tellurikwaves Blog : CINEMA :Les blessures narcissiques d'une vie par procuration

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15/01/2018 05:43 par tellurikwaves

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15/01/2018 05:43 par tellurikwaves

Distinctions/Récompenses

BAFTA Awards 2017

Nominated
BAFTA Film Award

Outstanding British Film of the Year
Andrea Arnold
Lars Knudsen
Pouya Shahbazian
Jay Van Hoy

Alliance of Women Film Journalists 2017

Nominated EDA Female Focus Award	Best Woman Director Andrea Arnold
	Best Woman Screenwriter Andrea Arnold
	Best Breakthrough Performance Sasha Lane
Nominated EDA Special Mention Award	Bravest Performance Sasha Lane

Austin Film Critics Association 2016

Nominated
Breakthrough Artist Award

Sasha Lane

Baja International Film Festival 2016

Won
Premio Cinemex

Los Cabos Competition
Andrea Arnold

Black Reel Awards 2017

Won Black Reel	Outstanding Independent Feature Andrea Arnold
Nominated Black Reel	Outstanding Actress, Motion Picture Sasha Lane
Nominated Black Reel	Outstanding Breakthrough Performance, Female Sasha Lane

British Independent Film Awards 2016

Won British Independent Film Award	Best British Independent Film
	Best Director Andrea Arnold
	Best Actress Sasha Lane
	Outstanding Achievement in Craft Robbie Ryan Cinematography
Nominated British Independent Film Award	Best Actor Shia LaBeouf
Nominated British Independent Film Award	Best Screenplay Andrea Arnold

Cannes Film Festival 2016

Won Jury Prize	Andrea Arnold
Won Prize of the Ecumenical Jury - Special Mention	Andrea Arnold A road-movie that gives a loving glimpse of a forgotten youth, a "sales crew" travelling from town ... More A road-movie that gives a loving glimpse of a forgotten youth, a "sales crew" travelling from town to town. It shows their ability of inner strength and dignity, while at the same time providing a social seismograph of various segments of society. It is a threefold journey: a journey of the crew, a journey from wealth to poverty and an inner journey of each of the protagonists, Star and Jake haven't lost their ability to dream and to transform themselves.
Nominated Palme d'Or	Andrea Arnold

Chlotrudis Awards 2017

Nominated
Chlotrudis Award

Best Use of Music in a Film
Irma de Wind

Empire Awards, UK 2017

Nominated Empire Award	Best Director Andrea Arnold
	Best Female Newcomer Sasha Lane

Film Independent Spirit Awards 2017

Nominated Independent Spirit Award	Best Feature Thomas Benski Jay Van Hoy Lars Knudsen Lucas Ochoa Pouya Shahbazian Alice Weinberg
	Best Director Andrea Arnold
	Best Female Lead Sasha Lane
	Best Supporting Female Riley Keough
	Best Supporting Male Shia LaBeouf
	Best Cinematography Robbie Ryan

Florida Film Critics Circle Awards 2016

Won
FFCC Award

Best Ensemble

Gay and Lesbian Entertainment Critics Association (GALECA) 2017

Nominated
Dorian Award

Unsung Film of the Year

Gotham Awards 2016

Nominated
Gotham Independent Film Award

Breakthrough Actor
Sasha Lane

Hamburg Film Festival 2016

Nominated
Art Cinema Award

Best Feature
Andrea Arnold

Indiana Film Journalists Association, US 2016

Nominated IFJA Award	Best Picture
	Breakout of the Year Sasha Lane

Indiewire Critics' Poll 2016

Nominated ICP Award	Best Original Score or Soundtrack 8th place. Tied with Yeong-wook Jo for Mademoiselle (2016).
	Best Cinematography Robbie Ryan 6th place.

Internet Film Critic Society 2016

Won
IFCS Award

Most Underrated Film

Lisbon & Estoril Film Festival 2016

Nominated
Jaeger - LeCoultre Best Film Award

Best Film
Andrea Arnold

London Critics Circle Film Awards 2017

Nominated ALFS Award	Film of the Year
	British/Irish Film of the Year
	Supporting Actor of the Year Shia LaBeouf
	Supporting Actress of the Year Riley Keough
	Technical Achievement of the Year Robbie Ryan (cinematography)

Seville European Film Festival 2016

Won
Best Cinematography

Robbie Ryan

Stockholm Film Festival 2016

Won
FIPRESCI Prize

Competition
Andrea Arnold

A depiction of being young amongst a mid-western society. With an incredible soundtrack the film ... More

A depiction of being young amongst a mid-western society. With an incredible soundtrack the film perfectly captures hope amongst hopelessness. This years International Critics Prize (FIPRESCI) goes to "American Honey" by Andrea Arnold.

