The SUPER BOFFIES! Celebrating A Decade of Awards | The Ceremony is Complete, Come See Who Won!!

[Blankments]

Next up is...

BEST SOUND DESIGN

The nominees are...

 

 

A Quiet Place (2018)

Arrival (2016)

The Dark Knight Rises (2012)

Dune (2021)

Dunkirk (2017)

Ford v Ferrari (2019)

Gravity (2013)

Interstellar (2014)

Mad Max: Fury Road (2015)

Sound of Metal (2020)

 

And the winner is...

 

 

Mad Max: Fury Road (2021)

 

 

The video above explains it all. You can't be transported to the Wasteland without the sound of sheer automobile hell. Intricately designed and an immersive soundscape allows one truly ride historic on the Fury Road. The rev of the engines and the sheer scope of the sound earns Mad Max: Fury Road the Super Boffy for Best Sound Design.

Runner-Up: Sound of Metal (2020)

Edited November 22, 2022 by Blankments

[Blankments]

Next up is...

BEST PRODUCTION DESIGN

The nominees are...

 

 

Black Panther (2018)

Blade Runner 2049 (2017)

Cloud Atlas (2012)

Crimson Peak (2013)

The French Dispatch (2021)

The Grand Budapest Hotel (2014)

Her (2013)

La La Land (2016)

Mank (2020)

Parasite (2019)

 

And the winner is...

 

 

The Grand Budapest Hotel (2014)

This is when I admit I haven't seen The Grand Budapest Hotel since theaters. However, it's safe to say that Wes Anderson movies always have immaculate production design, and The Grand Budapest Hotel feels like the current peak of it, with its gorgeously elaborate hotel and frequently colorful props that make the movie pop even more than Anderson's writing and directing. It serves the film and enhances it to be the best version of itself, earning The Grand Budapest Hotel the Super Boffy for Best Production Design.

Runner-Up: Blade Runner 2049 (2017)

Edited November 22, 2022 by Blankments

[Blankments]

Next up is...

BEST VILLAIN

The nominees are...

 

 

Bane, The Dark Knight Rises (2012)

Jordan Belfort, The Wolf of Wall Street (2013)

Gabriel, Malignant (2021)

Howard, 10 Cloverfield Lane (2016)

Koba, Dawn of the Planet of the Apes (2014)

Kylo Ren, Star Wars: The Force Awakens (2015)

Kylo Ren, Star Wars: The Last Jedi (2017)

Michael, Bacurau (2020)

Thanos, Avengers: Infinity War (2018)

Walt Disney Pictures Studios (2019)

 

And the winner is...

 

 

Jordan Belfort, The Wolf of Wall Street (2013)

Sometimes the biggest villains are those our society looks up to. Jordan Belfort fits that mold, a conniving, brilliant stockbroker who comes with an ingenious business plan that allows him to commit mass fraud and live a extravagant lifestyle. Was all it legal? Absolutely not. Brought to life brilliantly by Leonardo DiCaprio's performance and Martin Scorsese's vision, The Wolf of Wall Street as a film thrives on how affably evil Belfort can become, which makes the ending straight from the real world where he gets off with basically a slap on the wrist all too haunting. He's the greatest villain of the last decade, so say these Super Boffy awards, and a very memorable one indeed.

Runner-Up: Walt Disney Pictures Studios (2019)

Edited November 22, 2022 by Blankments

[Blankments]

Next up is...

BEST HERO

The nominees are...

 

 

Dr. Louise Banks, Arrival (2016)

Marta Cabrera, Knives Out (2019)

Caesar, Dawn of the Planet of the Apes (2014)

Katniss Everdeen, The Hunger Games: Catching Fire (2013)

Django Freeman, Django Unchained (2012)

Robyn Goodfellowe, Wolfwalkers (2020)

Fred Hampton, Judas and the Black Messiah (2021)

Miles Morales, Spider-Man: Into the Spider-Verse (2018)

Diana Prince, Wonder Woman (2017)

Rey, Star Wars: The Force Awakens (2015)

 

And the winner is...

