Sean Baker’s “The Florida Project,” Joshua Z. Weinstein’s “Menashe” and Chloe Zhao’s “The Rider” are nominated for the Cinema Eye Honors Heterodox Award, which goes to films that blur the line between narrative fiction and documentary filmmaking.
Guido Hendrikx’s “Stranger in Paradise” and Pawel Lozinski’s “You Have No Idea How Much I Love You” were also nominated for the award. Previous winners include “Boyhood,” “Taxi,” “Beginners,” “All These Sleepless Nights” and “Post Tenebras Lux,” among others.
At the same time, the Cinema Eye Honors, which were established in 2007 to honor all facets of non-fiction filmmaking, announced that the 2018 Cinema Eye Legacy Award will go to Leon Gast’s Oscar-winning 1996 film “When We Were Kings,” a look at the 1974 heavyweight championship boxing match between Muhammad Ali and George Foreman.
The Legacy Award, which goes to a documentary classic with lasting influence, will be presented at the annual Cinema Eye Honors lunch on Jan. 10 in New York City. “When We Were Kings” will be shown that evening, followed by a Q&A with Gast, at the Museum of the Moving Image in Queens.
“At a time when sports, race and political protest are swirling together in the news, it is the perfect moment to honor Leon Gast’s brilliant documentary about one of the greatest figures in sports history, a man unafraid to speak out on race, war or politics, Muhammad Ali,” said filmmaker and Cinema Eye co-chair Marshall Curry.
The Heterodox Award winner will also be announced at the lunch on Jan. 10, with other Cinema Eye Honors winners revealed at an awards ceremony the following night.
With his Heterodox Award nomination for “The Florida Project,” Sean Baker becomes the first filmmaker to be nominated twice for that award. He was previously nominated for “Tangerine” two years ago.
The Heterodox nominees were selected from a field of 10 semifinalists, which had been chosen by more than two dozen film-festival programmers who specialize in nonfiction film. The final nominees were then chosen by a smaller jury of programmers and journalists.
The rest of the Cinema Eye Honors nominations were previously announced and are available here.
Oscar 2018: Documentary Filmmaker Portraits, From Agnes Varda to Jim Carrey (Exclusive Photos)
Eight nonfiction filmmakers pose for the Race Begins issue of TheWrap Oscar Magazine.
JR and Agnes Varda, "Faces Places"
(Photographed by Shayan Asgharnia for TheWrap) "We have used the phrase 'friendship at first sight,' and that's really what happened. We met and said, 'We have to do something together. What could we do? It should be images and sound, like cinema." --Varda
Colin Hanks, "Eagles of Death Metal: Nos Amis"
(Photographed by Samantha Annis for TheWrap) "Initially, I resisted the idea. I don't necessarily like to stick a camera in my friends' faces after the toughest time in their lives, a terrorist attack on the other side of the world. But we realized there was an opportunity to document this and help everybody move on."
Ceyda Torun, "Kedi"
(Photographed by Corina Marie for TheWrap) "We went to Istanbul to do a straightforward nature documentary by filming cats and taking to people. But we realized that what people had to say about cats was profound and poetic, and that's the fastest way to strike up intimate conversations with strangers."
Jim Carrey, "Jim and Andy: The Great Beyond-Featuring a Very Special, Contractually Obligated Mention of Tony Clifton" (Directed by Chris Smith)
(Photographed by Corina Marie for TheWrap) "It's behind the scenes like has never been seen behind the scenes. And also, the character being played [in "Man in the Moon"] took over the movie and played it from the apparent grave. We all had the experience of Andy [Kaufman] being back."
John Ridley, "Let it Fall: Los Angeles 1982-1992"
(Photographed by Matt Sayles for TheWrap) "Los Angeles is not Ferguson, not Baltimore. These events deserve singular examination. My desire is to use complicated storytelling to upend the audience expectations, so they walk away and think, 'What do I feel about what I thought I knew?"
Brett Morgen, "Jane"
(Photographed by Megan Mack for TheWrap) "I think that Jane Goodall is a story for our time, and yet one that transcends our time. It's not just the story of a scientist, but the story of a woman having to overcome the structural opposition of her time to fulfill and achieve her dreams."
Evgeny Afineefsky, "Cries from Syria"
(Photographed by Jana Cruder for TheWrap) "Syrian people were bringing me footage because they knew I had a voice and could tell their story to the world. They're fighting for freedom of speech, fighting for democracy, for all these human rights that we've never had."
Rachel Grady and Heidi Ewing, "One of Us"
(Photographed by Corina Marie for TheWrap) "We followed the journey of a few Hassidic Jews who were exploring the world outside their very cloistered, insular community -- and what's interesting is that there's a tenderness and homesickness for what they are leaving behind, because it cannot be replaced by secular American life." -- Grady
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TheWrap Oscar Magazine: Eight nonfiction filmmakers pose for the Race Begins issue
Eight nonfiction filmmakers pose for the Race Begins issue of TheWrap Oscar Magazine.