Village Voice Film Poll 2016

Nominated
VVFP Award

Best Supporting Actress
Riley Keough

9th place. Tied with Paulina García for Brooklyn Village (2016).

Women Film Critics Circle Awards 2016

Won Adrienne Shelly Award
Nominated WFCC Award	Best Young Actress Sasha Lane

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Sites externes

Showing all 61 external sites

Jump to: Official Sites (1) | Miscellaneous Sites (26) | Photographs (11)

Official Sites

Official site

Miscellaneous Sites

Photographs

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14/01/2018 15:06 par tellurikwaves

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Interview de Sasha Lane (WONDERLAND)

Sasha Lane didn’t esteem Hollywood actors, not before becoming one. The stars she always looked up to were sky-bound. In Dallas, Texas, where she grew up, and San Marcos,Texas, where she went to school at Texas State University, she says:“You can lay back, look up, and see stars — not so much here.” Pollution masks the stars here in Los Angeles, where Lane now lives.The 20-year-old Libra (born September 29) lives downtown in an old friend’s condo, on the 29th floor of a new high- rise that’s designed like a hotel. An eery collection of purple,teal,and crystal clear humanoid heads greets you in the lobby, followed by the front desk personnel, who’re similarly decorative. If you make it past them, there’s complimentary coffee and tea and a fridge full of round ice, next to more obscure art, and two elevators that ascend so fast my ears pop. Lane says the place “isn’t really her style, but the view—”.

She’s got panoramic windows, out of which you can see all the way to Vernon, where the last season of True Detective was set, and Compton, where Kendrick Lamar grew up. LA’s South Side — vast, industrial, and full of cars, like a Hot Wheels dream.That’s how it looks, from this height. At night, Lane says: “it’s beautiful, so lit.” She says she loves to sit on her window sill, “and read, colour, and chill.” She hasn’t had much time to lately, though, as she’s gearing to trip to Cannes, France, where she’ll see screened, next week, for the first time in full, a feature film she stars in. American Honey is its name. In it, Lane plays a young American woman named Star.

It’s Lane’s first acting gig, and the character is based, in part, on her. That’s how English director Andrea Arnold, best known for her 2009 film Fish Tank, wanted to work: she cast non-actors whose backgrounds were similar to the characters she wanted to portray. Lane calls them, “castaway kids, the ones people discard; they’re from broken homes, or living on the street.” Lane’s Star is, like Sasha Lane, originally from Texas, a change Arnold made because of Lane’s dreadlocks; the director didn’t feel they were believable on a girl from Oklahoma, as Star was first scripted.“As she was meeting everyone,” Lane says,“Andrea would kind of write the script around them.” Since Star is the heart of the film’s plot, she had to be a bit more fictional, to move it along,“but a lot of it was still me— the spirit, the energy, my tattoos, everything.”

Andrea Arnold cast Lane on a beach in Florida during spring break 2015. Arnold was out scouting with her assistant and casting director, and Lane was a little intoxicated. She was with a group of friends when Arnold and co came up and told her they’d been watching her for awhile. “They were like: ‘You’re such a free spirit, you’re so beautiful, we’re doing this movie and want to talk to you.’” One of Lane’s friends dismissed the pick-up as being for porn, a common troll on spring break beaches. Everyone else was curious, though, so they listened, and that night, Andrea Arnold came by Sasha Lane’s hotel to tell her more about the movie. The next morning, Lane was supposed to go back to Texas.

Arnold requested that she stay the week, to ensure the casting was right. Lane agreed, though not without some worry. As she was moving her suitcase from a friend’s into Arnold’s car, Lane remembers telling the filmmaker, “If you’re going to kill me, everyone knows where I am.” Sasha says she had “a good vibe” about Andrea (and she’s “very into vibes,” the word is even tattooed on her), but there was a fear — felt expressly by her friends and family — that Sasha may be getting sucked into the very scam Arnold claimed to be making a movie about.

