At The Movie Buff, we’re pleased to host our second-annual “Independent Film Awards,” our celebration of the hard-working independent film and low-budget productions we viewed during the 2019 film season. With the Oscars setting history with the nomination of the foreign film “Parasite,” I feel it’s equally important to shine a light on the unsung, and in many ways ‘truer,’ indies—those personal and extremely low budget films that ride the local festival circuits but often fail to garner the recognition—or exposure—of independent or arthouse films that find their ways to wider audiences.
These films are produced with as much passion and heart as any of the films that light up the big screen. Last year, I gave the ‘Best Full-Length Film’ award to “Ekaj,” which was one of the best films I have seen in my 10 years as a film critic, with some of 2019’s selections not far behind. Several films—such as 2017’s “LIVELove”—remain on a list of my top 100 films of all time; yet, apart from streaming services, have faded into obscurity.
Without further adieu, we list the winners of our 2019 Independent Film Awards, centering on the categories of ‘Best Short,’ ‘Best Full Length Film,’ ‘Best Actor,’ ‘Best Actress,’ ‘Best Supporting Actor,’ ‘Best Supporting Actress,’ and ‘Best Documentary.’
Congratulations to all the winners. And a huge thanks to everyone who reached out to The Movie Buff with movie screeners last year. We look forward to an exciting 2020 season and continuing to support your amazing work.
Questions or comments? Leave us a message in the comment section below!
Best Short Film—‘Coffee and a Donut’
Marathon Cinema
Directed by Cary Patrick Martin, “Coffee and a Donut” is a sweet film, and a decisive short that focuses on the frustration of not speaking the language and trying to get your point across with little to grasp onto but others’ examples. The film’s lead, Pablo (played by Memo) goes through the gamut of feeling out of place while trying to order his morning breakfast—that is until meets a Good Samaritan, the kindhearted Camila (Rocio Mendez), who helps him learn the language and learn to express himself. With good performances, a relatable message, and a great deal of empathy and heart, “Coffee and a Donut” is a ride worth the effort. (Read full review)
Honorable Mention—‘The Critic’
Written, directed by, and starring Stella Velon, “The Critic” is an indie short that, painted in vibrant colors and rife with symbolism and underlying meaning, is an emotional ride that is immediate and powerful.
The film deals with hard topic such as personal discovery, addiction, fame, and how little the audience often knows of the precarious line between an acting performance and real life. (Read full review)
Best Documentary Film—’Troll Inc.’
Content Farm
Outside of the virulent political climate of today’s social media world, I must admit I wasn’t that educated on trolling, its art, practice, and effect on society as a whole nor its intentions. “Troll Inc.,” directed by George Russell, follows one notorious troll by the name of Andrew Auernheimer (nicknamed ‘Weev’), and chronicles his online trolling practices—from lighthearted jabs to more insidious fare that were met with threats of serious jail time. With real-life interviews from trolls (including Auernheimer), as well as those who knew him, “Troll Inc.” is a one-of-a-kind look into a phenomenon few participate in, and even less understand. However, refraining from moralizing by simply educating, Russell has produced an introspective and powerful piece of cinema of relevant and immediate impact. (Read full review)
Best Supporting Actor—Shawn Michaels, ’90 Feet from Home’
B22 Films
WWE superstar Shawn Michaels, who gained a massive following for his performance on the wresting circuit, lets himself go in director Brett Bentman’s thorough and decisive indie feature “90 Feet from Home.” The story, about an abusive father of two sons (Thom Hallum, Adam Hampton)—the latter an MLB hopeful whose career is shot when Michaels’ James Devine breaks his arm with a baseball bat. This is serious stuff. Yet, somehow Michaels takes us through a range of emotions one wouldn’t think possible: we first despise him, then pity him, and, insanely, wish a redemption for him that sadly can never come. Not an easy character to play, Michaels makes Devine someone we can’t really root for, but one we empathize with nonetheless. (Read full review)
Honorable Mention—David Bianchi, ‘Evergreen’
Joe Duca’s “Evergreen”—a story about a romantic winter getaway that explores relationship themes wholly and fully, wouldn’t have been the same without the inclusion of actor David Bianchi, who plays a still-caring ex of Amanda Maddox’ character Gena. His scenes are sweet and memorable; and explore Gena’s depths in a way better than his limited screen-time probably allowed.
