Taipei Story (1985, Edward Yang)


One important, vital aspect of my heritage that took me far too long to understand was the role of the Taiwanese dialect, specifically Taiwanese Hokkien. For many years, my parents spoke to each other semi-frequently in a language that sounded similar to the Mandarin that I knew, but which was generally unintelligible to me. I must confess that I still know very few words of Hokkien, but more important to me is the context in which my parents used it. Whether they intended it as such or not, I always felt as if they were keeping some form of secret from me, discussing things in front of my sister and me that we couldn’t understand, whether we wanted to or not.

Taipei Story, Edward Yang’s second masterful feature, doesn’t traffic in this level of a language barrier, but its use of language is no less revealing. In its portrayal of two estranged partners – Lung (Hou Hsiao-hsien) and Chin (Tsai Chin) – living in a rapidly modernizing Taipei, the film switches frequently and consistently between Hokkien and Mandarin Chinese. Without perhaps no exceptions, the conversations that only involve Lung, whether it be with childhood friends or elderly acquaintances, utilize Hokkien, while all conversations involving Chin – except those, crucially, with her parents – use Mandarin.

Though it is never stated outright in the film, my general impression of the role of Mandarin in Taiwan is that of the language of modernity – notably, Hokkien was banned in schools until roughly around the time this film was made. Accordingly, the business world of Chin and the deadbeat society of Lung are carried out in entirely different manners of speaking.

Yang is wise to never make Taipei Story a simple story of the struggle between the memories of the past, which Lung is never able to shake off, and the promises of the future. The conflict is complicated by both parties: Lung constantly tries to move to the United States, in a way not dissimilar to that of my own father, while Chin falls in with the youthful biker gangs that her younger sister hangs out with. Both members of the couple, to put it plainly, strive to capture and retain something of their youth while still prospering in the modern capitalist society of the mid-’80s.

In Yang’s vision of Taipei, this seems to be little more than a fantasy, as one has to choose between one or the other. But of course, this is never approached in a didactic or obvious manner, allowing for, as the film puts it, fleeting moments of hope to linger. That the film is maybe the most tragic of the Yangs I’ve seen is a testament to this sense of latent fatalism, of people too caught in the past, whether they realize it or not.

Through these inextricably entwined journeys, Yang shoots with his particular combination of intimacy and distance that never fails to surprise and move me. A shot from the other side of a mammoth office building, two perfectly rhymed tracking shots, numerous gazes down onto the busy streets of Taipei, all coalescing perfectly with the immaculately posed figures quietly discussing troubles in an apartment, or on a playground, or at a bar.

Those figures move inexorably towards their ends – one trading the world of physical architecture for the digital architecture of big data, the other beaten in a final attempt to prove his own sense of self-worth over the generation already overtaking him – but they do so with an inordinate sense of care on the part of Yang. Not one interaction, one small gesture ultimately feels out of place, and what resonates is the forlorn face of Lung, the implacability of Chin, each equally conveying an overwhelming sadness.

January 2018 Capsules

Millennium Mambo
“Dream of a dove flying.”

Always on the cusp of something but stranded in the moment, many beginnings but no endings.

A Man Escaped
There’s something very vital about the subtitle of A Man Escaped or: The Wind Bloweth Where It Listeth, which I can’t recall reading before I actually saw the film. Lifted from a scene almost exactly at the midpoint of the film, it is one of the points where the film becomes its most clear and removed from the (terrific) abstraction that otherwise characterizes it. Through the words of Jesus through John, as spoken by our hero Fontaine, the escape that he succeeds at is directly equated with spiritual salvation, even as his predecessor is being shot at that very moment. This divergence between the realm of the spiritual and the realm of the actual is key, layering ideas of transcendence that never distract from the intense, slow procedure of escape but rather enhance and contextualize them. Without more than a hint of background given to Fontaine, the viewer must draw the reason, the emotion from the struggle to survive itself, and the cell becomes its own crucible. Whether it is faith, chance, sheer will, or a combination of all that enables Fontaine to make his escape, there is no way to describe that feeling of cathartic release other than overwhelming grace.