Mag crews. Bands of mostly underprivileged youth who travel the United States selling magazine subscriptions door-to-door in mostly affluent neighbourhoods. It’s an exploitative business, hierarchical and abusive, so much so some consider it human trafficking; there are pending lawsuits, criminal investigations.Youth are recruited off the streets, some from halfway houses. They’re promised money, travel, and food. Party, drugs, and community are bonus, part of the adventuring atmosphere. It’s a real phenomenon. The companies who run mag crews tend to change their names often, to evade fraud charges. It’s tricky to track, as most companies only accept cash, which the hired youth but briefly touch.

They hand it off to their superior managers, who are usually former sellers (you work your way up), and who may beat or otherwise punish their underlings if they don’t comply. There are many reported cases of mag crew employees being physically beaten, verbal abused, and/or forced to work excruciating hours until they fulfil their daily sales quotas. That, and there’s the threat of being fired and left stranded in whatever place the crews happens to be in, a serious scare for those without means. It’s the kid’s lack of means — impoverished backgrounds, broken homes, criminal records, substance abuse issues — that these companies exploit.The youth are coached to recount pitiful personal stories to the homeowners they meet, who so buy subscriptions as charity, out of guilt. All this and the youth sometimes never get a paycheck; the companies “hold” their workers earnings, deducting room and board from them. If you don’t sell enough, you can accrue a debt.

“You get sucked into this world,” Lane explains. She says she recognised “the life of not having a lot of money and never knowing what you’re gonna do next.” She grew up poor, in what she calls “the hood.” There was “Beauty in the streets, kids playing all over,” and a “loyal and loving” community. “We all looked out for one another.” But there was also drugs, violence, poverty. Lane says her upbringing accounts for her free spirit,“because when you grow up like that, you kinda just have to go for things. People either get really scared and stay or they find ways to get out.”

Sasha Lane never imagined a movie would be her way out. She was, “always told Hollywood and actors were not something you wanted to be.” In Texas, she says, “we would watch actresses, the glamour, it’s as if they don’t have any problems. I was like, that doesn’t sound like what I want to do with my life.” Since making American Honey (it was a two-month shoot, road-tripping, like mag crews do, across America), Lane is open to more. She’s got an agent, manager, and a set-up in LA. She’s reading scripts and working, with actor Riley Keough, who’s also in American Honey, on a documentary about a Native American population they met whilst on set. Lane says she wants to continue in film for,“the art of it, for craft,” and for people. “I’m really into people,” she says, more luminous than ever. “I think people are the most beautiful, crazy things ever. I get intrigued by them, just watching them interact, freestyle, and talk about their culture, I’m like: ‘Ahh, you’re so beautiful!’”

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14/01/2018 14:59 par tellurikwaves

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14/01/2018 14:59 par tellurikwaves

Jim Chartrand (FNC)

Andrea Arnold a gagné le prix du jury à Cannes pour chacun de ses films présentés au festival, et ce n’est pas sans raison, puisque ses tranches de vie sont toujours magnifiques.Son plus récent long-métrage, la longue épopée qu’est American Honey, n’y fait pas exception.

D’une durée d’un peu moins de trois heures, la cinéaste britannique s’aventure dans les terres perdues de l’Amérique pour s’amuser avec plusieurs genres dont les Américains sont justement très friands, comme le road-movie et le coming-of-age, tout en y insufflant sa touche personnelle de cinéma social. Le tout, filmé dans un ratio 4:3 qui ne manque pas de faire crier le désir de liberté de ses personnages dans chaque scène et chaque plan.

En poussant un optimiste insistant et souvent détonnant, elle prime la légèreté dans un grand nombre de situations pourtant toutes plus dramatiques les unes des autres. Elle se permet de toucher à toutes sortes de préoccupations comme le viol, la pauvreté, la prostitution, l’intimidation, la manipulation, l’exploitation et on passe, sans jamais nécessairement aller plus loin, en préférant laisser notre bon vouloir prolonger la réflexion et en continuant sa fresque en allant constamment de l’avant. Il faut le faire quand même de montrer des jeunes aussi fringants qui s’avèrent subtilement aussi prisonniers que tous ceux dans les conventions de la société en les montrant comme étant travailleurs autonomes, mais constamment sous pression.

