Skandie history: #16, Dead Man (1996); #17, Ghost Dog: The Way of the Samurai (2000); #13, Only Lovers Left Alive (2013).
First Picture/Director split since 2013, when Inside Llewyn Davis and Scorsese were the winners. Lonergan ties Herzog (Grizzly Man) for the lowest finish (7th) by a director whose movie won.
Skandie history: #15, La Cérémonie (1996); #8, The School of Flesh (1999); #2, The Piano Teacher (2002); #2s, 8 Women (2002); #17, Time of the Wolf (2004); #13s, I ♥ Huckabees (2004); #4, Gabrielle (2006); #19, Home (2009); #12, White Material (2010); #17, In Another Country (2012); #13s, Amour (2012); #8, Abuse of Weakness (2014); #8, Things to Come (2016).
With 14 total appearances in the top 20, Huppert ties Tilda Swinton in second place for the all-time record, with each now just one nod behind the late Philip Seymour Hoffman.
Skandie history: #2, The Assassination of Jesse James by the Coward Robert Ford (2007); #7, Gone Baby Gone (2007); #14, The Killer Inside Me (2010).
Skandie history: None.
Skandie history: None.
Skandie history: #1, You Can Count on Me (2000); #2, Margaret (2011).
Again, the only reason Lonergan hasn't won for all three of the films he's written and directed is that Margaret happened to run into A Separation. It would've won handily had it been released any year from 2006–2010.
sk1 from Daniel Gemko on Vimeo.
Best Scene: An invitation to lunch, Manchester By The Sea (209/17).
(Sound's very slightly out of sync again.)
Complete results available here. Thanks to all voters, and especially to Mark Pittillo for programming the automated ballot and maintaining the website. The big post-mortem will be up in the next day or two.
What is with people voting for documentary subjects in acting categories in my opinion.
Because there's often an element of performance in documentary, even in found-footage films (like AMY and WHAT HAPPENED, MISS SIMONE from last year).
This year, I gave points to Anthony Weiner, Kate Lyn Shiel and Kirsten Johnson. The last is the iffiest, because she's only onscreen for a brief glimpse near the end, but her offscreen presence is the dominant thing shaping the film. The other two are manifestly performances by any reasonably objective definition though.
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