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Best-Reviewed Movie 2018: United Kingdom

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The U.K.’s vibrant film industry has given us some of the most exciting cinema in recent memory, and this year was no exception. Representing the best of the films either produced or filmed there is a family-friendly adventure that opened early in the year and holds onto its rare 100% on the Tomatometer even to this day.

The order of the rank below reflects the Adjusted Score as of December 31, 2018. Scores might change over time.

#1

Adjusted Score: 110.19%

Critics Consensus: Paddington 2 honors its star’s rich legacy with a sweet-natured sequel whose adorable visuals are matched by a story perfectly balanced between heartwarming family fare and purely enjoyable all-ages adventure.

Synopsis: PADDINGTON 2 finds Paddington happily settled with the Brown family in Windsor Gardens, where he has become a popular member… [More]

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Emmy Awards: See the At-Home Fashion

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It was an Emmy Awards like no other! The best and brightest in television enjoyed a socially distanced awards ceremony on Sunday night, with most nominees accepting their awards from their own homes. Despite there being no official red carpet, many stars made bold style choices – whether that meant red carpet-ready gowns or comfy pajamas. Click on the gallery see the best looks of the night.

 

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Emmys 2020: ‘Schitt’s Creek,’ ‘Watchmen,’ ‘Succession’ Win Big

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Host Jimmy Kimmel started the 72nd annual Emmys on Sunday night with a question on every viewer’s mind: “Why are we having an awards show in the middle of a pandemic?” Yet for as surreal or, worse, tacky as the event could have been, there were still several surprising moments.

The most jaw-dropping turn of events was the way Schitt’s Creek made a historic clean sweep of all of the major comedy awards. It’s the first time a single show won all of the top comedy awards. Meanwhile, the evening’s most recognized show, Watchmen, won the top honor in the Limited Series category, as well as two acting trophies, and one for writing. Succession and Ozark were tied in drama series nominations, but Succession mostly edged out the Netflix show, which scored a statuette for actress Julia Garner, claiming Best Drama Series and trophies for director, writing, and “L to the O-G” rapper Jeremy Strong for Best Actor. Perhaps most embarrassing for ABC, which aired the ceremony, no network television shows won any awards.

Despite plenty of canned applause, there was an overarching sense of getting on with it throughout the night. After all, there was no audience to woo — only a goofy Jason Bateman cameo amid celebrity cutouts in the Staples Center — and nobody to laugh at the evening’s typically tame jokes (like Randall Park confusing the opportunity to present an award with “Al Pacino” with an alpaca … while standing next to an alpaca.) Instead, the producers recognized essential workers like teachers and farmers, and both the show’s presenters and awards recipients acknowledged the achievements and sacrifices of black Americans — in fact, the broadcast set a record for awarding the most people of color in performance categories. Kimmel even joined Anthony Anderson in a chant of “Black Lives Matter.” And even though mentions of Trump’s name were kept to a minimum, many of the winners encouraged Americans to vote.

“Go out and vote because that is the only way we’ll have love and acceptance out there,” Schitt’s Creek co-creator Daniel Levy said during his acceptance speech for the Outstanding Comedy Series trophy. Regina King, who won Outstanding Actress in a Limited Series for her role in Watchmen, urged people to go to Ballotpedia.com, learn about their municipal elections and “vote up the ballot.” “Be a good human,” she said. And Mark Ruffalo, who may have been campaigning for president himself during his Lead Actor in Limited Series win for I Know This Much Is True, asked people to “vote for love and compassion and kindness.”

Anthony Anderson’s moment during the show was to recognize that there were more people of color nominated for Emmys this year than ever before, and it was couched in mock outrage that there was no audience of white people to cheer it on. He mentioned all the black poets who would have been thanked in speeches and also shouted out some of the lyrics to “WAP,” which were bleeped (but the titular acronym could have just as easily stood for “Watch Amazon Prime,” given the lack of network TV winners this year). More serious, though, were the T-shirts worn by Outstanding Supporting Actress in a Limited Series winner Uzo Aduba (“Breonna Taylor”), Outstanding Drama Series presenter Sterling K. Brown (“BLM”), and Watchmen creator Damon Lindelof (“Remember Tulsa ’21”). And Yahya Abdul-Mateen II dedicated his award, Outstanding Supporting Actor in a Limited Series for Watchmen, to “all the black women in my life.”

“History is mystery,” Lindelof said while accepting the Emmy for Outstanding Limited Series. His show was loosely based around the Tulsa race massacre, when white residents attacked an area known as “Black Wall Street.” “It is broken into a million puzzle pieces and many are missing. We know where those pieces are, but we don’t seek them out because we know finding them will hurt. Sometimes we caused that hurt. Maybe we even benefited from it. But we have to name it before we can repair it. … We dedicate this award to the victims and survivors of the Tulsa massacre of 1921, the fires that destroyed Black Wall Street still burn today. The only way to put them out is if we all fight them together.”