 

 

Miles Morales, Spider-Man: Into the Spider-Verse (2018)

In a decade full of superhero movies, it becomes hard to remember just where the magic came from. What it was like to be a kid and just dream of being a superhero. In Spider-Man: Into the Spider-Verse, anyone can wear the mask, which becomes emblematic of Miles Morales' quest. He can't be Peter Parker, but he doesn't have to be. He's his own kid, what makes him special is what makes him a superhero. Awe-inspiring and charmingly voiced by Shameik Moore, the focus on Miles Morales is what makes the multiversal shenanagains of ITSV really work, and he receives the Best Hero Super Boffy.

Runner-Up: Caesar, Dawn of the Planet of the Apes (2014)

Edited November 22, 2022 by Blankments

[Blankments]

Next up is...

BEST SOUNDTRACK

The nominees are...

 

 

Baby Driver (2017)

Creed (2015)

Django Unchained (2012)

Eurovision Song Contest: The Story of Fire Saga (2020)

Guardians of the Galaxy (2014)

Inside Llewyn Davis (2013)

La La Land (2016)

Rocketman (2019)

Spider-Man: Into the Spider-Verse (2018)

West Side Story (2021)

 

And the winner is...

 

 

Guardians of the Galaxy (2014)

 

Honestly, the defining movie soundtrack of the 2010s. Guardians of the Galaxy was the proof that the MCU could make anything into a hit, and one thing that instantly sold people on it was the teaser trailer, which famously used "Hooked on a Feeling," instantly tying that classic rock song to these motley crew of misfits. The soundtrack not only plays an important role in the plot, but is stacked with so many 70s and 80s songs that it's always a joy to listen to again and again. A friend of mine even has it on Vinyl! It's the first album consisting of entirely pre-existing songs to top the Billboard 200, and it did for 11 consecutive weeks. It was ranked the #4 Top Rock Album of the decade by Billboard too. More importantly though, it gives Guardians of the Galaxy the one-of-a-kind flavor that lets it stand out from the rest of the Marvel Cinematic Universe, and is a worthy winner of the Super Boffy for Best Soundtrack.

Runner-Up: Inside Llewyn Davis (2013)

Edited November 22, 2022 by Blankments

[Blankments]

Next up is...

 

BEST ORIGINAL SONG

The nominees are...

 

 

“City of Stars,” La La Land (2016)

“Everything Is Awesome!!,” The LEGO Movie (2014)

“Husavik,” Eurovision Song Contest: The Story of Fire Saga (2020)

“(I’m Gonna) Love Me Again,” Rocketman (2019)

“Let It Go,” Frozen (2013)

“Remember Me,” Coco (2017)

“See You Again,” Furious 7 (2015)

“Shallow,” A Star is Born (2018)

“Skyfall,” Skyfall (2012)

“We Don’t Talk About Bruno,” Encanto (2021)

 

And the winner is...

 

  Hide contents

"Skyfall," Skyfall

 

 

 

One of the biggest songs I can remember in my life. "Skyfall" transcended James Bond, and honestly significantly boosted the buzz around the film in the US. Everything here is exactly what you'd want from a Bond song, with Adele belting it out at the height of her popularity. It somehow is the first James Bond song to win the Oscar for Best Original Song, and since then, the songs have always won. Is it because of the weak competition? Or is it because "Skyfall" was so good it made Bond songs instantly prestigious in a way they had never been before? It's hard to say, but one thing is certain: "Skyfall" is the winner of the Super Boffy for Best Original Song, and its influence and its success are still being felt today within both the Bond franchise and in original songs written for movies all around. In a word, it's iconic.

Runner-Up: "Remember Me," Coco (2017)

 

Edited November 22, 2022 by Blankments

[Blankments]

Next up is...

BEST ORIGINAL SCORE

The nominees are...

 

 

Nicholas Britell, If Beale Street Could Talk (2018)

Alexandre Desplat, The Shape of Water (2017)

Ludwig Goransson, Tenet (2020)

Jonny Greenwood, The Power of the Dog (2021)

Reinhold Heil, Johnny Klimek and Tom Twyker, Cloud Atlas (2012)

Justin Hurwitz, La La Land (2016)

Thomas Newman, 1917 (2019)

Steven Price, Gravity (2013)

John Williams, Star Wars: The Force Awakens (2015)

Hans Zimmer, Interstellar (2014)

 

And the winner is...

