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2010 Gotham Awards: Winter's Bone Wins Best Feature

Posted by Eric Lavallee on Nov 29, 2010
Source: Gotham Independent Film Awards

Debra Granik's Winter's Bone went two for four at the 2010 Gotham awards claiming Best Ensemble and the coveted, top prize of Best Feature beating out the much-liked other Sundance titles in Blue Valentine and The Kids Are All Right and TIFF titles Black Swan and Let Me In. I think many indie film insider would agree that this was Winter's Bone award to lose, and with tomorrow's Indie Spirit nominations unveiling (where we should expect more mentions) 2010 will have been quite the comeback year for Debra Granik, whose debut film Down to the Bone would critically do well but pretty much disappeared from the map straight-after. The Roadside Attractions summer released film was produced by Anne Rosellini and Alix Madigan-Yorkin.

Other Noms:

Black Swan
Darren Aronofsky, director; Mike Medavoy, Arnold W. Messer, Brian Oliver, Scott Franklin, producers (Fox Searchlight Pictures)

Blue Valentine
Derek Cianfrance, director; Jamie Patricof, Lynette Howell, Alex Orlovsky, producers (The Weinstein Company)

The Kids Are All Right
Lisa Cholodenko, director; Gary Gilbert, Jeffrey Levy-Hinte, Celine Rattray, Jordan Horowitz, Daniela Taplin Lundberg, Philippe Hellmann, producers (Focus Features)

Let Me In
Matt Reeves, director; Simon Oakes, Alex Brunner, Guy East, Tobin Armbrust, Donna Gigliotti, John Nording, Carl Molinder, producers (Overture Films) 

Previous Winners
2009: Kathryn Bigelow's The Hurt Locker
2008: Courtney Hunt's Frozen River
2007: Sean Penn's Into the Wild
2006: Ryan Fleck's Half Nelson



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Review: The Kid With a Bike

Review: The Kid With a Bike

"Despite the one-dimensionality of its anti-patriarchal theme (appeasing the knee-jerk expectations of European film fest audiences), the Dardennes avoid cheapening the story with ideological smugness, achieving an emotional resonance without easy sentimentality."


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"Encoded in the outlandish humor that pervades the film are bits of commentary on everyday life. The most overt is Dupieux's urging to appreciate the relationships around you, which is manifested in the dog kidnapping, but also in a subplot in which a woman from the pizzeria moves between men without even realizing they have changed. Another cultural critique is found in the rainy office, an instantly recognizable visual metaphor for how dreary a 9 to 5 job can be."


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