12 Years a Slave Tops 2014 Independent Spirit Awards

2014spiritawardwinners

The 2014 Independent Spirit Award winners were announced last night in Santa Monica, and while there usually isn’t much correlation between these awards and the Oscars, this year that couldn’t be farther from the truth. 12 Years a Slave took home five awards including Best Feature and Best Director, and while the Academy Awards are not quite so clear cut, it’s definitely looking good for Steve McQueen’s film. What’s more, all of the major acting awards were completely in sync with the Oscar favourites. One of the few winners that definitely won’t overlap is Blue Is The Warmest Color, which won Best International Film at the Spirit Awards but is not even nominated for Best Foreign Film at the Oscars. Check out the full list of Independent Spirit Award winners after the jump and see what you think.

BEST FEATURE

  • “12 Years A Slave”
  • “All Is Lost”
  • “Frances Ha”
  • “Inside Llewyn Davis”
  • “Nebraska”

BEST LEAD FEMALE

  • Cate Blanchett – “Blue Jasmine”
  • Julie Delpy – “Before Midnight”
  • Gaby Hoffman – “Crystal Fairy”
  • Brie Larson – “Short Term 12″
  • Shailene Woodley – “The Spectacular Now”

BEST LEAD MALE

  • Bruce Dern – “Nebraska”
  • Chiwetel Ejiofor – “12 Years A Slave”
  • Michael B. Jordan – “Fruitvale Station”
  • Matthew McConaughey – “Dallas Buyers Club”
  • Robert Redford – “All Is Lost”

BEST SUPPORTING FEMALE

  • Melonie Diaz – “Fruitvale Station”
  • Sally Hawkins – “Blue Jasmine”
  • Lupita N’Yongo – “12 Years A Slave”
  • Yolanda Ross – “Go For Sisters”
  • June Squibb – “Nebraska”

BEST SUPPORTING MALE

  • Michael Fassbender – “12 Years A Slave”
  • Will Forte – “Nebraska”
  • James Gandolfini – “Enough Said”
  • Jared Leto – “Dallas Buyers Club”
  • Keith Stanfield – “Short Term 12″

BEST DIRECTOR

  • Shane Carruth – “Upstream Color”
  • J.C. Chandor – “All Is Lost”
  • Steve McQueen – “12 Years A Slave”
  • Jeff Nichols – “Mud”
  • Alexander Payne – “Nebraska”

BEST FIRST FEATURE

  • “Blue Caprice”
  • “Concussion”
  • “Fruitvale Station”
  • “Una Noche”
  • “Wadjda”

JOHN CASSAVETES AWARD

  • “Computer Chess”
  • “Crystal Fairy”
  • “Museum Hours”
  • “Pit Stop”
  • “This Is Martin Bonner”

BEST SCREENPLAY

  • Woody Allen – “Blue Jasmine”
  • Julie Delpy, Ethan Hawke, Richard Linklater – “Before Midnight”
  • Nicole Holofcener – “Enough Said”
  • Scott Neustadter & Michael H. Weber – “The Spectacular Now”
  • John Ridley – “12 Years A Slave”

BEST FIRST SCREENPLAY

  • Lake Bell – “In A World”
  • Joseph Gordon-Levitt – “Don Jon”
  • Bob Nelson – “Nebraska”
  • Jill Soloway – “Afternoon Delight”
  • Michael Starburry – “The Inevitable Defeat Of Mister & Pete”

BEST CINEMATOGRAPHY

  • Sean Bobbitt – “12 Years A Slave”
  • Benoit Debie – “Spring Breakers”
  • Bruno Delbonnel – “Inside Llewyn Davis”
  • Frank G. Demarco – “All Is Lost”
  • Matthias Grunsky – “Computer Chess”

BEST EDITING

  • Shane Carruth & David Lowery – “Upstream Color”
  • Jem Cohen & Marc Vives – “Museum Hours”
  • Jennifer Lame – “Frances Ha”
  • Cindy Lee – “Una Noche”
  • Nat Sanders – “Short Term 12″

BEST INTERNATIONAL FILM

  • “A Touch Of Sin”
  • “Blue Is The Warmest Color”
  • “Gloria”
  • “The Great Beauty”
  • “The Hunt”

BEST DOCUMENTARY

  • “The Act Of Killing”
  • “After Tiller”
  • “Gideon’s Army”
  • “The Square”
  • “Twenty Feet From Stardom”

PIAGET PRODUCERS AWARD

  • Toby Halbrooks & James M. Johnson – “Ain’t Them Bodies Saints”
  • Jacob Jaffke
  • Andrea Roa
  • Ferderick Thornton

TRUER THAN FICTION AWARDS

  • Kalyanee Mam – “A River Changes Course”
  • Jason Osder – “Let The Fire Burn”
  • Stephanie Spray & Pancho Valez – “Manakamana”

SOMEONE TO WATCH AWARDS

  • Aaron Douglas Johnston – “My Sisters’ Quinceanera”
  • Shaka King – “Newlyweeds”
  • Madeleine Olnek – “The Foxy Merkins”

ROBERT ALTMAN AWARD

  • “Mud”

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  • devolutionary

    Blue Is The Warmest Color will definitely feel like a powerful film to a certain demographic. I thought it was a pretty solid drama that explored the ambiguity and uncertainty of sexual identity that a teenager-going-on adult could experience in todays culture. Having said that, I’m sure North American audiences will only remember the several (extremely) erotic scenes that happen throughout. I imagine this is more common-place with European (French New Wave style) cinephiles, and less jarring.