 

  Hide contents

Nicholas Britell, If Beale Street Could Talk

 

 

When Moonlight debuted in 2016, taking the arthouse world by storm and then eventually shockingly winning the Oscar for Best Picture, one of the more unsung qualities of the film was the score by Nicholas Britell. Sure, it wracked up nominations, but the film didn't entirely focus on it, and no one really knew who Britell was at the time. Thank goodness that Barry Jenkins brought Britell for his followup, as Nicholas Britell's score of If Beale Street Could Talk is utterly transcendent and haunting. It works marvelously within the film, but outside of it, it's still evocative, classical and somehow, the most memorable part of a movie that's still incredibly good. Nicholas Britell is now considered one of the best young composers working, with three Oscar noms (including one for this), and delivering phenomenal work on television with Succession, Andor, and of course, Barry Jenkins' The Underground Railroad. Yet, to me, this still remains his strongest work, something I can unquestionably remember despite not having seen the film in about four years. Nicholas Britell is one of our most exciting young talents, and although I definitely can't wait to see how his scores grow from here, If Beale Street Could Talk's score is absolutely special, and a worthy winner of the Super Boffy for Best Original Score.

Runner-Up: John Williams, Star Wars: The Force Awakens (2015)

 

Edited November 22, 2022 by Blankments

[Blankments]

Let's throw in a bigger one, shall we?

 

BEST SUPPORTING ACTRESS

The nominees are...

 

 

Patricia Arquette, Boyhood (2014)

Viola Davis, Fences (2016)

Ariana DeBose, West Side Story (2021)

Anne Hathaway, Les Miserables (2012)

Laurie Metcalf, Lady Bird (2017)

Lupita Nyong’o, 12 Years a Slave (2013)

Park So-dam, Parasite (2019)

Alicia Vikander, Ex Machina (2015)

Rachel Weisz, The Favourite (2018)

Youn Yuh-jung, Minari (2020)

 

And the winner is...

 

  Hide contents

Laurie Metcalf, Lady Bird (2017)

 

 

I try to remain impartial, or at least, impersonal, in these write-ups; after all, the Super Boffys are a community celebration of the films we loved over the past decade. And yet, I find myself impossible to talk about Laurie Metcalf in Lady Bird without writing about my own mom. Honestly, this is fair, as I remember seeing this with my mom over the Christmas holidays in 2017. The only thing she knew about it was the 100% on Rotten Tomatoes, but by the time it ended, she liked it more than me. I find it hard to watch Lady Bird without seeing my own mother in Laurie Metcalf. The stubborness backed by undeniable love. The fear of your child's future and the struggle to let them go. And yet, it's a spectacularly funny role, with Metcalf relishing every bit of the jokes that come her way. Yet, when it came to pick a clip for her, there was only one real option. I know Lady Bird is a movie that makes many people cry at many different points, but the scene above is the only one that does it for me. The breaking down of a shield that's been held up for an entire movie, the love of a mother who's afraid to really show that love to her daughter. It's an exquisite performance in an excellent movie; a beating heart that feels tremendously hard to place within the context of a mere movie. Through Marion McPherson, Laurie Metcalf captures the essence of being a mother and being a fully realized woman in her own right too. A perfect portrayal of an imperfect human, it earns her the Super Boffy for Best Supporting Actress.

Runner-Up: Rachel Weisz, The Favourite (2018)

 

 

Edited November 22, 2022 by Blankments

[Blankments]

And now, we move onto the feature awards...

 

BEST HORROR FEATURE

The nominees are...

 

 

10 Cloverfield Lane (2016)

The Babadook (2014)

The Cabin in the Woods (2012)

The Conjuring (2013)

Get Out (2017)

Hereditary (2018)

The Invisible Man (2020)

It Follows (2015)

Malignant (2021)

Us (2019)

 

And the winner is...

