The opening shot of Take Shelter is of Curtis (Michael Shannon) staring up at dark clouds with yellowish rain splashing down on him. There is a storm coming or at least there is until Curtis wakes up from his dream. He is a caring father to his hearing-impaired daughter (Tova Stewart) and a loving husband to his wife Samantha (Jessica Chastain).

Curtis has a vivid dream about a tornado coming toward him while his dog is barking furiously at him. After a few moments the dog snaps the chain it was tied up to and attacks Curtis, viciously biting his forearm. Curtis wakes up terrified and is sweating profusely. The rest of the day he clutches his arm now and then as if he was actually bitten.

Following that nightmare he starts acting more paranoid. He builds a fence in the backyard for his dog (who is normally an inside dog). After putting up the fence he moves on to cleaning up the old storm shelter that may not have been used for many years. He stocks the shelves of the shelter with canned soup; he is beginning to take shelter.

His dreams continue to get more frequent and start involving his daughter. In two consecutive dreams he is trying to protect his daughter from zombie-like people trying to steal her away. Each time he wakes up from these dreams his reactions get worse. First he was just sweating, then he was wetting the bed, and finally he bleeds and nearly has a seizure before waking up.

Realizing that he may have a problem, he checks out a book from the library on mental illness. But he does not stop there; he visits the doctor to try to get help. After the doctor prescribes him with some sleeping pills, he asks Curtis if he has been up to see his mother lately. It seems like an irrelevant question at first but we come to find out that his mother suffers from paranoid schizophrenia.

Having just a simple shelter is not enough for Curtis. He becomes obsessed with the shelter. So much so that he takes out a bank loan in order to build an expansion to it, even hooking up running water and sewage. He borrows large tools for the project from his construction job which ends up getting him fired for doing so. His paranoia may not only cost him his job but also his family.

Michael Shannon has a breakdown scene that may be the best emotional scene of the year. His anxiety, obsession and paranoia increases with each passing scene which is played to near perfection by Shannon. His performance earned him well deserved recognition at the Independent Spirit Awards this year for Best Male Lead.

The role of Samantha must have come pretty natural to Jessica Chastain as she played a similar role as the wife and mother in the magnificent film The Tree of Life. However, this film is her role is centered on her dealing with her husband more so than her being a mother like The Tree of Life did. Overall she had an incredible year in films as she was also in The Help and Coriolanus.

Given the synopsis of Take Shelter, a man that envisions storms of apocalyptic magnitude, it took have easily took the path of laying it on thick with over the top science fiction ploys but thankfully instead it remained very conceivable. The plot may have been a little too thin for the 2 hour runtime. Take Shelter has a slow moving narrative in which the build-up surpasses the outcome. The final scene is quite satisfying though.

In the year 1927 silent films are what made up Hollywoodland and George Valentin (Jean Dujardin) dominated the screens. Always by his side are his loyal dog and longtime producer Al Zimmer (John Goodman). His latest film was a smashing hit and during a public photo shoot for it, a lady from the crowd bumps into him that catches his eye. The next morning photos of the two together are on newspapers, overnight a star is born.

Her name is Peppy Miller (Bérénice Bejo), a name that will soon be as big as George Valentin’s in Hollywood. She tries out to be a dancer in his next film and he grants her that role. George would have never guessed that by giving Peppy her first break that she would soon surpass him in fame, but she does.

His producer Al from the film studio he works at informs him that they are switching to the future, talking films. It is a future George does not want to be a part of, he believes it is just a fad. Peppy rises to fame as a talkie while the silent era is quickly diminishing leaving George without a job.

To make the situation worse, the Great Depression hits so the money he is living off from his previous success is now gone. He auctions off all of his valuables, the auctioneer says, “Congratulations! It’s all sold, you’ve got nothing left!” Nothing left is right, wife leaves him and he has to down-size to a studio apartment. It occurs to him one day that he has not paid his butler (Ed Lauter) in over a year, so he is forced to make the hard decision to fire him.

