarkable Linkletter/Ethan Hawke/Julie Delphy 18-year collaboration is nominated for best adapted screenplay in both the Spirit and Academy Awards.
Karen Henry is an Associate Editor at LA YOGA who volunteers in a variety of capacities for nonprofit organizations and artists around Los Angeles. She practices yoga as a counterbalance to her daily impact sports and is a mother of four grown children who also practice yoga . Now, she’s working on teaching yoga and joy of life to the grandkids!