With films like “You Can’t Hear Me” and “Screams” (not to mention his appearance in such projects as TV’s “Unsolved” and HBO’s “Westworld”), Bianchi is an actor quickly gaining traction with his solid performances.
Best Supporting Actress—Olivia Grace Applegate, ‘Evergreen’
The Daffy
While the focus of Joe Duca’s “Evergreen” is the relationship between its two leads (Amanda Maddox, Tanner Kalina), the director seems to understand that the meat of the story lay in its leads’ pasts and skeletons. And whereas Maddox and Kalina’s chemistry drove the film, the addition of Cassie, played by Olivia Grace Applegate, propelled the film in ways likely not possible without her. Cassie and Paul have a bit of a history; they were married before, and lost a child. And while Paul believes he has moved on, through wonderful emoting by Applegate—backed by a soul-plucking soundtrack—we see that letting go of the past is not for the faint of heart. Applegate’s physical acting is superb; but watch a scene between her and Kalina scored with a lonely guitar and try not to get swept up in the film’s emotions.
Honorable Mention—Rocio Mendez, ‘Coffee and a Donut’
While only 11 minutes in length, Cary Patrick Martin’s “Coffee and a Donut” packs a punch, as seen by our decision to award it ‘Best Short Film.’ And, with only a minimal role that doesn’t become apparent until the film’s third act, actress Rocio Mendez imbues her character Camila with both a heart and drive that betrays her limited screen time.
Of Camila’s character, I wrote: “Camila represents the best of us—a kind soul that takes the time out of her days to help Pablo for no other reason than kinship towards her fellow man.” It’s a testament to Mendez’ acting that the effort comes off as sweetly as it does.
Best Actor—Adam Hampton, ’90 Feet from Home’
B22 Films
In Brett Bentman’s “90 Feet from Home,” Hampton deserves some recognition. Here is a character without much of an arch, who is somehow tasked with taking us through a gamut of emotions, while also cluing us, as viewers, into what long-lasting effects childhood trauma can have on children. Hampton, the older version of son Scott, has been verbally abused, physically assaulted, and had his career basically destroyed by his father (a menacing Shawn Michaels). Scott returns to the Texas town of his youth and means to kill his father. But Hampton’s true achievement here is not to make his grudge believable, but to make us understand, truly, why he can’t let the past go. In a series of scenes such as talks with his now-aged father, as well as sticking up for a youth he befriends who also has an abusive father, Hampton delivers. What could have been a thankless role, in Hampton’s hands, instead becomes a character study of the weight and ugliness of childhood trauma.
Honorable Mention—Thom Hallum, ’90 Feet from Home’
Hallum, in “90 Feet from Home,” playing Scott’s brother Tommy, does a palpable and stellar job convincing us of the different lives he and Scott have led. While Scott was the ‘chosen one’ by their father to undertake all the abuse, Tommy represents a man who has processed the trauma of watching helplessly as his brother is attacked, while being able to do nothing about it.
But Hallum’s true gift here is to try to be a voice of reason, heaped with the thankless job of trying to convince his brother to let his grudge go. “I’m sorry he picked you,” Tommy states mournfully. And it is only through Hallum’s performance—his care, his logic, and his clear love for his brother—that we understand the balancing act he must play to try and help the fractured family move on.