The scene that stood out to me the most is when his wife was leaving him because he would not talk to his wife. It was a metaphor for him not conforming as a talkie film actor. And on similar note, another stand out scene is when he had a dream that he was no longer able to speak, he knows that he belongs in the silent era.

Peppy knows that she would not be a star without George. She not only respects him but has always had a romantic connection to him as well. With George going through a riches-to-rags scenario that turns him on the bottle, will she still have the same feelings she once had about him? When you are at the top, it is hard to see the people at the bottom.

Jean Dujardin was the perfect lead for The Artist. He has the face and body language that silent films demand. In this film, his role required him to be charming, funny, prideful, sad and angry without the luxury of speaking. So it was well deserved when Dujardin won best actor at Cannes 2011.

The Oscar nominations will be announced tomorrow but the buzz around the internet is The Artist has a great chance for the top prize of Best Picture. I would not be surprised if it also won Best Original Screenplay and Best Original Score. Also, if animals could win, I think the dog would have a good chance for Best Supporting…Animal.

The Artist proves that a film does not have to have words in order to achieve greatness. When done correctly as in this case, silence can be just as engaging and rewarding as speech is. Similar to a good foreign film when you forget you are reading subtitles, you will likely be so enthralled with the film to notice there is no audible dialogue.

Gil (Owen Wilson) is a Hollywood movie writer who is trying to give a shot at writing a novel but not having the easiest time with it. He is on vacation with his soon-to-be wife Inez (Rachel McAdams) in Paris, a city that he adores every square inch of, especially when it is raining. He brings up the idea of moving there once they are married but Inez does not share the same passion about Paris as he does and she hates being wet. In fact, the couple do not see eye-to-eye on much it seems.

The couple happen to run into some old friends who are visiting the City of Light as well. I decline to say mutual friends as Gil does not care much for Paul (Michael Sheen), a traveling professor who considers himself an expert on every subject on earth. Gil finds him very annoying whereas Inez finds him charming and fascinating. Paul asks if the two would be interested in going dancing and immediately they both respond with different answers.

While Inez and Paul are out dancing, Gil decides to take a walk around the city. He had a fair amount to drink that night so getting lost was not hard for him to do. He ends up on some church steps as the clock strikes midnight it’s bell rings. A few moments later a vintage car full of drunken Parisians pulls up and invites him in.

When the group ends up at a party that is when Gil starts to notice something a little…magical. The first person at the party he meets is Zelda Fitzgerald (Alison Pill). She is very eager to hear that he is a writer himself so she calls over her husband to tell him the news, Scott Fitzgerald (Tom Hiddleston). He can barely believe what he is seeing.

He does not spend too much time trying to figure out how he ended in what he considers the golden age, the 1920’s, he just embraces it. Woody Allen does the same; he does not bother to explain how this time travel is possible as how is not the important part. Gil has always wondered what Paris was like in the 20’s and now he gets his chance to see it.

The next day everything goes back to normal but Gil can barely wait until midnight to see if the process repeats itself. He walks around until he finds the same church and waits for clock to strike midnight. When the bell rings sure enough the same old car pulls up transports him back in time. Gil runs into a long list of famous heroes including, Gertrude Stein (Kathy Bates), Ernest Hemingway (Corey Stoll) and Salvador Dali (Adrien Brody). Gil realizes he finally found some people he trusts to critique his novel, something that he has never done before and what other perfect people do so than Stein and Hemmingway.

The story really picks up when he is introduced to Piacasso’s lover Adriana (Marion Cotillard). He instantly develops a crush on her. Gil and Adriana share one big thing in common; they both wish they belonged in a different time period. It is when Adriana fantasizes about being in Paris in another time than the 1920’s that he finally comes to a realization that life is a little unsatisfying and you can never think the present is the golden age.

Gil comes to this epiphany shortly after he heavily considers leaving his fiancé for Adriana. He does after all, get along with and share more in common with Adriana than we ever saw he did with Inez. The film does a great job making it about impossible to feel pity for Inez, she never seemed right for Gil from the start.