 

  Hide contents

Get Out (2017)

 

Probably the single most obvious award winner of these Super Boffys. Get Out was a phenomenon for a good reason, the arrival of an exciting new mainstream auteur that three films in, is still releasing absolutely stunning works. Yet, it's hard to imagine him ever reaching the universal acclaim of Get Out again. It basically kicked off a new era of horror movies with social themes, and never falls into the sub-designation of "elevated horror." It's a legitimately funny and legitimately terrifying movie, featuring a breakout lead performance by Daniel Kaluuya, instantly rocketing him to the top of current Hollywood actors and getting him a rare Best Actor nomination at the Oscars for leading a horror movie. Even more, Jordan Peele immediately shed the identity of comedian and is now one of our most beloved mainstream directors. It's also the only horror movie to ever win the Boffy for Best Picture. Whether or not it takes the Super Boffy for that remains to be seen, but as for the title of Best Horror Film? It wins that easily.

 

Runner-Up: The Conjuring (2013)

 

 

 

Edited November 22, 2022 by Blankments

[Blankments]

Next up is...

 

BEST COMEDY FEATURE

The nominees are...

 

 

The French Dispatch (2021)

Game Night (2018)

The Grand Budapest Hotel (2014)

Hunt for the Wilderpeople (2016)

Inside Out (2015)

Knives Out (2019)

Lady Bird (2017)

Moonrise Kingdom (2012)

Palm Springs (2020)

This is the End (2013)

 

And the winner is...

 

  Hide contents

Knives Out (2019)

 

Rather fitting it wins this right before the highly anticipated sequel makes its surprisingly fraught journey to the big screen this week. We'll have plenty of time to discuss Glass Onion for the rest of the year though, so for now let's discuss Rian Johnson's biggest original hit at the box office, Knives Out. Introducing audiences to the quirky sleuth Benoit Blanc, played brilliantly by Daniel Craig as a slightly more northern Joe Bang, Knives Out is a load of fun, fusing social satire with some legitimately hilarious sequences and a a satisfying mystery that's never treated like a joke. Some might be bothered by it being labeled a comedy, but to that, I must ask you: what were the overheard words by the Nazi child masturbating in the bathroom? Or explain to me how the doughnut hole inside the doughnut hole works? Knives Out is chockful of memorable jokes and is one of the most genuinely entertaining original films of the last few years that it earns the Super Boffy for Best Comedy Feature. And if you have a problem with that? Good luck finding out Hugh did this.

 

Runner-Up: Moonrise Kingdom (2012)

 

Edited November 22, 2022 by Blankments

[Blankments]

Next up is...

 

BEST OVERLOOKED FEATURE

The nominees are...

 

 

Blindspotting (2018)

Colossal (2017)

Holy Motors (2012)

The Last Black Man in San Francisco (2019)

Locke (2014)

Room (2015)

Silence (2016)

Shiva Baby (2021)

Short Term 12 (2013)

Wendy (2020)

 

And the winner is...

 

  Hide contents

Silence (2016)

 

It might tough to really understand on this board how overlooked Silence was when it came out. It had extremely poor distribution, and only managed a lone Oscar nom for Cinematography. Perhaps it was tough for people to sit through this three-hour epic about Jesuit priests in Japan, but those who did see it were rewarded with one of Scorsese's most intense and fascinating film. Speaking personally for a second, I've seen eighteen of Scorsese's narrative films, and to me, Silence is the absolute best of them. It's a hard watch but such an intensely rewarding one, that leaves me thinking for weeks afterwards whenever I do revisit its phenomenal story, brought to life by some of Scorsese's finest filmmaking, alongside Schoonmaker's invisible editing and Pietro's truly special cinematography. It also features Andrew Garfield's greatest performance. Silence has become well-regarded here as one of Scorsese's masterpieces, placing 8th on our Scorsese countdown last year. For the Super Boffys though, it was only eligible for this award, and as an undeniably great and harrowing work, it earns the Super Boffy for Best Overlooked Feature.

