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The Best Film Series
The Complete Joseph Losey (HFA)
Unseen Noir (HFA)
Minnelli’s Melodramas (HFA)
Return to the Grindhouse (Brattle)
No Borders, No Limits: Nikkatsu Action
& 60s Japan (Brattle)
Best Rediscoveries
Taking Off (The Films of Milos Forman, MFA)
The Exiles (MFA)
Noon Wine (Sam Peckinpah,
Blood Poet, HFA)
Underworld (Somerville
Theatre)
Lola Montes (Coolidge Corner)
Special Commendations
The BSFC would like to commend Bo Smith on the occasion of his departure as film curator of the Museum of Fine
Arts.
In his more than two decades at the helm of the film program, Bo
brought a remarkable collection of film series and film artists to Boston and
had a strong hand in making it one of the leading cities in the country to
view non-mainstream and especially foreign film.
Stefanie Lubkowski, who has
recently left the Museum of Fine
Arts film program after several years
there, catered tirelessly to our needs as Film & Concerts Press
Coordinator, and, as Friends of Film Coordinator, brought that program online
by encouraging and disseminating feedback about their special sneak previews.
Kelly Teer, manager of the Museum of Fine
Arts' auditorium for film exhibition,
put a welcoming human face on a cultural institution. Before relinquishing
her post this past summer after an 8-year tenure, Ms. Teer
never did less than make a difficult job look easy, always ensuring smooth
operations, from the box-office straight on to your seat.
Joe Zina leaves the Boston film scene immensely richer than when he stepped into the
post of Executive Director of the Coolidge Corner Theatre in 1998. With
tireless energy and flair, he oversaw the theater’s physical upgrade, the
launch of a $2.5 million capital campaign, the institution of the Coolidge
Award, and the sustaining of the Coolidge as a beloved and necessary
neighborhood cultural fixture.
To Paul Sherman,
for researching, authoring, and self-distributing an instantly indispensable,
one-of-a-kind film history, “Big Screen Boston: From Mystery
Street to the Departed and Beyond.” For
the fascinating story of Boston
filmmaking, from imported blockbusters to tiny, heartfelt independents, Sherman's book
is the place to look.
To the Harvard Film Archive’s Steve
Livernash, the unofficial dean of Hub 35mm
projectionists, for setting a sterling example of film projection as a
serious, aesthetic calling, and for extending his job definition to include
film preservation. Generations of filmmakers are indebted to Steve for taking
time at work to patch and mend their prints, so that the films can be
projected in the proper way.
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