It is no secret that Woody Allen often portrays himself with protagonists in his films, Midnight in Paris is no exception, Owen Wilson might be the best actor to pull it off to date. Wilson may not come to mind as the perfect person for the role but he proved otherwise. He played the enthusiastic writer who is sometimes neurotically long-winded remarkably well. The rest of the cast also do a excellent job, especially Corey Stoll as Hemingway.

To say that Joseph (Peter Mullan) has anger management issues is a huge understatement. There are random moments where his anger explodes out of control. He will be the first to say that he is not a good human being. In the very first scene we see Joseph getting so upset with his dog he ends up kicking it to death. Shortly after that he shatters a store’s window with a rock without reason.

Joseph spends much of his time around local pubs where it is not uncommon for him to get into fights with other people. He is an Irish widower whose wife died of cancer. But you get the sense that his aggression has been with him his whole life.

One day Joseph stumbles into a charity thrift shop that a young lady named Hannah (Olivia Colman) runs. Hannah is a proud Christian and is quick to offer him a prayer knowing that his man is lost in this world. She is one that forgives easily or so it seems. Joseph is a little perplexed as to Hannah’s kindness to a total stranger.

On the outside Hannah has a happy-go-lucky attitude but there is more to her than meets the eye. That is until you see her eye is bruised one day as she is opening up the shop. When asked about it she lies and said she fell. In the back, she is seen taking swigs of alcohol.

She is more like Joseph than you would believe. However, she is not the one with the anger issues or the abuser but rather the abused. Just like when Joseph came to her when he was at his lowest point Hannah comes to him at hers. Maybe he sees the damage he has done in the past through her but even when you see his kindness shine through, it is not without boundaries.

As you probably have guessed the black eye was not caused by her falling. It came from her husband James (Eddie Marsan) who beat her after seeing her merely talking to Joseph. This is the kind of man who comes home drunk, urinates on her purposely as she pretends to sleep and ignore it. But everyone has a cracking point where enough is enough, Hannah is reaching hers quickly.

Peter Mullan is undeniably exceptional in his performance as Joseph in Tyrannosaur. His unrelenting anger sets the whole bleak tone of the film. When the time called for it, which was not often, he showed his character had some kindness to it. Olivia Colman was just as equally as impressive.

Tyrannosaur is a grim tell-it-how-it-is kind film that is more of a character study than plot based. It is a brutal film that does not reward you with much salvation or uplifting message. Instead, the reward is the amazing performances by the cast members. It is one you have to be in the right mood to see.

Atafeh Hakimi (Nikohl Boosheri) is a rebellious teenager that comes from a wealthy family is best friends with Shireen Arshadi (Sarah Kazemy) who is being raised by her uncle. The two girls must keep their love a secret as such relationships are frowned upon in modern-day Iran. In the eyes of the government they are rebellious sinners.

The dream of running off to Dubai together is a frequent one. There they would get such freedoms like going to clubs, smoke and drink alcohol and listen to whatever music they wanted to. Atafeh knows of some of those places in Tehran but they believe they should not have to do such things in secret. One of the characters sums it up the best by saying, “What they were doing to the gays 30 years ago, they’re doing to you now.”

Atafeh’s brother Mehran (Reza Sixo Safai) returns home from drug rehab but has seemingly turned a new leaf shifting his focus on God. In fact, he grows distant from his family as he becomes so involved at the mosque. You can tell something is a little off with Mehran as a transformation in character begins.

I felt like the film had a few opportunties for the storyline to excel past the mediocrity. One such opportunity was when Mehran was using security cameras to spy on his family. Keshavarz could have expanded on that obsession he had to enhance the film’s plot.

Echoing what some have said about the film, one of the issues it has is that it shows many unnecessary erotic scenes. Some scenes seem to be shown for the pure sake of showing eroticism instead of further advancing the plot. In the end you have a film that is very sexy but often it was not needed.

Circumstance received a nomination for the John Cassavetes Award (an award that is given to a flim that is made for under $500,000) at this year’s Independent Spirit Awards. The film won the Audience Award at Sundance this year and was nominated for the Grand Jury Prize. Those are pretty outstanding achievements for anyone not to mention a first-time filmmaker.

