The festival will also give Shannon McIntosh its producer of the year award for 'Once Upon a Time in Hollywood.'
The Capri, Hollywood International Film Festival on Monday announced that it will honor Noah Baumbach's Marriage Story with its best original screenplay award.
Baumbach wrote, directed and produced the drama, which looks at a marriage breaking up and its effects on a family. The Netflix film, which stars Scarlett Johansson and Adam Driver, has been nominated for six Golden Globes, including for best motion picture in a drama and screenplay.
The fest will also honor Shannon McIntosh with its producer of the year award for Quentin Tarantino's Once Upon a Time in Hollywood. McIntosh has produced four of Tarantino's films in all, including Inglorious Basterds, Django Unchained and The Hateful Eight.
The event will also honor Sophia Loren and Lionel Ritchie with Capri Legend awards; Dolemite Is My Name has been tapped as best comedy; Once Upon a Time will receive the best ensemble cast prize; Steven Zaillian will be awarded best adapted screenplay honors for The Irishman; and Paul Feig will be presented the inaugural King of Comedy award.
The 24th edition of the Capri, Hollywood festival is set to run Friday-Jan. 2.
“Ordinary Love” isn't really a movie about cancer, even though this tender and discreet portrait of a marriage on fire begins with a woman Lesley Manville asking her longtime husband Liam Neeson to feel the lump she finds under her left breast. It isn't even a movie about dying, even though Lisa Barros D'Sa and Glenn Leyburn's direction casts a moribund pall over the drama from the moment it starts. On the contrary — and true to the title of Owen McCafferty's semi-autobiographical script — “Ordinary Love” is a story about all of the ways that even the strongest of couples can be separated before death does them part; a story about how different kinds of pain can trace the limits and boundlessness of sharing your life with someone.
Tom and Joan have been together for so long that the world outside of their marriage only seems to exist in soft focus. The two retirees live a quiet upper-middle-class existence in a seaside Irish town, and spend their afternoons power-walking along the water in order to satisfy the demands of their FitBits she always wears earbuds, but they still manage to make each other laugh along the way. They bicker a lot, but only to remind each other they're still alive. “I know what you're going to say” is the most honest part of every argument, and also the reason for having them. When someone asks after Joan's husband, she can only reply that “He's Tom all the time.”
The tumor is the first new test this couple has faced in a long time, even if it points towards a previous tragedy that may be holding their marriage together by centrifugal force. They react to the various test results and screenings in different but consistently inconsistent ways; Joan braces for the worst, while Tom is petrified of letting his wife know that he's scared. Strange pockets of distance begin to grow between them, as the film's Haneke-still compositions start to separate these characters in time and space sometimes it divides them across different floors, sometimes by different shots, and sometimes by nothing more than the crack between two panes of glass in a restaurant window. Joan's hair falls out in clumps as she sweats through a chemo-induced fever, while Tom drowns his sorrows with a beer in front of the television. To what extent is this happening to both of them? How feasible is it for two people to share in this kind of hardship?
The probing nature of these eternal questions — when asked with the seriousness they demand — is enough to make “Ordinary Love” feel like something of an ultra-sedate counterpoint to “Phantom Thread,” in which Manville was the bystander to a marriage sustained by the transference of pain from one partner to the other. Reynolds Woodcock would make Alma suffer,...
Welcome to The Quarantine Stream, a new series where the /Film team shares what they’ve been watching while social distancing during the COVID-19 pandemic.
The Show: The Secret History of Hollywood
Where You Can Stream It: The podcasting app of your choice.
The Pitch: The Secret History of Hollywood is the most compelling, immersive, and emotional podcast I’ve ever had the pleasure of listening to. Each season consists of deep dives into a major Hollywood figure, tracing its subject’s rise to prominence and giving incredible insight into their home lives, painting a portrait so captivating and well-rounded that biographies or books on the subjects could only dream to achieve.
Why It’s Essential Quarantine Listening: I’ve been thinking about this podcast a lot since I first stumbled across it several years ago, but I think it’s especially appropriate to recommend it right now because some of its episodes are incredibly lengthy – many clock in around an hour and a half, but some of them stretch to four, six, or even nine hours long. Yes, really. Some of you may scoff, but isn’t being in quarantine the perfect time to give a long-form podcast a chance?
Adam Roche, the voice behind the show, had no background in sound editing or sound production when he got started, but he could have fooled me: the series reminds me of an old-time radio show, complete with sound effects and Roche doing voices as he plays the people in a given scene. I realize that may sound cheesy, and it absolutely would be in less-capable hands. But trust me: Roche’s mellifluous voice and incredibly researched accounts are perfect for this type of storytelling.
The show has brought me to tears multiple times over the years, and I think a huge part of the reason for that is because of the long episode lengths. Like a great TV series you never want to end, you get to spend hours and hours with the subjects of these episodes and build emotional connections to them, so when they they experience hardships, a project goes wrong, or they lose a loved one, the results can be unexpectedly powerful.
The show has earned the attention of Hollywood vets like Peter Ramsey Spider-Man: Into the Spider-Verse and Mark Gatiss Sherlock, Game of Thrones, the latter of whom lends his own terrific voice to introductions of the most recent season, which covers the prolific producer Val Lewton Cat People, The Body Snatcher, The Ghost Ship. I knew nothing about Lewton or his work before I listened to the eleven episode season, but by the end, I feel like not only do I know all about him, but I feel I’ve experienced his highs and lows right alongside him. It’s truly spellbinding stuff, and it comes with my absolute highest recommendation.