 

Runner-Up: Blindspotting (2018)

 

 

Edited November 22, 2022 by Blankments

[Ethan Hunt]

5 minutes ago, Blankments said:

Next up is...

 

BEST OVERLOOKED FEATURE

The nominees are...

 

 

Blindspotting (2018)

Colossal (2017)

Holy Motors (2012)

The Last Black Man in San Francisco (2019)

Locke (2014)

Room (2015)

Silence (2016)

Shiva Baby (2021)

Short Term 12 (2013)

Wendy (2020)

 

And the winner is...

 

  Hide contents

Silence (2016)

 

It might tough to really understand on this board how overlooked Silence was when it came out. It had extremely poor distribution, and only managed a lone Oscar nom for Cinematography. Perhaps it was tough for people to sit through this three-hour epic about Jesuit priests in Japan, but those who did see it were rewarded with one of Scorsese's most intense and fascinating film. Speaking personally for a second, I've seen eighteen of Scorsese's narrative films, and to me, Silence is the absolute best of them. It's a hard watch but such an intensely rewarding one, that leaves me thinking for weeks afterwards whenever I do revisit its phenomenal story, brought to life by some of Scorsese's finest filmmaking, alongside Schoonmaker's invisible editing and Pietro's truly special cinematography. It also features Andrew Garfield's greatest performance. Silence has become well-regarded here as one of Scorsese's masterpieces, placing 8th on our Scorsese countdown last year. For the Super Boffys though, it was only eligible for this award, and as an undeniably great and harrowing work, it earns the Super Boffy for Best Overlooked Feature.

 

Runner-Up: Blindspotting (2018)

 

 

Objectively terrible winner

[Blankments]

Alright. It's getting late, so we'll pick back up tomorrow around 9pm CT for the last thirteen awards. Will hopefully go faster through them too as I'll be able to pre-write the writeups over the course of the day. Before then though, one last award...

 

BEST SUPPORTING ACTOR

The nominees are...

 

 

Mahershala Ali, Moonlight (2016)

Willem Dafoe, The Florida Project (2017)

Mike Faist, West Side Story (2021)

Michael Fassbender, 12 Years a Slave (2013)

Philip Seymour Hoffman, The Master (2012)

Song Kang-ho, Parasite (2019)

Jesse Plemons, Game Night (2018)

Paul Raci, Sound of Metal (2020)

J.K. Simmons, Whiplash (2014)

Sylvester Stallone, Creed (2015)

 

And the winner is...

 

  Hide contents

Philip Seymour Hoffman, The Master (2012)

 

 

There are few actors one can confidently call one of the greats. An actor who elevate any role they're given. Philip Seymour Hoffman was one of those actors. You could put him in a bad movie, in a bad role, and he'd make it magnetic. His passing in 2014 was utterly shocking and tragic, but about a year and a half prior, we got to see the real magic that happened when Philip Seymour Hoffman was given a great role. His final of many collaborations with Paul Thomas Anderson, Hoffman's portrayal of Lancaster Dodd is the type of performance he could give it. Somehow funny without ever losing the intensity, his scene with Joaquin Phoenix is what happens when you have two truly unique and absolutely transfixing actors paring off against each other. Yet, it's the scene above most people think of when they think of Philip Seymour Hoffman in The Master. The unexpected scream of PIGFUCK, the loss of composure amid the basic questioning. Personally, I watched The Master for the first time in the build-up to these Super Boffys, and I found myself personally ranking him as my favorite performance of these nominated. It feels special because it is special, the last truly great role of an acting legend - and even if it didn't have that asterisk of being one of the closing acts of Hoffman, it's still arguably his finest role. Philip Seymour Hoffman earns the Super Boffy for Best Supporting Actor for brilliantly portraying the titular role in The Master, with a performance that's impossible to look away from; one can only gaze in a glorious fascination of Lancaster Dodd will do next - and what choices Philip Seymour Hoffman will make to create the character even more hypnotic than what it is written on the page.

Runner-Up: Song Kang-ho, Parasite (2019)

 

 

Edited November 22, 2022 by Blankments

[Blankments]

20 hours ago, Eric Clade said:

How can Luca's run be soul-crushing when it doesn't actually have a run? 🤔

for the record significantly before I continue the reveals, I personally did not rank Luca very high in that category even though you might expect otherwise lol. I was surprised by its high placing too!