The biggest disappointment is that Circumstance had the potential for being a captive human rights film but it missed that mark. The real achievement here was on the production level, for the small budget the film allowed it felt well made, most notably the cinematography by Brian Rigney Hubbard. The ambition was there but the focus was not.

The film opens with a young boy named Cyril Catoul (Thomas Doret) who is attempting to call his father’s phone number but the number is not in service. He does not want to believe that his father has abandoned him. After repeated failed attempts he makes a run for it out of the foster care farm. The counselors barely catch Cyril when he is about to climb over the fenced in wall. All he wants to do is find his father.

Cyril is reunited with his lost bike when a kind stranger named Samantha (Cécile De France) returns it to him. Immediately, he hops on the bike to show off his tricks with it. He asks where Samantha found it and she insisted that the neighborhood boy bought it from Cyril’s father. But Cyril does not believe that his own father would sell the bike. To him it is obvious that someone in the neighborhood stole it to make some money selling it back.

Now equipped with his bike, Cyril rides around to all the local establishments that he and his father have visited in hopes that one of them would know of his father’s whereabouts. He tries a bakery, automotive shop and pub but no one has seen him in the last month nor knows where he would have gone.

Coming up empty handed on leads for where his father could be, he seeks help from the only person that he knows to trust, Samantha. She agrees to watch him on the weekends but will prove to be more challenging than it seems. Watching over any adolescent is not easy but it is exponentially more difficult when the child is in the troubled state Cyril is in.

With the help of Samantha he finally meets up with his father. They locate him at a restaurant that his is working at but seems very standoff-ish to Cyril when asked why he did not come back for him. He seems to want little to do with Cyril. He does not even give him a phone number that Cyril can call, instead says that he will have to call him. Cyril is okay with all of his father’s excuses, he is just happy to see him again.

It is sad when a father wants nothing to do with his own son and that is exactly the case here. Guy pulls Samantha aside after they stop by the restaurant. He tells her he can no longer see Cyril anymore. She suggests bringing his son even just once a month but still Guy refuses. Guy is coward enough not to tell Cyril the truth, instead he instructs Samantha to break the news. Samantha does not oblige and forces Guy to tell Cyril directly.

Obviously the news is devastating to the little boy. He fells abandoned and not wanted. Without a father figure in his live he is in danger of hanging around the wrong crowd. Which is exactly what happens when a local gang leader takes him under his wing. Samantha must give it her all to protect Cyril from negative influences.

We were never given the full background on Samantha which is a shame. She seemed to thoughtlessly accept Cyril into her life. When the first impression of Cyril was him bursting into a hospital lobby running from counselors it seems a little far-fetched that the next thing she does is locate and buy the kid’s old bike for him. One thing is for certain, there needs to be more Samantha’s in the world.

That being said, The Kid with a Bike feels more like a fairy tale than anything else. It does a great job identifying you with the young boy who just wants his father to be in his life. But ultimately it lacks in details and background information and it will make you wonder where the boy’s mother was this whole time.

Oliver Fields (Ewan McGregor) is a graphic designer whose parents were married for 44 years before his mother passed away. At the time of his mother’s death his father Hal (Christopher Plummer) announced that he was gay. Hal confessed that he has been gay since he was thirteen but when Oliver’s mother asked him to marry him he said yes. Oliver accepts his father’s confession just fine but has a harder time accepting that his parents had a loveless marriage for so long.

Oliver is sad and lonely when he finds out that his father now has cancer so he seeks out companionship from his dog. His luck is about to change when he attends a costume party and meets a girl. Even though he was trying to put on a happy face for the party she could tell that he was sad behind the costume. The two connected immediately despite the fact she has laryngitis which prevented her from being able to speak that night, forcing her to write down her words to him.

The girl he met is Anna (Mélanie Laurent), a French actress who happened to be passing through town. Because she is an actress she has learned to read people very well, which is likely the reason why the two hit it off so strongly. Oliver has a history of failed relationships but he is hoping this one will be different.

