As a Brit myself, I somehow feel I have a right to say that the BAFTAs are not always crammed with touchy, memorable moments that stand the test of time. Not to say I have never not enjoyed the fact the British Academy like to combine going their own way with the standard awards season template films. Even with the BBC’s 2 hour time delay before the show is even aired, you often still get that raw, British sense of humour and sensibility bubbling throughout.
And as much as several of the awards handed out seemed inevitable, there were what many call surprises fluttered across the evening. In all honesty, seeing the Oscars estimators freak out, as the likes of Sean Penn and Wumni Mosaku take acting prizes to spread the seasonal wealth even further, is exhilarating. A side note, like when I was a kid watching the Oscars, I have always longed for watching the Academy Awards without knowing pretty much every name in those envelopes.
This year’s EE BAFTA awards had something of a care-free, true human experience vibe to it. I was less concerned with what each win meant for the great big race. And was just swept up by some truly organic moments. Even though scripted, you could see veteran funny man – and host – Alan Cumming relishing in his airline parody intro. And then later, handing our British snacks like a good old fashioned-cinema confessions usher. How was he to resist asking Kylie Jenner if she has ever got her chops around a Jammie Dodger?
It is often an industry where ego and privilege and self-congratulation has its place. But on this very night in London, there was a distinct breeze of humility and humanity. Right throughout the evening. Reminding us what we really love about these awards shows. And the speeches we often attribute to vote-grabbing.
Fleeting, but unforgettable moments. Like Dean Atta on stage in honour of short film, Two Black Boys in Paradise, proudly representing multi-demographics. Georgie Wileman adjusting her important message to neglected women by offering the viewing of “BAFTA winning This Is Endometriosis”. Or even the Family Film win for Boong, and how jubilant recipient, Lakshmipriya Devi, was. Even seconds of Chase Infiniti and co becoming teenagers again as they swayed to the exhilarating live performance of “Golden”.
To Love, Even In Loss, Say Our Noble Players of Hamnet
Jessie Buckley might be the only dead cert in the entire Oscar race this year. But her spiritual, mother nature of a filmmaker, Chloé Zhao, has continued to spread the love like the only meaning of life. No offence to Sam Mendes, who took the mic as Hamnet took the British Film award, but we wanted to hear more encouraging, ethereal words from Zhao. But Mendes honoured the film’s moving journey by declaring “Hamnet was an act of faith. A movie, quiet, epic, about love and loss and beauty and grief could span centuries and generations and find an audience in a cinema.” And that none of the cast and crew would be standing there without Chloé Zhao.
Later, continuing Hamnet’s visionary encouragement for people to share the emotional experience of family love and hope, Jessie Buckley returned to the stage to claim her Lead Actress award. The girl from Ireland spoke of her arriving in London with a “nuclear bad fake tan on, white hoop earrings, and a polka dot red dress.” To audaciously tell her new agent, Lindy King, she wanted to be like Judy Dench. “Thank you, Lindy, for always encouraging me to be disobedient, and curious, and human.”
Buckley’s emotions naturally emerged as she shared her gold prize with her daughter, “who’s been with me since she was 6 weeks old on the road with this. It’s the best role of my life being your mum. And I promise to continue to be disobedient so that you can belong to a world in all your mad, complex wildness as a young woman.”
Renowned Filmmakers Praise the Great Film Community
It felt ever so right, that one way or another, the super talented, yet incredibly humbled, Ryan Coogler, would earn his place on the BAFTA stage for Sinners. Taking the Original Screenplay award, the filmmaker showed genuine regard for his current location. “I always felt at home here. The first time I came here was 2014, and a driver picked me up from the airport. And I was nervous.” It seemed that very taxi driver told Coogler that Marcus Garvey once had an apartment there. And went on to show him where it was. “He cut the meter off, and I felt at home ever since.”
Tipping his hat to fellow screenwriting nominee, Joachim Trier, Coogler told the watching audience that the Norwegian director “was actually my mentor. I met him over a decade ago. He showed me how to be a better writer, a better filmmaker.”
In one of the most competitive international cinema awards races in forever, Sentimental Value did win the Film Not in the English Language award. Trier showed his usual intelligent gratitude with “I also feel that we are a part of a big group of films this year that are all made for the big screen. There are humanist cinema, and in this category I’ve been deeply moved by all of them.”