Puisque voilà, sous les traits de l’époustouflante Sasha Lane, la protagoniste Star décide de suivre sur un coup de tête et un coup de cœur un magnétique Shia Labeouf dans le rôle de Jake pour aller vendre des magazines dans les quatre coins du pays avec une bande de jeunes tous plus à la croisée des chemins les uns des autres. Anecdotique par moment, mais rarement anodin, avec des jeunes non-professionnels d’un naturel évidemment désarmant, on se retrouve à tomber sous le charme de ce petit microcosme. Ce miroir de tout un groupe sociétal est tout à la fois, hypnotisant au plus, pitoyable au pire.

Par moment pathétique et rempli de rage et de naïveté, Arnold trouve son film le moins provoquant et le moins bouleversant à ce jour, ce qui ne l’empêche pas de briller et de fasciner. On ne tombe pas dans les plates-bandes du grandiose Fish Tank, même si tous les thèmes s’y retrouvent, et c’est tant mieux. Certes, en mettant de l’avant une poésie par moment fleur bleue (le film a presque des allures de conte de Disney), on finit par y trouver un manque de subtilité à la fois dans les dialogues, mais aussi dans la mise en scène, alors que certains moments se montrent plus appuyés que les autres.

Sauf qu’à l’instar de Boyhood, American Honey prend le pouls avec justesse et met le doigt avec grandeur sur la quête de sens moderne et sur ces jeunes qui prônent la liberté tout en n’étant pas nécessairement encore sûrs de ce que cela signifie et implique véritablement. Un grand film qui passe à la vitesse de l’éclair et qui continue d’hisser Andrea Arnold parmi les cinéastes les plus douées du grand écran.

8/10

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CINEFILIC

Décidément, en cette année 2016, les meilleurs observateurs de l’Amérique d’aujourd’hui semblent être Britanniques. Après David Mackenzie et son très bon Hell or High Water, c’est au tour d’Andrea Arnold de nous livrer son regard sur les États-Unis. Son film possède d’ailleurs un petit quelque chose qui nous fait penser à Harmony Korine, quelque part entre Gummo et Spring Breakers.

Nous retrouvons en effet du premier le regard frontal sur la pauvreté et l’exclusion sociale, et du second l’envie de vivre à tout prix en essayant de prendre si possible part au rêve américain. Cependant, le regard d’Andrea Arnold est beaucoup plus nuancé et optimiste… et représente en quelque sorte l’envers de la médaille décrite par Korine (ce qui ne fait pas pour autant d’American Honey un film aveuglément optimiste, bien au contraire). Elle choisit de montrer une jeunesse qui n’est pas condamnée d’avance et qui choisit de vivre sans foncer forcément droit dans le mur… malgré les difficultés.

Pour donner vie à son ensemble de personnages, elle opte pour une distribution composée principalement d’inconnus recrutés à l’occasion de castings sauvages. Ils apportent une fraîcheur et un sentiment de “vrai” qu’on ne retrouve pas assez dans le cinéma américain (non en raison d’un manque de talents des acteurs… mais en raison de critères physiques requis qui les éloignent trop souvent de l’Américain moyen). En complément, elle s'appuie toutefois sur quelques acteurs plus expérimentés, à l’image de Shia LaBeouf, dont les choix de carrière ont souvent laissé perplexe, mais qui semble ici avoir enfin trouvé le rôle majeur de sa jeune carrière.

Au-delà de ces qualités, Arnold s’appuie sur un travail de mise en scène / direction photo (signée Robbie Ryan) remarquable. Elle donne à ses acteurs le moyen d’exprimer un sentiment de liberté et d’envie de vivre comme on en voit rarement. De plus la caméra, mobile mais sans excès, ose parfois s’approcher presque trop près des personnages, mais le fait avec une telle justesse qu’au lieu d’avoir un effet négatif (une caméra trop “visible” peut atténuer la sensation de réel) elle projette littéralement le spectateur aux côtés de ses jeunes héros.

Durant 2h45 de musique, de fête, d’envie de vivre… mais aussi de moments plus intimes ou plus sombres, le spectateur est donc invité à se faire une place dans cette Amérique où il est difficile (mais possible) de rêver et où la solidarité peut avoir sa place (mais pas tout le temps), c’est-à-dire dans cette Amérique inégalitaire, parfois injuste, mais dans laquelle Arnold parvient à nous faire croire qu’il est possible de vivre.

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13/01/2018 15:23 par tellurikwaves

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13/01/2018 15:23 par tellurikwaves