#tutar sagdiyev
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mxshinks · 2 years ago
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Borat fanart from a year ago that I never finished coloring!!!!!!!!!!!!
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cinephilesadeqi · 10 months ago
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Movie Analysis and Review: "Borat Subsequent Moviefilm" (2020)
Introduction:“Borat Subsequent Moviefilm” brings back Sacha Baron Cohen’s iconic character Borat Sagdiyev, this time embarking on a daring mission with his daughter Tutar amidst the backdrop of the COVID-19 pandemic and the 2020 presidential election. Synopsis:Fresh out of prison, Borat returns to America with his teenage daughter Tutar, intending to offer her as a bride to then–U.S. vice…
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fuzzysparrow · 1 year ago
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When was the film 'Borat Subsequent Moviefilm' released?
'Borat Subsequent Moviefilm', released on October 23, 2020, is a sequel to the 2006 mockumentary film 'Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan.' Directed by Jason Woliner and starring Sacha Baron Cohen, this satirical comedy film once follows the outrageous adventures of the fictional Kazakh journalist, Borat Sagdiyev.
The film picks up years after the original, with Borat being released from a Kazakh prison and sent back to the United States on a mission to deliver a gift to Vice President Mike Pence. However, due to his previous exploits, Borat is instantly recognizable, forcing him to disguise himself throughout the film. Alongside him is his daughter, Tutar (played by Maria Bakalova), who becomes an integral part of the story.
'Borat Subsequent Moviefilm' employs a unique brand of humor that combines slapstick comedy with biting satire. The film's humout often pushes boundaries, challenging viewers to confront uncomfortable truths about themselves and society.
As expected, 'Borat Subsequent Moviefilm' has not been without controversy. Some critics argue that the film exploits unsuspecting individuals, while others believe it perpetuates stereotypes. However, the film's creators maintain that their intention is to expose and ridicule bigotry, rather than endorse it.
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scarfacestargirl · 4 years ago
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Maria Bakalova — Golden Globes 2021
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hocdraws · 4 years ago
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Jagshemash!
Tutar Sagdiyev from Borat Subsequent Moviefilm
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spaacedusty · 4 years ago
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hi i made some borat and jean girard double sided acrylic standees, available now from my Etsy shop! store link is in my bio, or you can just search for my store name “spaacedusty”!! hurry though, I only have 7 of each left!! 
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timtargaryxn · 4 years ago
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Maria Bakalova. Brutal Girl Power.
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ivovynckier · 4 years ago
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Rudy has the disease? Tutar (Maria Bakalova) can check on him. They did exchange phone numbers!
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denofgeek · 4 years ago
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Having been online for a little more than a weekend, the climax to Sacha Baron Cohen’s Borat 2—or its full title of Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan—has already become the stuff of legend. Rudy Giuliani, former Mayor of New York City, once dubiously titled “America’s Mayor,” and current personal attorney of President Donald Trump, appeared to be sticking his hand down his pants while in the hotel room of a young woman.
At least that’s  how the news started trickling out last week when the review embargo lifted on Borat 2, and it’s a public perception that Giuliani and his cohorts in the White House immediately began trying to discredit before anyone in the general audience saw the movie on Amazon Prime Video...
[Read more at Den of Geek]
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ladyofdecember · 4 years ago
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Maria Bakalova is a comedic genius 😂
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charliejrogers · 4 years ago
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Borat Subsequent Moviefilm
In 2006, Borat was one of those great cultural touchstones that transcended the big screen. There was no aspect of pop culture after its release that wasn’t in some way affected. It perfectly coincided with the rising popularity of YouTube, such that those who hadn’t seen it (or couldn’t because they were too young to get into the rated R movie) could at least see many of its famous clips.  Everyone knew Borat in 2006. Everyone. You couldn’t go two fucking steps without someone going “very nice!” or “my wife!” It was such a wonderfully smart movie. It combined the best aspects of a Jackass movie, i.e. the trolling of innocent and unsuspecting bystanders, with a noble cause, to expose to the world the ignorant side of America. It was a novel and insightful look at our country.
In 2020… there is no insight in telling us that much of the country is ignorant of the truth, racist, or sexist. As Borat himself points out in this film, in the years between when he filmed the first movie (2005) and the new movie 2019-2020, America has become transfixed by their new “magical abacuses”, i.e. cellphones. Phones, the internet, social media, all of them expose us everyday to how the other half lives in their little social bubbles. We don’t have to wonder “do people really think this?” Just type whatever terrible or stupid theory you can think of into Google, and you’re guaranteed to find at least one person who endorses whatever heinous thing you just wrote. Again, this is portrayed within the film when Borat, confronted by the fact that maybe some of his core beliefs are lies, finds websites that say that (much to his anti-Semitic disappointment) the Holocaust was not real. So, one is left wondering… what can Borat bring to the table in 2020 that is fresh?