Best Actress—Amanda Maddox, ‘Evergreen’
The Daffy
Starring alongside actor Tanner Kalina in Joe Duca’s “Evergreen,” Amanda Maddox shows she is a force to be reckoned with. The script—which required little but heaps of dialogue between she and Kalina, showcased an actress with much to give. In many ways, Maddox’ Gena was the most complex character in the film. While Kalina’s Paul (a devout Catholic) required introspective looks inward, the heaviest lifting is placed on Gena. Maddox makes us look at her character’s mistakes as not screw-ups, but necessary learning experiences along the way. And one scene, where she recounts to Paul as to why she was forced to renounce Catholicism, not only sets the tone of her character, but makes Paul question his faith as well. Maddox is an unsung gem that propels this picture towards perfection, enriching an already stellar production.
Honorable Mention—Laura O’Shea, ‘Match’
Laura O’Shea, who won ‘Best Actress’ at our awards ceremony last year for her mesmerizing character study in “Hold the Line,” here put forth another sweet portrayal in her 2019 short film “Match.”
“Match,” of which O’Shea drew inspiration from films like “Before Sunrise,” was a sweet, introspective romance of two drifters who meet, each with skeletons in their closet, who find something within themselves and their situation that helps them grow and heal. O’Shea (alongside co-star Tony Doyle) turns a short, Irish-based film and makes her character, simply titled ‘her,’ someone we like and want to remember. (Read full review)
Best Full-Length Film—‘Evergreen’
The Daffy
The award for this year’s ‘Best Full-Length Film’ wasn’t an easy decision. Two pictures came neck-in-neck for the frontrunner, both due to amazing acting, stellar, thoughtful scripts, and the messages they imparted. At the end of the day, however, director Joe Duca’s “Evergreen” (co-written by Duca, actor Tanner Kalina, and Marshall Kistner) earns the top spot as the best full-length feature independent film we’ve seen this year.
As with most independent films, “Evergreen” takes patience. This isn’t a film of action, enhanced drama, over-the-top emoting, or even clichéd tearjerking. What we have, simply, is a drilled down romance to such a detail-oriented degree as to feel like you are living this couple’s story yourself. Duca and company take a couple—Paul, who is a devout Catholic and doesn’t believe in sex outside of marriage, and Gena, a woman with a rough-and-tumble childhood who is hoping to find love and acceptance in her relationship with Paul—and let us wade alongside them as they go through their ups and downs.
This isn’t a film built on theatrics or fights (thought they are there), but one built on understanding, empathy, and acceptance. Watch Gena and Paul argue and try not to pull references from your own life into the picture. Listen to the pained words each speak, and try not to understand where they are coming from. There are no good guys nor bad buys in Duca’s film. There are simply real, honest people trying to understand each other, and asking for our understanding in return. The picture touches you in the most unlikely way—by inviting you in to a usually private and forbidden world. About the film, I wrote, “Evergreen” makes you feel that you are watching a real couple. Its other achievements, of which there are many, pale in comparison to this unmistakable feat. (Read full review)
Honorable Mention—’90 Feet from Home’
A close runner up, Brett Bentman’s “90 Feet from Home” is a marvel. With stellar performances from its leads WWE star Shawn Michaels, Thom Hallum, and Adam Hampton, the film immerses you into its hot, Texas landscape, a land where violent family upbringings lead to decades-long grudges, wounded spirits, and un-healable wounds. With expert writing, cinematography, and emotion, Bentman presents a picture that takes you in fully; and, in the most remarkable way, garners empathy for all of its characters—even its most vile.
This film is not about baseball, as its title would have you believe, but family, and how the bonds of familial ties are hard to break, no matter how bleak their beginnings. The film is also about forgiveness, both of transgressions made against its main characters and the forgiveness its perpetrators seek for acts they have committed that may not have the capacity to be forgiven. The film highlights lost dreams, hopes, and desires, while simultaneously asking future generations to learn from our mistakes and never give up on these dreams. “90 Feet from Home” is anxious to watch, hard to forget, and a wonderful achievement by all involved.