[Blankments]

Hey guys, running a little late. Night two should begin within the next ten minutes! Get hyped!!!

[DAR]

12 minutes ago, Blankments said:

Hey guys, running a little late. Night two should begin within the next ten minutes! Get hyped!!!

[Blankments]

Let's begin our second night with...

 

BEST DOCUMENTARY FEATURE 

 

The nominees are...

 

 

The Act of Killing (2013)

Blackfish (2013)

Citizenfour (2014)

Dick Johnson is Dead (2020)

Faces Places (2017)

Honeyland (2019)

Jiro Dreams of Sushi (2012)

The Look of Silence (2015)

O.J.: Made in America (2016)

The Rescue (2021)

Won’t You Be My Neighbor? (2018)

 

And the winner is...

 

  Hide contents

O.J.: Made in America (2016)

 

2016 was the year of a lot of different movements and trends, but one very prevalent one in media that seems to have been mostly forgotten is that 2016 was the year of the O.J. Simpson trial coming back in a big way. First there was the FX series (which, to this date, remains the only Ryan Murphy thing I’ve seen that’s actually really great), but then there was O.J.: Made in America. A ten-hour documentary aired over five nights on ESPN, it’s considered the magnum opus of the 30 for 30 series, and for good reason. It’s an all encompassing look at the O.J. Simpson case. The case of how someone like O.J. Simpson came to be, and what happens when celebrity, race, murder, and how sports and psychology ties into it all. If anything, I’m underselling it, as this is a ten-part documentary that flies by, feeling a momentous achievement as you watch it. Controversially, it screened in New York and Santa Monica as a seven-hour and 47-minute length film with two intermissions, qualifying it for the Oscars, and eventually leading to a rule barring multi-part documentaries from being eligible - after it rightfully won that year. It might’ve prevented The Last Dance from being submitted as a film anywhere, but honestly, O.J.: Made in America is a pinnacle of long-form documentary can do, and speaking as someone who watched it in one sitting, it works marvelously as one long epic documentary film, earning the Super Boffy for Best Documentary Feature.

Runner-Up: The Rescue (2021)

 

Edited November 23, 2022 by Blankments

[Blankments]

Next up is our most voted-on category...

 

BEST ANIMATED FEATURE 

 

The nominees are...

 

 

Belle (2021)

Coco (2017)

Frozen (2013)

I Lost My Body (2019)

Inside Out (2015)

The LEGO Movie (2014)

Soul (2020)

Spider-Man: Into the Spider-Verse (2018)

Wreck-It Ralph (2012)

Zootopia (2016)

 

And the winner is...

 

  Hide contents

Spider-Man: Into the Spider-Verse (2018)

 

When it came down to it, there were two major forces in American feature animation over the last ten years. On one hand, you have the old guard of Disney and Pixar, consistently delivering good-to-great films that fit squarely in their mold. Keep in mind, this is coming from a massive Pixar fanboy. But there’s another kind of production I’m a huge fan of, and it’s the other major force on American feature animation, and that’s the minds of Phil Lord and Christopher Miller. Their anarchic meta humor mixed with an odd sincerity made their movies hits and made them some of the most powerful producers in Hollywood. Naturally, after delivering Sony three big hits, they were offered the keys to Sony’s most valuable property, the Spider-Man IP… but at the same time, they were offered the opportunity to make a Star Wars movie. We all know how that turned out, but it did allow Lord and Miller to shift from being a directing force to the producing force they are today.