Beginners frequently flashes back to his childhood with interactions with his mother. Through these flashbacks you understand why he acts they way he does. Oliver experiences similar situations as a child as he does as an adult. One example is as a child his mother would pretend to shoot him and he would act dead, Anna also pretends to shoot him as well. These are subtle correlations but they explain his personality and influences of his upbringing.

In Oliver’s mind, he is always comparing the present to his past. Such as whom the president was when his father was born and who it is now. Because his profession is drawing he remembers the small details in people. He remembers what Anna’s face looks like when she is happy or what it is like when she is crying. He can recall exactly what her eyes, feet and ears look like.

Ewan McGregor had the head role but his character is not the most memorable, to no fault of his own. Mélanie Laurent kept reminding me of a French Penelope Cruz; she was witty, seductive and genuine. But the standout performance in Beginners goes to Christopher Plummer. He did an amazing job playing the man with a delightful outlook on a new lifestyle while he approached death from battling cancer.

The performances from the cast in Beginners outshine the story itself. The storyline is sluggish, not because of the non-linear structure or the lack of an antagonist but from the lack of depth. I still found myself rooting for the characters even though ultimately the story falls short. Because it if there is one thing Beginners has, it is character.

Sam Rogers (Kevin Spacey) has been with this financial investment firm for 34 years. He is the head boss of the risk assessment team. He is going through a rough time, his dog is close to dying and the majority of the risk assessment team is being laid off today. To complicate things exponentially, a discovery is soon made that could end the company.

Right before Eric Dale (Stanley Tucci) was laid off, he was on to something pretty important. The senior risk analyst voices this concern to the job consultants but they did not seem to care. He even brought it up when speaking to his boss as he was packing up his personal belongings of his desk but it did not seem important to his boss either. Finally, as he is about the leave the building for the last time, he hands a USB drive off to one of his co-workers named Peter (Zachary Quinto) and says “Take a look at it, be careful”.

After Peter crunches the numbers from Eric’s file he discovers that Eric was really on to something huge. He frantically alerts his co-workers of his findings. Each person he tells reacts the same way, completely shocked. The news climbs up the ranks and eventually Sam is notified.

Sam calls for all the senior partners of the company for an emergency meeting to discuss these findings. The CEO John Tuld (Jeremy Irons) is brought in by helicopter. Attempting to explain the situation to him is difficult because he does not understand all of the business side of the corporation, he only manages it. Once they speak in plain terms he quickly understands the severity of the problem.

There was a lot of finance jargon thrown around throughout Margin call, enough to where I think it would confuse the average person. I myself was at a loss when terms like MBS market and ABX index were being talked about. However, if you are fairly educated in Economics than you would probably appreciate the fact they did not dumb down the script.

My favorite scene in the film is when Eric speaks about a bridge he once built. The bridge connected a border town in Ohio to one in West Virginia over the Ohio River. They way he mathematically breaks down all the numbers to show how much time and money that bridge saved. All in all he figures he saved 559,020 days by building that bridge.

Margin Call will away with at least one award from the 2012 Independent Spirit awards, as one category has already been decided at the same time the nominations were announced. They will be presented with the Robert Altman award that is given to the director, casting director and its ensemble cast. The film was nominated for Best First Feature and Best First Screenplay for the 2012 awards.

Through the course of the film, you find out that the personal finances of the bankers themselves tend not to be very good. All of them are making at least six figures yet every one of them spent nearly all of it. Greed and ignorance has transcended from the work environment to their personal lives. All of the characters are shocked when they hear how much the other person makes as well as how little they have left of it.

It was not just that Margin Call was a little slow moving, it is that the film feels like it is on the same level the entire time. Aside from the very beginning, there was no real excitement to the film, I never felt that there was a climax to the story. That being said, it is a very accurate depiction of the events leading up to the financial crisis as well as the people that work for investment banks.

Rhoda Williams (Brit Marling) is 17 and just got an acceptance letter from MIT. After a night of celebrating the good news, she makes the decision to drive home under the influence. Instead of paying attention to the road, she is glazing at the newly discovered Earth 2 when she slams head-on to a car instantly killing the people inside.

