The Chambord Prize

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Chambord
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The Chambord Prize

Postby Chambord » Thu Mar 01, 2018 6:59 am

The Chambord Prize is awarded by myself, in a symbolic manner, to the authors of the best (in my opinion) film, album and (exceptionally) book, of every year, since 1990.



2017
David Lynch - Twin Peaks: The Return
The National - Sleep Well Beast


2016
Jim Jarmusch - Paterson
Car Seat Headrest - Teens Of Denial


2015
Hou Hsiao-Hsien - The Assassin
Julia Holter - Have You In My Wilderness


2014
Andrey Zvyagintsev - Leviathan
Angel Olsen - Burn Your Fire For No Witness


2013
Joel & Ethan Coen - Inside Llewyn Davis
Vampire Weekend - Modern Vampires Of The City


2012
Paul Thomas Anderson - The Master
Beach House - Bloom


2011
Lars Von Trier - Melancholia & Asghar Farhadi - A Separation (ex aequo)
M83 - Hurry Up, We're Dreaming


2010
Semih Kaplanoglu - Honey & Sergei Loznitsa - My Joy (ex aequo)
Arcade Fire - The Suburbs & MGMT - Congratulations (ex aequo)


2009
Joel & Ethan Coen - A Serious Man
Charlotte Gainsbourg - IRM


2008
Kelly Reichardt - Wendy And Lucy & James Gray - Two Lovers (ex aequo)
Portishead - Third & MGMT - Oracular Spectacular (ex aequo)


2007
Todd Haynes - I’m Not There & Andrew Dominik - The Assassination Of Jesse James By The Coward Robert Ford (ex aequo)
Radiohead - In Rainbows & The National - Boxer (ex aequo)


2006
Jia Zhangke - Still Life & Martin Scorsese - The Departed (ex aequo)
Negură Bunget - OM


2005
Terrence Malick - The New World
System Of A Down - Mezmerize / Hypnotize


2004
Richard Linklater - Before Sunset
Arcade Fire - Funeral
Jose Saramago - Seeing


2003
Lars Von Trier - Dogville & Gus Van Sant - Elephant (ex aequo)
The White Stripes - Elephant


2002
Paul Greengrass - Bloody Sunday
Interpol - Turn On The Bright Lights


2001
David Lynch - Mulholland Drive
The Strokes - Is This It & The White Stripes - White Blood Cells (ex aequo)
W. G. Sebald - Austerlitz


2000
Béla Tarr - Werckmeister Harmonies
PJ Harvey - Stories From The City, Stories From The Sea


1999
David Lynch - The Straight Story & Spike Jonze - Being John Malkovich (ex aequo)
Sigur Rós - Ágætis Byrjun & Built To Spill - Keep It Like A Secret (ex aequo)
Jhumpa Lahiri - Interpreter Of Maladies


1998
Terrence Malick - The Thin Red Line
Massive Attack - Mezzanine & Godspeed You Black Emperor - F#A#∞ (ex aequo)


1997
Abbas Kiarostami - The Taste Of Cherry
Radiohead - OK Computer


1996
Olivier Assayas - Irma Vep
Opeth - Morningrise
Mircea Cartarescu - Blinding: The Left Wing


1995
John Lasseter - Toy Story & Richard Linklater - Before Sunrise (ex aequo)
Radiohead - The Bends


1994
Béla Tarr - Satantango & Krzysztof Kieslowski - Three Colors: Red (ex aequo)
Portishead - Dummy & Pavement - Crooked Rain, Crooked Rain (ex aequo)
Haruki Murakami - The Wind-Up Bird Chronicle


1993
Krzysztof Kieslowski - Three Colors: Blue
U2 - Zooropa


1992
Robert Altman - The Player
Pavement - Slanted And Enchanted


1991
Jacques Rivette - La Belle Noiseuse & Krzysztof Kieslowski - La Double Vie De Véronique (ex aequo)
Slint - Spiderland & U2 - Achtung Baby (ex aequo)


1990
David Lynch - Twin Peaks
Fugazi - Repeater


***********************************************************
The artists who have won the prize more than once:


4-time winner
David Lynch (1990, 1999, 2001, 2017)