The Hole
Yes, those musical sequences. Even if they weren’t so delightfully varied, so transcendently effervescent and yet grounded in the dilapidated Taipei that traps the protagonists, their programming alone is nothing short of masterful. I hadn’t noticed the placement of them at ~15 minute intervals, but what matters is their complete harmony with the emotional tenor of the film’s development, coming just after what would be considered an emotional crescendo in a regular movie and acting as the logical extension of that.

But, of course, this is still the realm of Tsai Ming-liang. The overtly apocalyptic tone and scenario feels like his trademark vision pushed to a kind of breaking point, and it’s remarkable to see his locked-down perspectives open up to no small degree, boasting pans, extended tracking shots, and even what appears to be a handheld shot, hurtling through a mall as it follows a squad of exterminators. But these don’t disrupt the stasis so much as heighten it, fleshing out the spaces so as to render them all the more claustrophobic yet cavernous. Decay and madness come hand in hand, the malaise is literalized, and any method of escape, no matter how fleeting, is what matters.

2018 First Watches

Renewed Appreciation: Collateral

Shorts: “The Grandmother”

  1. Taipei Story (1985, Edward Yang)
  2. Sansho the Bailiff (1954, Kenji Mizoguchi)
  3. The Hole (1998, Tsai Ming-liang)
  4. Millennium Mambo (2001, Hou Hsiao-hsien)
  5. A Man Escaped (1956, Robert Bresson)
  6. Legend of the Mountain (1979, King Hu)
  7. Insiang (1976, Lino Brocka)
  8. The Exterminating Angel (1962, Luis Buñuel)
  9. The Fate of Lee Khan (1973, King Hu)
  10. Unknown Pleasures (2002, Jia Zhangke)
  11. The Trial of Joan of Arc (1962, Robert Bresson)
  12. Western (2017, Valeska Grisebach)
  13. The Commuter (2018, Jaume Collet-Serra)
  14. Mysterious Object at Noon (2000, Apichatpong Weerasethakul)
  15. In the Midst of Life (1963, Robert Enrico)
  16. Félicité (2017, Alain Gomis)
  17. Jamaica Inn (1939, Alfred Hitchcock)
  18. Hallelujah the Hills (1963, Adolfas Mekas)
  19. Last Men in Aleppo (2017, Feras Fayyad)
  20. All the Money in the World (2017, Ridley Scott)
  21. 12 Days (2017, Raymond Depardon)