Because she was a minor, she spends the next four years in prison before being released. While we do not really know what she was like before the accident, we assume that the tragic accident has scared her emotionally. It is most evident when she is looking for work that she requests to the job placement representative that she does not want to be around people or do too much talking. She is depressed and it is not hard to understand why.

The film does a good job of constantly filling you in, a little bit at a time, about Earth 2 through different media channels. The news on TV when Rhoda is signing her release papers from prison. The radio from time to time keeps us up to date such as when it is the anniversary of the discovery. The voice on the radio asks its listeners if they remember where they were at when it was first discovered, Rhoda cannot forget even if she tried.

After walking around near where the accident took place, she notices a man in a truck pull up and place a children’s toy near the intersection. It is then that she realizes that someone may have survived the accident after all. When she returns home a Google search shows that the driver was in a coma because of the accident but survived while his wife and child did not. Not only has she found out that the man’s name is John Burroughs (William Mapother) and that he was a professor at Yale University but also where he currently lives.

She pretends to work for a home cleaning company that is offering free house cleaning trials in order to talk to him. The place badly needs cleaning as beer bottles and trash fills up most of the home. When Rhoda finally musters up enough courage to bring up the truth about the accident, he rejects having a conversation at the time and instructs her to keep cleaning. While doing so, she finds family photos and articles of clothes making it nearly impossible to keep her composure.

In a truly eerie scene, we see a TV reporter making contact with someone from Earth 2 which turns out to be herself. This means that in the other universe there is another one of you. Perhaps it is a person that has made the same mistakes that we have here or perhaps it is one that we could learn from.

Cahill shows a wide range of skills as he not only directed the film but he was also the editor, producer, cinematographer and co-wrote the film. The film lays all of its cards on the table at the very beginning, however, Cahill keeps the audience engaged with trying to figure out what the end result will be of what happened.

Brit Marling also took on more than just one responsibility; she played the lead role as well as co-wrote the screenplay. Marling was excellent in her role that mostly consisted of being depressed and grieving but at times showed her character showed ambition and happiness. Marling has great potential for a promising acting career if she continues with performances like this.

Another Earth achieved more than the indie budget typically allows. Even though there may not have been very many special effects, it was impressive what Cahill was able to pull off. The cinematography was artfully done and the poetic storyline was thought-provoking. The final scene is both haunting and mesmerizing at the same time, goosebumps are likely to appear.

The 2012 Film Independent Spirit Award nominations were announced today by presenters Anthony Mackie and Kate Beckinsale kicking off the award season. Of the total 277 total film submissions The Artist and Take Shelter raked in the most nominations this year with five in total. Close behind them with 4 nominations were films Martha Marcy May Marlene, The Descendants, and Drive. I would say the front-runner for awards this year is The Artist but all of the films above will have a shot of being represented here as well as at the Oscars.

Michelle Williams gets her second nomination Best Female Lead nomination in a row with her role in My Week With Marilyn (last year’s nomination was for Blue Valentine). She was not the one to get a repeat nomination for the second year in a row as John Hawkes also received a nomination for Martha Marcy May Marlene for Best Supporting Male (John Hawkes won the award last year for Winter’s Bone).

In order to qualify for Spirit Awards a film has to be made for under $20 million, which would explain the absence of Tree Of Life among the nominations, which is a little disappointing as it has been my favorite film of 2011 so far (I still have a fair amount to see still though). Although I have not seen them yet, I am a little disappointed that Alps and The Skin I Live In did not make the cut for a nomination in the Best Foreign Film category (need to have at least 1 U.S. producer to qualify for the other awards).

The winners will be announced at the 27th annual Film Independent Spirit Awards on February 25th and the broadcast will air at 10 p.m. ET/PT on IFC.