 

All this prelude to lead to Spider-Man: Into the Spider-Verse. Directed by Peter Ramsey, Bob Persichetti and Rodney Rothman, it’s only co-written by Lord and produced by the both of them. You can feel Lord and Miller’s fingerprints on the film, but what’s important is what the actual directors bring to it. Ramsey’s perspective to the characters, Persichetti’s knowledge of animation and Rothman bringing a uniquely live-action glance to this otherwise hyperstylized world. Spider-Man: Into the Spider-Verse did the impossible: it made Spider-Man feel fresh again. Miles Morales offered our first entry into the multiverse shenanigans currently threatening our live-action superheroes, but it’s hard to imagine any of those getting it as right as this does. Moreover, this is a gorgeous film; not since Ang Lee’s Hulk has a movie tried to actually aesthetically capture comics. There’s cuts within this movie that I can remember perfectly with how Daniel Pemberton’s score matches it. One of the best vocal ensembles in recent memory too. I can gush about Spider-Man: Into the Spider-Verse forever; it’s one of my favorite movies ever. That said, this is a much longer write-up than I’ve given any other movie. Ergo, I gotta wrap it up and just say Spider-Man: Into the Spider-Verse is the rare animated movie to beat the Disney monolith at the Oscars, and it somehow did it while being a superhero movie of the most overexposed superhero besides the Caped Crusader. That’s the magic of Spider-Verse, and as two heavily delayed sequels begin finally releasing next year, no matter how they turn out, it won’t stop the original from rightfully earning the Super Boffy for Best Animated Feature.

Runner-Up: Inside Out (2015)

[Blankments]

Our final individual feature category is...

 

BEST INTERNATIONAL FEATURE 

 

The nominees are...

 

 

Another Round (2020)

Drive My Car (2021)

Elle (2016)

Holy Motors (2012)

Nocturama (2017)

Parasite (2019)

Phoenix (2015)

Roma (2018)

Two Days, One Night (2014)

The Wind Rises (2013)

 

And the winner is...

 

  Hide contents

Parasite (2019)

 

Parasite was a phenomenon transcending the usual limits for films not in the English language. As seen in the gif above, Bong Joon-ho frequently expressed the dangers of limiting one’s self to merely English-language films, and Parasite made history in being the first non-English film to win Best Picture at both the Boffys and the Oscars. It’s a film full of cultural specificity to Korea, and how their classes are separated, but it feels universal, as Bong also once said, “there is no borderline between countries now because we all live in the same country, it's called capitalism.” No one should be surprised by Parasite winning this, as it’s a film that completely hit the zeitgeist in nearly every country, earning the Super Boffy for Best International Feature.

Runner-Up: The Wind Rises (2013)

 

[Blankments]

This next one is a pretty big one...

 

BEST ENSEMBLE

The nominees are...

 

 

12 Years a Slave (2013)

Cloud Atlas (2012)

Drive My Car (2021)

The Favourite (2018)

The Grand Budapest Hotel (2014)

The Hateful Eight (2015)

Hell or High Water (2016)

Minari (2020)

Parasite (2019)

The Shape of Water (2017)

 

And the winner is...

 

  Hide contents

Parasite (2019)

 

The rare movie where everyone is perfectly cast and plays their roles to perfection. It features two Boffy-winning performances; Song Kang-ho as the patriarch that slowly simmer to a blow-up that feels utterly natural, and Park So-dam’s naturally charming daughter character who made one of the biggest repeated lines of the movie (at least where I live; hint, it’s Chicago). But beyond them, there’s the other Boffy-nominated performance of Cho Yeo-jeong, which is one of the most brilliant comedic performances in recent memory, never falling into caricature while also being hilarious. She’s matched with the quietly dark role that belongs to Lee Sun-kyun, who is also painted with perfect nuance. The Kim family is rounded out with turns from Choi Woo-shik, the defacto lead of the film who allows for the devastating epilogue to really resonate, and Jang Hye-jin, who delivers probably the film’s most subtle performance. On the other end of things, Lee Jung-eun and Park Myung-hoon create indelible characters with a limited amount of screentime, making the back half of Parasite truly unforgettable. If you ask someone their favorite performance in Parasite, it’s likely you’ll hear any of these actors. It’s the first non-English language film to win the SAG Ensemble award or the BOFFY Ensemble Award, but beyond that, it’s a film full of impeccably cast actors who make their mark on so many utterly memorable characters, earning the cast of Parasite the Super Boffy for Best Ensemble.

Runner-Up: The Grand Budapest Hotel (2014)