2018 Omnibus Log

001. Millennium Mambo (2001, Hou Hsiao-hsien) Laptop, Fandor 01 Jan – 8.0
002. A Man Escaped (1956, Robert Bresson@) Laptop, Blu-ray 02 Jan – 7.9 [slight]
003. Taipei Story (1985, Edward Yang) Laptop, Blu-ray 03 Jan – 8.9
004. Western (2017, Valeska Grisebach^)† Laptop, Screener 04 Jan – 6.9 [parts]
005. The Hole (1998, Tsai Ming-liang*) Laptop, DVD 05 Jan – 8.7
006. Unknown Pleasures (2002, Jia Zhangke*) Laptop, DVD 05 Jan – 7.1 [slight]
007. Legend of the Mountain (1979, King Hu) Laptop, Screener 06 Jan – 7.8 [parts]
008. Mysterious Object at Noon (2000, Apichatpong Weerasethakul*) Laptop, Blu-ray 07 Jan – 6.8 [parts]
009. Félicité (2017, Alain Gomis^) Northwest Film Forum, DP 07 Jan – 6.2 [slight]
p001. The Girl in the Café (2005, David Yates) Television, DVD (Class) 08 Jan
010. 12 Days (2017, Raymond Depardon^)† Laptop, Screener 08 Jan – 5.2 [parts]
011. The Exterminating Angel (1962, Luis Buñuel$@) Laptop, Blu-ray 08 Jan – 7.3
p002. An Autumn Afternoon (1962, Yasujiro Ozu) Laptop, FilmStruck 09 Jan
012. The Commuter (2018, Jaume Collet-Serra)† AMC Pacific Place, DP (Friend) 09 Jan – 6.9
013. The Trial of Joan of Arc (1962, Robert Bresson$@) Laptop, FilmStruck 10 Jan – 7.1
p003. The Day He Arrives (2011, Hong Sang-soo) Laptop, DVD 11 Jan
014. Hallelujah the Hills (1963, Adolfas Mekas^$) Laptop, Fandor 11 Jan – 6.0 [slight]
015. +Rear Window (1954, Alfred Hitchcock) Projector, iTunes (Club) 11 Jan – 8.9 [same]
t001. Pilot (2011, Luck) Laptop, Amazon Prime 12 Jan
016. In the Midst of Life (1963, Robert Enrico^$) Laptop, YouTube 12 Jan – 6.3 [parts]
017. All the Money in the World (2017, Ridley Scott) Regal Meridian, DP 13 Jan – 5.8
018. Last Men in Aleppo (2017, Feras Fayyad^) Laptop, Screener 14 Jan – 5.9 [intermittent]
019. +Collateral (2004, Michael Mann) Laptop, Blu-ray 15 Jan – 7.4 [up from 7.2]
020. Insiang (1976, Lino Brocka^) Laptop, Blu-ray 15 Jan – 7.6
s001. Coney Island at Night (1905, Edwin S. Porter) Television, File (Class) 16 Jan – 6.2
021. The Fate of Lee Khan (1973, King Hu¢) Laptop, DVD 16 Jan – 7.3
022. Jamaica Inn (1939, Alfred Hitchcock¢) Laptop, DVD 16 Jan – 6.0 [parts]
s002. The Grandmother (1970, David Lynch) Laptop, Blu-ray 17 Jan – 7.1
023. Sansho the Bailiff (1954, Kenji Mizoguchi^$) Laptop, Blu-ray 18 Jan – 8.8

2018 Viewing Log

Millennium Mambo (2001, Hou Hsiao-hsien) – 8.0
A Man Escaped (1956, Robert Bresson) – 7.9
Taipei Story (1985, Edward Yang) – 8.9
Western (2017, Valeska Grisebach) – 6.9
The Hole (1998, Tsai Ming-liang) – 8.7
Unknown Pleasures (2002, Jia Zhangke) – 7.1
Legend of the Mountain (1979, King Hu) – 7.8
Mysterious Object at Noon (2000, Apichatpong Weerasethakul) – 6.8
Félicité (2017, Alain Gomis) DP – 6.2
12 Days (2017, Raymond Depardon) – 5.2
The Exterminating Angel (1962, Luis Buñuel) – 7.3
The Commuter (2018, Jaume Collet-Serra) DP – 6.9
The Trial of Joan of Arc (1962, Robert Bresson) – 7.1
Hallelujah the Hills (1963, Adolfas Mekas) – 6.0
+Rear Window (1954, Alfred Hitchcock) – 8.9 [same]
In the Midst of Life (1963, Robert Enrico) – 6.3
All the Money in the World (2017, Ridley Scott) DP – 5.8
Last Men in Aleppo (2017, Feras Fayyad) – 5.9
+Collateral (2004, Michael Mann) – 7.4 [up from 7.2]
Insiang (1976, Lino Brocka) – 7.6
The Fate of Lee Khan (1973, King Hu) – 7.3
Jamaica Inn (1939, Alfred Hitchcock) – 6.0
The Grandmother (1970, David Lynch)
Sansho the Bailiff (1954, Kenji Mizoguchi) – 8.8
The Servant (1963, Joseph Losey) –

Top 19 of 2017

2017 was, to put it mildly and flippantly, an utter oddity of a year in so many ways. When I look at my list, the overall quality of the films themselves was perhaps no poorer than in the monumental selections of the past two years, but there was a certain bewilderment, a malaise that put me at a distance. With the exception of Twin Peaks: The Return, there was practically no film where my love was not complicated in some way, and it seems equally due to the films as it is to the year at large.

The following list is formed from the reds, oranges, greens, and blues (plus a few more) that I have seen at time of writing that were commercially released in New York City in 2017. It is a snapshot rather than a permanent fixture.