Unfortunately, the answer is… not a whole lot. Borat Subsequent Moviefilm feels mostly like a retread of 2006 with the only additions aiming more for “shock factor” than real comedy aimed to grab headlines (which it succeeded in doing). This is not to say this is not a funny movie. It is. The film’s opening where Borat describes the typical (fictionalized) Kazakh’s view of American politics is hysterical. In sum, America went to shit with the election of Obama, paving the way for other Africans to take power of the West (cue the photo of Justin Trudeau in Black face). Now with Trump in power, Borat is sent on a mission to curry Trump’s favor so that Kazakhstan and its leader will be viewed with the same favor that Trump has bestowed upon other “tough guys and tough guy countries” like Russia/Putin, the Philippines/Duerte, North Korea/Kim Jong Un, Brazil/Bolsonaro, etc. The gift is supposed to be an overly sexually aggressive chimp for Vice Pussy Hound (i.e. Vice President) Pence. However, Borat’s daughter Tutar sneaks into the crate with the chimp, and after a chain of events Borat has no choice but to gift his daughter over to Pence, and eventually Rudy Giuliani, instead.
It’s a simple enough plot but I think the movie gets a little too caught up in it. No one is asking for a plot line for this movie. If this were just a string of sketches with a vague whiff of a plot to transition between the sketches no one would fault it. In fact, that sounds like the first Borat. We are just here for the sketches. Yet the movie is looking to do a little bit more than the first movie. It’s not content to just say, “Hey, look at yourself, America! You’re fucked up! Let’s all laugh at you.” This movie has specific targets that dominate its focus: Trump and Trumpland.
This is, I think, an unfortunate choice not because I don’t approve of bashing Trump and Trumpland, but because whereas the first movie felt like comedy was king with the sociopolitical insights as a dominant undercurrent, here the story and the humiliation of Trump and his base is the end goal. This still makes for funny scenes, but when I think back to the first Borat (and as I re-watched clips of the first movie after finishing this movie), some of the greatest parts of Borat had nothing to do with politics or sensitive subjects. Much of the humor was just based around the ballsiness of Sacha Baron Cohen. This is a guy who when invited into a person’s home for dinner makes openly sexually complimentary remarks about two of the female guests, but explicitly states that the host’s wife is ugly. Never mind the fact that at that same dinner party, Borat hand-delivers his shit in a bag to a guest, claiming to not know how Western toilets work. It’s hilarious, it’s daring, and has nothing to do with politics.
In essence, the first Borat was such a success because Cohen played the character with such a believable naivete and loose grasp of English idioms, that he was a factory of malapropisms, a genius of comedic-timing, and a troll that could annoy the ever-living daylights out of anyone. There are as many scenes of him trolling nice, innocent people (like the driving instructor, the man who teaches him jokes, the group of feminists, or really any time he goes on the news) as there are scenes of him trolling people so that Cohen can make a political point or social observation (like the singing the wrong national anthem at the rodeo or his innate criticism of a Pentecostal Chruch’s weirdness). And in the end, the “point” of that plot at least had nothing to do with politics. You can watch this movie, get your laughs, remark at America’s racism, and still get your laughs.
Here, there really isn’t any scene I can think of that wasn’t done to make some sort of observation or political point. The closest I can think of are the bits towards the beginning before the plot kicks into high gear. There’s a recurring bit I love of him communication with the Premier of Kazakhstan via fax machine at a local UPS Store. The genius isn’t contained in the sentence I just wrote, but that he requires the aging worker of the UPS Store to hand-write all of his faxes for him and read any and all replies. Similarly, there’s a quick bit of genius at the beginning where Borat goes to a cellphone store and cannot understand FaceTime at all. He assumes the person on the phone must be the brother of the phone store worker he sees in front of him; they cannot be the same. Similarly he somehow enlists the help of a delivery person to re-seal the crate in which his daughter came to America in.
But otherwise, the jokes are there either to say, “Woah! Aren’t these Americans terrible?!” (whether he’s talking about QAnon’s theorists, anti-abortionists, or anti-maskers). Or there’s gross out humor, mostly about vaginas and periods, (or moon blood, as Borat calls it). As I said, these aren’t all unfunny. Probably my favorite sequence in the film sees Borat and his daughter at a pregnancy crisis center because Tutar has accidentally swallowed a little baby doll that was on top of a cupcake her father had “given” to her as a “treat” that was just supposed to be “their little secret” because women in Kazakhstan aren’t supposed to have sweets. So she ate the cupcake behind a dumpster. I’ll let you guess what happens when you enter a Christian pregnancy crisis center asking for them to take out the dumpster baby your Dad wasn’t supposed to be giving you… but it’s hilarious to see the worker sorta squirm his away around addressing the reality of incest.