50/50 – Seth Rogen, Evan Goldberg, Ben Karlin
Beginners – Miranda de Pencier, Lars Knudsen, Leslie Urdang, Jay Van Hoy, Dean Vanech
Drive – Michel Litvak, John Palermo, Marc Platt, Gigi Pritzker, Adam Siegel
Take Shelter – Tyler Davidson, Sophia Lin
The Artist – Thomas Langmann, Emmanuel Montamat
The Descendants – Jim Burke, Alexander Payne, Jim Taylor

Mike Mills – Beginners
Nicolas Winding Refn – Drive
Jeff Nichols – Take Shelter
Michel Hazanavicius – The Artist
Alexander Payne – The Descendants

Another Earth – Directed by Mike Cahill; Producers: Mike Cahill, Hunter Gray, Brit Marling, Nicholas Shumaker
In The Family – Directed by Patrick Wang; Producers: Robert Tonino, Andrew van den Houten, Patrick Wang
Margin Call – Directed by J.C. Chandor; Producers: Robert Ogden Barnum, Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto
Martha Marcy May Marlene – Directed by Sean Durkin; Producers: Antonio Campos, Patrick Cunningham, Chris Maybach, Josh Mond
Natural Selection – Directed by Robbie Pickering; Producers: Brion Hambel, Paul Jensen

Demian Bichir – A Better Life
Jean Dujardin – The Artist
Ryan Gosling – Drive
Woody Harrelson – Rampart
Michael Shannon – Take Shelter

Lauren Ambrose – Think Of Me
Rachel Harris – Natural Selection
Adepero Oduye – Pariah
Elizabeth Olsen – Martha Marcy May Marlene
Michelle Williams – My Week With Marilyn

Albert Brooks – Drive
John Hawkes – Martha Marcy May Marlene
Christopher Plummer – Beginners
John C. Reilly – Cedar Rapids
Corey Stoll – Midnight In Paris

Jessica Chastain – Take Shelter
Angelica Huston – 50/50
Janet McTeer – Albert Nobbs
Harmony Santana – Gun Hill Road
Shaileen Woodley – The Descendants

Bellflower – Written and directed by Evan Glodell; Producers: Evan Glodell, Vincent Grashaw
Circumstance – Written and directed by Maryam Keshavarz; Producers: Karin Chien, Maryam Keshavarz, Melissa M. Lee
Hello Lonesome – Written and directed and produced by Adam Reid
Lovers of Hate – Written and directed by Dee Rees; Producer: Nekisa Cooper
The Dynamiter – Writters: Matthew Gordon and Brad Ingelsby; Directed by Matthew Gordon; Producers: Kevin Abrams, Matthew Gordon, Merilee Holt, Nate Tuck, Amile Wilson

An African Election – Jarreth J. Merz, Kevin Merz
Bill Cunningham New York – Richard Press
The Interrupters – Steve James
The Redemption of General Butt Naked – Daniele Anastasion, Eric Strauss
We Were Here – David Weissman, Bill Weber

A Separation – Asghar Farhadi
Melancholia – Lars von Trier
Shame – Steve McQueen
The Kid With A Bike – Jean-Pierre Dardenne, Luc Dardenne
Tyrannosaur – Paddy Considine

Joel Hodge – Bellflower
Benjamin Kasulke – The Off Hours
Darius Khondji – Midnight In Paris
Guillaume Schiffman – The Artist
Jeffrey Waldron – The Dynamiter

Joseph Cedar – Footnote
Michel Hazanivicius – The Artist
Tom McCarthy – Win Win
Mike Mills – Beginners
Alexander Payne, Nat Faxon & Jim Rash – The Descendants

Mike Cahill & Brit Marling – Another Earth
J.C. Chandor – Margin Call
Patreck DeWitt – Terri
Phil Johnston – Cedar Rapids
Will Reiser – 50/50

Margin Call
Director: J.C. Chandor
Ensemble Cast: Kevin Spacey, Paul Bettany, Jeremy Irons, Zachary Quinto, Penn Badgley, Simon Baker, Mary McDonnell, Demi Moore

Chad Burris – Mosquita y Mari
Sophia Lin – Take Shelter
Josh Mond – Martha Marcy May Marlene

Heather Courtney – Where Soldiers Come From
Danfung Dennis – Hell and Back Again
Alma Har’El – Bombay Beach

Simon Arthur – Silver Tongues
Mark Jackson – Without
Nicholas Ozeki – Mamitas