1. On the Beach at Night Alone (Hong Sang-soo)


2. The Work (Jairus McLeary and Gethin Aldous)


3. Faces Places (Agnès Varda & JR)


4. Princess Cyd (Stephen Cone)


5. Good Time (Josh & Benny Safdie)


6. Baahubali 2: The Conclusion (S.S. Rajamouli)


7. Lady Bird (Greta Gerwig)


8. The Meyerowitz Stories (New and Selected) (Noah Baumbach)


9. Phantom Thread (Paul Thomas Anderson)


10. Resident Evil: The Final Chapter (Paul W.S. Anderson)


11. The Son of Joseph (Eugène Green)


12. 120 BPM (Beats Per Minute) (Robin Campillo)


13. Marjorie Prime (Michael Almereyda)


14. Call Me by Your Name (Luca Guadagnino)


15. The Post (Steven Spielberg)


16. Hermia & Helena (Matías Piñeiro)


17. Star Wars: The Last Jedi (Rian Johnson)


18. The Human Surge (Eduardo Williams)


19. Downsizing (Alexander Payne)

My Top 10 Discoveries During 2017 (for first-time viewings of films made before 2000)

  1. A Touch of Zen (1971, King Hu)
  2. The Terrorizers (1986, Edward Yang)
  3. Rear Window (1954, Alfred Hitchcock)
  4. Rio Bravo (1959, Howard Hawks)
  5. A New Leaf (1971, Elaine May)
  6. Ashes of Time (1994, Wong Kar-wai)
  7. Surviving Desire (1991, Hal Hartley)
  8. Do the Right Thing (1989, Spike Lee)
  9. The Unbelievable Truth (1989, Hal Hartley)
  10. The Texas Chainsaw Massacre (1974, Tobe Hooper)

2017 Film Poll “#2: Senses of Cinema”

Hypothetical ballot for the 2017 Senses of Cinema World Poll. Mostly based on 2017 New York City commercial releases.

1. Twin Peaks: The Return (2017, David Lynch)

2. On the Beach at Night Alone (2017, Hong Sang-soo)

3. Three Films From Ten Seconds Into the Future:
The Human Surge (2016, Eduardo Williams)
By the Time It Gets Dark (2016, Anocha Suwichakornpong)
Kékszakállú (2016, Gaston Solnicki)

4. Humanist Documentaries
The Work (2017, Jairus McLeary and Gethin Aldous)
Faces Places (2017, Agnès Varda & JR)

5. Independent Breakthroughs:
Princess Cyd (2017, Stephen Cone)
Good Time (2017, Josh & Benny Safdie)

6. Auteurist Franchise Works
Baahubali 2: The Conclusion (2017, S.S. Rajamouli)
Resident Evil: The Final Chapter (2016, Paul W.S. Anderson)
Star Wars: The Last Jedi (2017, Rian Johnson)

7. “American” Histories:
The Post (2017, Steven Spielberg)
Phantom Thread (2017, Paul Thomas Anderson)
The Lost City of Z (2016, James Gray)

8. Family Dramedys
Lady Bird (2017, Greta Gerwig)
The Meyerowitz Stories (New and Selected) (2017, Noah Baumbach)
The Son of Joseph (2016, Eugène Green)

9. French Sensuality:
120 BPM (Beats Per Minute) (2017, Robin Campillo)
Personal Shopper (2016, Olivier Assayas)
Nocturama (Bertrand Bonello)

10. Old Masters:
Ex Libris – The New York Public Library (2017, Frederick Wiseman)
Song to Song (2017, Terrence Malick)

December 2017 Capsules

A Touch of Zen
The rare film whose greatness is both totally, utterly assured and constantly daring, pushing and probing at its own ambitions to create something more. The opening section alone evokes this seeming contradiction: Hu’s constant camera motions, cutting judiciously to closer and closer views of the central fort, tease out so much of the haunted textures that define roughly two-thirds of the film, but crucially never come close to spelling out the layout of the structure. It is a metaphysical realm even before the priests take the center stage, one defined by the delineation between standard society and the mystical forces that swirl just outside of the town square. Ku moves between these freely, defined by his indecision and complacency, serving as the perfect conduit and viewpoint from which to marvel at these barely superhuman figures. Methodical, explosive, eerie, A Touch of Zen seems to contain all of humanity’s attributes for good and ill, and then goes beyond in its final foregrounding of the mystical, the fundamentally unknowable.