But mostly, I felt kinda fatigued knowing that Cohen and co. were mostly trying to show me the “underside” of QAnon and anti-maskers… but as I said, in 2020, I am unfortunately well aware of both these groups, their psychologies, and their world. So merely highlighting that these ideas exist and that the people who endorse these ideas don’t really have a lot of great ideas otherwise, isn’t that novel as it might have been back in 2006.
Probably the more “interesting” side of the film is it’s focus on feminism. The film uses Tutar (played perfectly by previously unknown Bulgarian actress Maria Bakalova and deserves all the praise she gets) to really expose how America, despite being a “feminist” nation, still shares many aspects with the fictionalized version of Kazakhastan where women are considered equivalent to livestock. The movie hopes to shed light on the far reaching effects of the patriarchy. The movie ends at the top of the pyramid with politicians who feel like it is their right to use their power to sleep with whomever they want (Trump’s obviously the true target of this criticism and I will say, the final Giuliani scene feels a little bit like entrapment… that said, I think it’s fair to say not every man would be so willing to fall into that trap). But leading up to that we see aspects of America designed to fit perfectly with the patriarchy’s demands. We hear from a shallow, vapid Instagram influencer that to get by women need to be docile and pretty, and we see a frankly horrifying discussion from a plastic surgeon talking about all the things wrong with Tutar that he would fix with surgery so that men would want her… despite the fact that she’s a beautiful woman and has nothing wrong with her! We live in a society that recognizes the horror of a patriarchical society, but still so clearly buys into it.
But in the end… you’re not watching Borat Subsequent Moviefilm to get an education on feminism and the problems with the patriarchy. That should be the extra cherry on top of a main course of hearty laughter. In focuses on the politics, Cohen and co. find plenty of laughs and memorable moments, but fail (perhaps inevitably) to recreate the signature naivete and bumbling oafishness of his titular interviewer, in the process losing some of the film’s humor and paradoxically its ability to leave a lasting message.
**/ (Two and a half stars out of four)
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cinemalerta · 4 years ago
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93rd Academy Awards Nominees
BEST PICTURE
The Father – David Parfitt, Jean-Louis Livi, and Philippe Carcassonne
Judas and the Black Messiah – Shaka King, Charles D. King, and Ryan Coogler
Mank – Ceán Chaffin, Eric Roth, and Douglas Urbanski
Minari – Christina Oh
Nomadland – Frances McDormand, Peter Spears, Mollye Asher, Dan Javey, and Chloé Zhao
Promising Young Woman – Ben Browning, Ashley Fox, Emerald Fennell, and Josey McNamara
Sound of Metal – Bert Hamelinick and Sacha Ben Harroche
The Trial of the Chicago 7 – Marc Platt and Stuart Besser
BEST DIRECTOR
Lee Isaac Chung – Minari
Emerald Fennell – Promising Young Woman
David Fincher – Mank
Thomas Vinterberg – Another Round
Chloé Zhao – Nomadland
BEST ACTOR
Riz Ahmed – Sound of Metal as Ruben Stone
Chadwick Boseman (posthumous nominee) – Ma Rainey's Black Bottom as Levee Green
Anthony Hopkins – The Father as Anthony
Gary Oldman – Mank as Herman J. Mankiewicz
Steven Yeun – Minari as Jacob Yi
BEST ACTRESS
Viola Davis – Ma Rainey's Black Bottom as Ma Rainey
Andra Day – The United States vs. Billie Holiday as Billie Holiday
Vanessa Kirby – Pieces of a Woman as Martha Weiss
Frances McDormand – Nomadland as Fern
Carey Mulligan – Promising Young Woman as Cassandra “Cassie” Thomas
BEST SUPPORTING ACTOR
Sacha Baron Cohen – The Trial of the Chicago 7 as Abbie Hoffman
Daniel Kaluuya – Judas and the Black Messiah as Fred Hampton
Leslie Odom Jr. – One Night in Miami... as Sam Cooke
Paul Raci – Sound of Metal as Joe
Lakeith Stanfield – Judas and the Black Messiah as William "Bill" O'Neal
BEST SUPPORTING ACTRESS