Trier was referencing so many films represented by those in the room, as well as so many not nominated, when he uttered “I feel that the films this year are films that are made for deep viewing. For humanist viewing, where we can sit together in rooms like this and experience, hopefully through empathy, through curiosity, and open up the possibilities of the theatrical experience for that.”
In his early acceptance of the screenplay prize, Coogler also spoke proudly of the seemingly larger family of film folk that has travelled together across this extraordinary season – and with him personally in his early career. “It was amazing to be accepted into more communities, a community of filmmakers. I hope that for all the fellow the writers out there, when you all look at that blank page, think of who you love. Think of anybody who you see in pain that you identify with, and wish they feel better. And let that love motivate you like it did on this (Sinners)”.
Renowned Actors Take Note of True Inspiration They Gave
Fair to say, also that Robert Aramayo had a bit of a terrific night. His remarkable film, I Swear, affectively came away with 3 awards on the night. With the actor claiming 2 for himself. A Yorkshire like – just like this very writer – Aramayo turned to stone when his name was read out for Lead Actor. As would you if you had just edged out a bunch of American heavyweights. “I can’t believe that I’m looking at people like you and I’m in the same category as you.” Aramayo excitedly said, directly his attention to Leonardo DiCaprio.
But it was another of his lead actor contenders that really held personal significance for the newly crowned acting champ. “Everyone in this category blows me away. When I was in school, Ethan Hawke came in to speak to us at Juilliard.” At which point, superb production communication meant we could get up close and personal with Hawke in the audience, clearly a little bashful at the direct reference, half covering his face with his hand.
“And he gave an amazing talk on longevity as an actor, about protecting your instrument, and avoiding self-destructive behaviours. And it had a really great impact on everyone in that room. So to be in this category with you tonight is incredible. Thank you, Ethan.” Aramayo’s address of the (can we even call Ethan Hawke a) veteran actor, was intrinsically heartfelt. All aglow, and somewhat overwhelmed, Hawke turned to the person sitting next to him and appeared to say “That is better than winning”. Possibly the lump in the throat moment of evening.
To Love, Even In Loss, Also Say Our Dear Friends of Adam Somner
Paul Thomas Anderson might be the greatest film director / story teller of the last 30 years. He joins a select few on an awards narrative surely now to culminate in that elusive first Oscar win. And yet, in endless interviews and awards shows, Anderson still comes across as that slightly nervous kid who just loves making movies. And talking about them. And exploring them. I wonder if he even knows how fucking good he is at this?
“Anybody that says movie movies aren’t any good anymore just can piss right off, because this is a great year.” A message we will not get tired of hearing. I said something similar a couple of hours before finishing this very write-up to my own dear film nerd, Anna Miller. Following yet another BAFTA for One Battle After Another, Anderson ended with “We have a line from Nina Simone that we stole in our film. She says, I know what freedom is. It’s no fear. So, let’s keep making things without fear. It’s a good idea. See you at the bar.”
But of all the elements that have reoccurred this awards season, none have been more welcoming that the expression of deep loss and love for Adam Somner. On winning the Director award, Anderson added “I just want to say very briefly, you may think that your greatest export was Alfred Hitchcock or Charlie Chaplin. But it wasn’t. To me, it was Adam Somner.” Which was greeted by the warm applause that echoes the continued appreciation with every prize Anderson has accepted. “Anybody who knows, he was my assistant director and producer for about 20 years. And he came over to America and the line was out the door, with people that wanted to work with him, because he made us all better.”
It is well documented now over the awards circuit of the last few months that Somner was instrumental in getting One Battle After Another production up and running finally. “About three weeks into our film, he found out that he was sick, and he made it through production.” Anderson said, clearly oozing with gratitude to the friend he lost. “If you’ve ever gone to work with somebody who’s very ill, it does something miraculous. It makes you pay attention. And it reminds you of the privilege of this work that we do. So this is thank you for sending him to me.” Echoing what Anderson exclaimed on stage after his DGA win: “He would have fucking loved this.” And we look forward to even more poignant words about the great Adam Somner when Paul Thomas Anderson receives that Academy Award.