Succession showrunner Jesse Armstrong summed up the general mood surrounding the state of the world right now with a series of “unthank you’s” during his acceptance speech for Best Drama Series, which he gave from his home in England. “Unthank you to the virus for keeping us all apart this year,” he said. “Unthank you to President Trump for his crummy and uncoordinated response. Unthank you to Boris Johnson and his government for doing the same in my country. Unthank you to all the nationalist and quasi-nationalist governments in the world who are exactly the opposite of what we need right now. And unthank you to the media moguls who do so much to keep them in power.”

When he was done, his cast, scattered around the world, applauded. That scant recognition will have to do for now. Considering the pandemic has halted the production of many television shows for the foreseeable future (yet The Conners inexplicably carries on), this may be the last “Pandemmys” for a while.

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San Sebastian: ’Collective Monologue,’ ‘Creature’ Among Ikusmira Berriak Projects

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Jessica Sarah Rinland’s “Collective Monologue” and Elena Martin Gimeno’s “Creature” are among the five projects selected this year at Ikusmira Berriak.

The sixth edition of the training program is now in the second segment of its residency at San Sebastian, and a different world awaits its five participants since their first meeting in March.

Rinland, an Argentine-British installation artist and filmmaker, said that it was “a small miracle” any of this year’s cohort had made it back for the San Sebastian Film Festival, where they will present their projects to the industry.

Rinland is one of five filmmakers, selected from 185 submissions, who were granted a fellowship for this year’s program, to develop her second feature, which explores the rise and fall of zoos in society.

“I feel very fortunate to be supported by an institution which backs the development of non-conventional films, especially at this time when once again culture is being underfunded,” she added.

While the scheme was set up to support filmmakers from the Basque Country, it also supports those from the rest of Spain as well as international filmmakers, participants in the SSIFF’s student short film competition and students from the region’s Elías Querejeta Film School.

In 2020, the program was set to increase the first period of its residency – scheduled to take place in March and April this year – from four weeks to six in San Sebastian’s Tabakalera building – a former tobacco factory-turned-culture-center, which also houses the Film School.

But then the pandemic hit and the physical program was cancelled in its second week, forcing three of the filmmakers to return home with another two confined to the region, until borders reopened.

According to program coordinator Maialen Franco, Ikusmirra Berriak had to quickly change tack and regroup the participants into online tutorials with their mentors.

As with other years, this online support continued over the summer months – as did financial support – in the shape of a development grant of 5,000 ($6,000).

This year’s mentors include: Brazilian Filmmaker Sergio Oksman; Argentine film producer Eugenia Mumenthaler; Cannes Jury Prize winning director Oliver Laxe and “Rosa’s Wedding” producer Fernanda del Nido.

While COVID-19 may have denied this year’s cohort the benefits of an all-expenses paid residency in the heart of the mountainous Basque region, Spanish filmmaker Gimeno said her project “Creature” – a tale of female sexual awakening – has made good progress.

“We’re working on the second draft and with a much clearer idea about the core that drives us through this story,” she said.

“The dedication and the discussions with the tutors, although they had to be online due to the virus, were key to the development of the script,” she added.

“Creature”- which will be produced through Vilaut Films, Lastor Media and Avalon – is Gimeno’s second feature after her debut “Julia ist” enjoyed a prized festival circuit, leading to writing, directing and acting jobs on a slew of TV dramas, including “Perfect Life” and HBO series “Veneno” and “En Casa.”

While she wasn’t able to occupy the same physical space as her colleagues, one of the highlights of the program, she added, has been learning about their different approaches.

“It’s been very enriching for me, after working in television, I was looking forward to reconnecting with a more personal way to write and create. Sharing the process has been inspiring,” she said.

This year’s other selected projects are Chilean director Diego Céspedes’ “La misteriosa mirada del flamenco,” a poetic story that reflects on societal taboos; Gabriel Azorín’s “Anoche conquisté Tebas,” which compares men of the same age from different periods in time and “O corno do centeo,” a tale of maternity, femininity and identity set in the Galician countryside of the early ‘70s, by Jaione Camborda.

According to Franco, because SSIFF has made significant changes to how the festival operates this year, the second leg of the program has meant meetings with the industry will run virtually, while IB’s pitching sessions will be pre-recorded.

But for the filmmakers, the end goal remains the same – to secure further development support, finance and production partners for their projects.

“By the end of the festival, I hope to confirm an Argentine producer, co-producers and other collaborators who can help finance the film, to then begin shooting in 2021,” Rinland said.

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