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‘Hellblade’, ‘What Remains of Edith Finch’ Clean up BAFTA Awards
Last year, Playdead’s Inside was the big winner at the BAFTA Awards, and this year, Ninja Theory’s Hellblade: Senua’s Sacrifice continued the trend of genre games scoring the big wins. However, Hellblade didn’t pick up the Best Game award. That went to another genre compatriot.
Last night at the Tobacco Dock, Hellblade took home five awards from their nine nominations, including the awards for Artistic Achievement, Audio Achievement, Best British Game, Game Beyond Entertainment and Best Original Property. The game was also nominated for Best Game (along with this past year’s heavyweights in The Legend of Zelda: Breath of the Wild and Horizon Zero Dawn), but surprisingly those three lost to Giant Sparrow’s What Remains of Edith Finch, which was nominated for seven categories, but only snagged this one. Infinite Fall’s Night in the Woods snagged the Best Narrative award after being nominated in four categories.
Other genre nominees up for awards included Epic’s Fortnite, Bethesda’s Wolfenstein II: The New Colossus and Life is Strange: Before the Storm.
The BAFTA Award has a habit of giving the Best Game nod to those “out of nowhere” nominees. Last year, Uncharted 4 won the top prize, despite losing out in the seven other categories it was nominated in. The same thing occurred in 2016 for Fallout 4, which only had two nominations.
To see a full list of nominees and winners, you can head to the official site.
“She’s mine, and I’m hers.”
The prison movie is a cornerstone of the cinematic landscape. Often adjacent to horror, there’s something inherently horrific about a building full of “convicts” jockeying for power. Criminal masterminds and the wrongfully convicted alike become pawns in a dehumanizing system and struggle to stay alive in the restrictive environment. Claire Denis pushes this genre to its outer limits with sci-fi and horror elements comparing incarceration to the prison of the human body. Her 2018 film High Life follows a group of prisoners turned astronauts who struggle to retain their humanity after the world has cast them out.
When we first meet Monte (Robert Pattinson), he’s raising a toddler on an isolated space station in the galaxy’s outer reaches. His daughter Willow was conceived through assault by fellow inmate Dr. Dibs (Juliette Binoche) as a part of her mission to reproduce in space. As Denis unpacks the story of this troubled crew, they slowly realize they have been discarded and forgotten. Some find freedom to enact their violent agendas while others try to retain a semblance of normalcy in the extreme environment. Essentially guinea pigs, Monte and his crewmates hurtle through space and grope for a reason to keep existing.
The Lady Killers continue Killer Moms Month with Claire Denis’ beautifully complex film. Co-hosts Jenn Adams, Mae Shults, Rocco T. Thompson, and Sammie Kuykendall chart the mysteries of the cosmos in their quest to understand the glacial plot. They’ll chat about screaming babies, space gardens, black holes and spaghetti along with heavier themes like reproduction and bodily autonomy. Why is Dr. Dibbs so obsessed with pregnancy? Why doesn’t Monte partake of the sex box? Does Mia Goth actually have a big booty and what really happened on that spaceship filled with dogs? They’ll approach the black hole and try to withstand spaghettification while zeroing in on the unpleasant themes of this exceptional film.
Stream below and subscribe now via Apple Podcasts and Spotify for future episodes that drop every Thursday.
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