Star Wars: The Last Jedi
Establishes itself from the outset, with the tactical equivalent of a prank call, to be an exceptionally perceptive, playful and loving subversion of practically every single convention of the closest thing post-20th century culture has to a modern myth. At times, Star Wars: The Last Jedi almost feels like a series of constantly escalating dares that Rian Johnson is issuing over the span of two and a half hours, willfully bewildering and perplexing the viewer with totally unexpected events, structural conceits, and even performance choices. But to reduce such a textually and aesthetically rich film to gambits is foolish: it is as much invested in reinforcement as it is in subversion, and the journey to the former while balancing the latter is rendered expertly.

Like its predecessors (and especially The Force Awakens), the galactic struggles are consistently cast in terms of the personal, focusing on individual reactions and motivations as reflections of a wider movement. The whittling down of the Resistance makes this register even more strongly, but the decision to fracture the narrative into roughly four parts (so jarring at first that I nearly missed just how carefully the movie was edited together, especially in those oh-so-crucial Force conversations) means that the viewer’s grounding must be, even more than normal, in the characters. Their essential uncertainty, their hesitation to stand in the face of monumental events, is what defines them, and the film is willing to lean into these flaws in order to access something deeper, more painful than I could have expected.

Non-Released Features

The feature films I have seen that, for one reason or another, have not played in theaters for a week in New York City.