3-time winners
Krzysztof Kieslowski (1991, 1993, 1994)
Radiohead (1995, 1997, 2007)


2-time winners
U2 (1991, 1993)
Pavement (1992, 1994)
Béla Tarr (1994, 2000)
Portishead (1994, 2008)
Richard Linklater (1995, 2004)
Terrence Malick (1998, 2005)
The White Stripes (2001, 2003)
Lars Von Trier (2003, 2011)
Arcade Fire (2004, 2010)
The National (2007, 2017)
MGMT (2008, 2010)
Joel & Ethan Coen (2009, 2013)


I intend to update the prize list once a year (around Spring start). Each update will contain the winners for the previous year plus an extension of a few decades into the past (the final goal is to cover "all-time").
The prize allocation is dynamic. There can be changes - in case I (re)discover a work that's better than my initial choice, or additions - especially regarding books.

Jirin
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Re: The Chambord Prize

Postby Jirin » Sat Mar 03, 2018 12:07 am

My taste in films is much closer to yours than with music. You even like all the less crowdpleasing Coen films. :)

It's interesting to me Twin Peaks is being treated as a movie for critic purposes, even coming in 2nd in Sight & Sound. What's the criteria there? Also with things like Berlin Alexanderplatz, whereas the vast majority of TV shows are not placed in the same bucket. Is it just a question of who is doing the directing?

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Chambord
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Re: The Chambord Prize

Postby Chambord » Mon Mar 05, 2018 12:48 pm

Jirin wrote:My taste in films is much closer to yours than with music. You even like all the less crowdpleasing Coen films. :)

It's interesting to me Twin Peaks is being treated as a movie for critic purposes, even coming in 2nd in Sight & Sound. What's the criteria there? Also with things like Berlin Alexanderplatz, whereas the vast majority of TV shows are not placed in the same bucket. Is it just a question of who is doing the directing?


Hi Jirin, I remember seeing you also on the late (and much missed) mubi / the auteurs forum. :greetings-waveyellow:

Seeing TV series / mini-series / cinema series as "films" is an old practice actually. You mentioned Berlin Alexanderplatz. Also titles like Dekalog , Heimat, Les Vampires are omni-present in critics' best of all-time film polls.

Even with the Twin Peaks it didn't start now. Indeed, Sight & Sound had The Return as 2nd in their poll (it would have been 1st but many participating critics didn't think of it as eligible), Cahiers du Cinema had it too as their no.1 but they also had the original 1990 season among their end of decade ('90s) top 5 films !

Who does the directing is definitely a major factor. Most of the TV series have their episodes directed by several people and scripted by even more. But it takes one auteur's directing / screenwriting / vision to qualify as a film split in several episodes.

Also, can you take out / not see one episode without severely damaging the understanding of the whole ? It the answer is no, than your thing can be seen as a film in "n" parts.

What ultimately matters is the art, the essence. That's what makes a film, not the form. The shape you give it is secondary and should be modelled for optimal effect. A feature film of 18 hours or a serial with 18 hour-long episodes ? When I saw Satantango I broke it in 4 parts because 7.5 hours of powerful cinema would have crushed me.

Jirin
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Re: The Chambord Prize

Postby Jirin » Thu Mar 08, 2018 3:21 am

Chambord wrote:Hi Jirin, I remember seeing you also on the late (and much missed) mubi / the auteurs forum. :greetings-waveyellow:


Those were the days, haven't found another really good film discussion board since.

I agree that there's not necessarily a need for distinction between films and television, but people do tend to split them into buckets. And only a handful of TV shows get placed in the 'film bucket', and mostly limited series that are directed by a noted film director.

But if Twin Peaks is in the movie bucket, why not something like Game of Thrones or Breaking Bad? You can say, it was conceived with the whole story arc in mind whereas TV shows are started with no idea how they will end, but then why not a closed miniseries with singular creative direction like The Night Of, or each season of True Detective or Fargo?

Why are two closely related disciplines of television and film always perceived as having a rock wall in between them, with only a few very specific exceptions?


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