Ajantrik (1958, Ritwik Ghatak)
All Quiet on the Western Front (1979, Delbert Mann)
Another Year (2016, Shengze Zhu)
ANPO: Art X War (2010, Linda Hoaglund)
Bad Black (2016, Nabwana IGG)
Bad Seed (1934, Billy Wilder and Alexander Esway)
The Battle of Brazil: A Video History (1996, Jack Matthews)
Blondes in the Jungle (2009, Lev Kalman & Whitney Horn)
Cape No. 7 (2008, Wei Te-Sheng)
A Chinese Ghost Story (1987, Ching Siu-tung)
Close Relations (2016, Vitaly Mansky)
Dead Slow Ahead (2015, Mauro Herce)
Death Proof (2007, Quentin Tarantino)
Deidra & Laney Rob a Train (2017, Sydney Freeland)
Desperado Square (2001, Benny Toraty)
D’Est (1993, Chantal Akerman)
The Distance (2014, Sergio Caballero)
Easy Rider (2012, James Benning)
88:88 (2015, Isiah Medina)
Electro-Pythagoras: A Portrait of Martin Bartlett (2016, Luke Fowler)
Elegy to the Visitor From the Revolution (2011, Lav Diaz)
Empire of the Dark (1990, Steve Barkett)
En el Séptimo Día (2017, Jim McKay)
The Enchanted Desna (1964, Yuliya Solntseva)
Fabulous! The Story of Queer Cinema (2006, Lisa Ades & Lesli Klainberg)
The Fate of Lee Khan (1973, King Hu)
Film ist. 1-6 (1998, Gustav Deutsch)
Film ist. 7-12 (2002, Gustav Deutsch)
The Five People You Meet in Heaven (2004, Lloyd Kramer)
Forest Movie (2017, Matthew Taylor Blais)
From Nine to Nine (2017, Neil Bahadur)
Game Change (2012, Jay Roach)
Game of Death (1978, Robert Clouse)
Garrincha: Man of the Jungle (1962, Joaquim Pedro de Andrade)
The Goddess (1934, Wu Yonggang)
Grave of the Fireflies (1988, Isao Takahata)
Green Snake (1993, Tsui Hark)
Grotesque (1988, Joe Tornatore)
High School (1968, Frederick Wiseman)
Hill of Freedom (2014, Hong Sang-soo)
The Hole (1998, Tsai Ming-liang)
Hospital (1970, Frederick Wiseman)
House of Little Deaths (2016, Scout Tafoya)
In the Heat of the Sun (1994, Jiang Wen)
In the Midst of Life (1963, Robert Enrico)
Insiang (1976, Lino Brocka)
Japanese Summer: Double Suicide (1967, Nagisa Oshima)
John From (2015, João Nicolau)
Joseph: King of Dreams (2000, Rob LaDuca & Robert C. Ramirez)
Journey to the Shore (2015, Kiyoshi Kurosawa)
Justin Timberlake + The Tennessee Kids (2016, Jonathan Demme)
Kanehsatake: 270 Years of Resistance (1993, Alanis Obomsawin)
Krivina (2012, Igor Drljaca)
The Land Before Time III: The Time of the Great Giving (1995, Roy Allen Smith)
The Leisure Class (2015, Jason Mann)
Lemonade (2016, Kahlil Joseph and Beyoncé Knowles Carter)
The Little Mermaid II: Return to the Sea (2000, Jim Kammerud & Brian Smith)
Live Freaky! Die Freaky! (2006, John Roecker)
Ma’ Rosa (2016, Brillante Mendoza)
Maison du bonheur (2017, Sofia Bohdanowicz)
The Man Who Left His Will on Film (1970, Nagisa Oshima)
Minotaur (2015, Nicolás Pereda)
The Mission (1999, Johnnie To)
A Month in Thailand (2012, Paul Negoescu)
Mulan II (2004, Darrell Rooney & Lynne Southerland)
On the Occasion of Remember the Turning Gate (2002, Hong Sang-soo)
102 Minutes That Changed America (2008, Nicole Rittenmeyer & Seth Skundrick)
100 Years of Japanese Cinema (1994, Nagisa Oshima)
The Opening of Misty Beethoven (1976, Radley Metzger)
Our Sunhi (2013, Hong Sang-soo)
Pickpocket (1997, Jia Zhangke)
Pocahontas II: Journey to a New World (1998, Tom Ellery & Bradley Raymond)
Poem of an Inland Sea (1958, Yuliya Solntseva)
Pooh’s Grand Adventure: The Search for Christopher Robin (1997, Karl Geurs)
Pride Divide (1997, Paris Poirier)
Radio Mary (2017, Gary Walkow)
Red Cliff Part II (2009, John Woo)
The Room (2003, Tommy Wiseau)
The Rules of Film Noir (2009, Elaine Donnelly Pieper)
Scarred Hearts (2016, Radu Jude)
Secret (2007, Jay Chou)
The Seventh Continent (1989, Michael Haneke)
Sieranevada (2016, Cristi Puiu)
Silvered Water, Syria Self-Portrait (2014, Ossama Mohammed & Wiam Simav Bedirxan)
Sisters in the Struggle (1991, Dionne Brand & Ginny Stikeman)
A Skin So Soft (2017, Denis Côté)
The Sky Trembles and the Earth Is Afraid and the Two Eyes Are Not Brothers (2015, Ben Rivers)
South (1999, Chantal Akerman)
The Star Wars Holiday Special (1978, Steve Binder)
The Story of the Flaming Years (1961, Yuliya Solntseva)
Suffer Little Children (1983, Alan Briggs)
Surviving Desire (1991, Hal Hartley)
Three Resurrected Drunkards (1968, Nagisa Oshima)
To Lavoisier, Who Died in the Reign of Terror (1991, Michael Snow)
Troll 2 (1990, Claudio Fragasso)
Turn Left, Turn Right (2003, Johnnie To & Wai Ka-Fai)
Twin Peaks: The Return (2017, David Lynch)
Two Lottery Tickets (2016, Paul Negoescu)
Wavelength (1967, Michael Snow)
We Will Rock You (1984, Saul Swimmer)
Yourself and Yours (2016, Hong Sang-soo)

2017 Seattle Film Critics Society Nominations Ballot

Best Picture

  1. On the Beach at Night Alone
  2. Faces Places
  3. Princess Cyd
  4. Good Time
  5. The Post
  6. Resident Evil: The Final Chapter
  7. 120 BPM (Beats Per Minute)
  8. Lady Bird
  9. Phantom Thread
  10. The Meyerowitz Stories (New and Selected)

Best Director

  1. Josh & Benny Safdie, Good Time
  2. Bertrand Bonello, Nocturama
  3. Eduardo Williams, The Human Surge
  4. Steven Spielberg, The Post
  5. Paul W.S. Anderson, Resident Evil: The Final Chapter

Best Actor

  1. Robert Pattinson, Good Time
  2. Daniel Day-Lewis, Phantom Thread
  3. Claes Bang, The Square
  4. Adam Sandler, The Meyerowitz Stories (New and Selected)
  5. Ben Stiller, The Meyerowitz Stories (New and Selected)

Best Actress

  1. Kim Min-hee, On the Beach at Night Alone
  2. Saoirse Ronan, Lady Bird
  3. Rebecca Spence, Princess Cyd
  4. Vicky Krieps, Phantom Thread
  5. Cynthia Nixon, A Quiet Passion

Best Supporting Actor

  1. Nahuel Pérez Biscayart, 120 BPM (Beats Per Minute)
  2. Robert Pattinson, The Lost City of Z
  3. Tim Robbins, Marjorie Prime
  4. Willem Dafoe, The Florida Project
  5. Dustin Hoffman, The Meyerowitz Stories (New and Selected)

Best Supporting Actress

  1. Elizabeth Marvel, The Meyerowitz Stories (New and Selected)
  2. Lois Smith, Marjorie Prime
  3. Laurie Metcalf, Lady Bird
  4. Tiffany Haddish, Girls Trip
  5. Julianne Moore, Wonderstruck

Best Ensemble Cast

  1. Lady Bird
  2. 120 BPM (Beats Per Minute)
  3. The Post
  4. Marjorie Prime
  5. Mudbound

Best Youth Performance

  1. Millicent Simmonds, Wonderstruck
  2. Oona Laurence, The Beguiled
  3. Brooklynn Prince, The Florida Project
  4. Valeria Cotto, The Florida Project
  5. Ahn Seo-hyun, Okja

Best Villain

  1. The texter, Personal Shopper
  2. Fei and Lin, The Ornithologist
  3. Rose, Get Out
  4. Dr. Isaacs, Resident Evil: The Final Chapter
  5. James Murray, The Lost City of Z

Best Screenplay

  1. Hong Sang-soo, On the Beach at Night Alone
  2. Stephen Cone, Princess Cyd
  3. Greta Gerwig, Lady Bird
  4. Noah Baumbach, The Meyerowitz Stories (New and Selected)
  5. Matías Piñeiro, Hermia & Helena

Best Animated Feature

  1. Your Name.
  2. My Entire High School Sinking Into the Sea

Best Documentary Feature

  1. Faces Places
  2. Ex Libris – The New York Public Library
  3. Starless Dreams
  4. Escapes
  5. Rat Film

Best Foreign Language Film

  1. On the Beach at Night Alone
  2. Faces Places
  3. 120 BPM (Beats Per Minute)
  4. The Son of Joseph
  5. Nocturama

Best Cinematography

  1. Sean Price Williams, Good Time
  2. Darius Khondji, The Lost City of Z
  3. Janusz Kaminski, The Post
  4. [no credit], Phantom Thread
  5. Ed Lachman, Wonderstruck

Best Costume Design

  1. Phantom Thread
  2. Nocturama
  3. Princess Cyd
  4. Good Time
  5. Lady Bird

Best Film Editing

  1. Nocturama
  2. Wonderstruck
  3. Ex Libris – The New York Public Library
  4. Lady Bird
  5. Thirst Street

Best Original Score

  1. Oneohtrix Point Never, Good Time
  2. Jonny Greenwood, Phantom Thread
  3. Carter Burwell, Wonderstruck
  4. Jon Brion, Lady Bird
  5. Bertrand Bonello, Nocturama

Best Production Design

Best Visual Effects