Maria Bakalova – Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan as Tutar Sagdiyev
Glenn Close – Hillbilly Elegy as Bonnie "Mamaw" Vance
Olivia Colman – The Father as Anne
Amanda Seyfried – Mank as Marion Davies
Youn Yuh-jung – Minari as Soon-ja
BEST ORIGINAL SCREENPLAY
Judas and the Black Messiah – Screenplay by Will Berson and Shaka King; Story by Will Berson, Shaka King, Keith Lucas, and Kenny Lucas
Minari – Lee Isaac Chung
Promising Young Woman – Emerald Fennell
Sound of Metal – Screenplay by Darius Marder and Abraham Marder; Story by Darius Marder and Derek Cianfrance
The Trial of the Chicago 7 – Aaron Sorkin
BEST ADAPTED SCREENPLAY
Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan – Screenplay by Sacha Baron Cohen, Anthony Hines, Dan Swimer, Peter Baynham, Erica Rivinoja, Dan Mazer, Jena Friedman, and Lee Kern; Story by Baron Cohen, Hines, Swimer, and Nina Pedrad; Based on the character Borat Sagdiyev by Baron Cohen
The Father – Christopher Hampton & Florian Zeller, based on the play by Zeller
Nomadland – Chloé Zhao, based on the book by Jessica Bruder
One Night in Miami... – Kemp Powers, based on his play
The White Tiger – Ramin Bahrani, based on the novel by Aravind Adiga
BEST INTERNATIONAL FEATURE FILM
Another Round (Denmark) in Danish – directed by Thomas Vinterberg
Better Days (Hong Kong) in Mandarin – directed by Derek Tsang
Collective (Romania) in Romanian – directed by Alexander Nanau
The Man Who Sold His Skin (Tunisia) in Arabic – directed by Kaouther Ben Hania
Quo Vadis, Aida? (Bosnia and Herzegovina) in Bosnian – directed by Jasmila Žbanić
BEST ANIMATED FEATURE FILM
Onward – Dan Scanlon and Kori Rae
Over the Moon – Glen Keane, Gennie Rin, and Peilin Chou
A Shaun the Sheep Movie: Farmageddon – Richard Phelan, Will Becher, and Paul Kewley
Soul – Pete Docter and Dana Murray
Wolfwalkers – Tomm Moore, Ross Stewart, Paul Young, and Stéphan Roelants
BEST DOCUMENTARY FEATURE
Collective – Alexander Nanau and Bianca Oana
Crip Camp – Nicole Newnham, Jim LeBrecht and Sara Bolder
The Mole Agent – Maite Alberdi and Marcela Santibáñez
My Octopus Teacher – Pippa Ehrlich, James Reed, and Craig Foster
Time – Garrett Bradley, Lauren Domino, and Kellen Quinn
BEST CINEMATOGRAPHY
Judas and the Black Messiah – Sean Bobbitt
Mank – Erik Messerschmidt
News of the World – Dariusz Wolski
Nomadland – Joshua James Richards
The Trial of the Chicago 7 – Phedon Papamichael
BEST FILM EDITING
The Father – Yorgos Lamprinos
Nomadland – Chloé Zhao
Promising Young Woman – Frédéric Thoraval
Sound of Metal – Mikkel E.G. Nielsen
The Trial of the Chicago 7 – Alan Baumgarten
BEST PRODUCTION DESIGN
The Father – Production Design: Peter Francis; Set Decoration: Cathy Featherstone
Ma Rainey's Black Bottom – Production Design: Mark Ricker; Set Decoration: Karen O'Hara and Diana Sroughton
Mank – Production Design: Donald Graham Burt; Set Decoration: Jan Pascale
News of the World – Production Design: David Crank; Set Decoration: Elizabeth Keenan
Tenet – Production Design: Nathan Crowley; Set Decoration: Kathy Lucas
BEST COSTUME DESIGN
Emma – Alexandra Byrne
Ma Rainey’s Black Bottom – Ann Roth
Mank – Trish Summerville
Mulan – Bina Daigeler
Pinocchio – Massimo Cantini Parrini
BEST MAKEUP AND HAIRSTYLING
Emma – Marese Langan, Laura Allen, and Claudia Stolze
Hillbilly Elegy – Eryn Krueger Mekash, Patricia Dehaney, and Matthew Mungle
Ma Rainey's Black Bottom – Matiki Anoff, Mia Neal, and Larry M. Cherry
Mank – Kimberley Spiteri, Gigi Williams
Pinocchio – Dalia Colli, Mark Coulier, and Francesco Pegoretti
BEST VISUAL EFFECTS
Love and Monsters – Matt Sloan, Genevieve Camailleri, Matt Everitt, and Brian Cox
The Midnight Sky – Matthew Kasmir, Christopher Lawren, Max Solomon, and David Watkins
Mulan – Sean Faden, Anders Langlands, Seth Maury, and Steven Ingram
The One and Only Ivan – Nick Davis, Greg Fisher, Ben Jones, and Santiago Colomo Martinez
Tenet – Andrew Jackson, David Lee, Andrew Lockley and
BEST ORIGINAL SCORE
Da 5 Bloods – Terence Blanchard
Mank – Trent Reznor and Atticus Ross
Minari – Emile Mosseri
News of the World – James Newton Howard
Soul – Trent Reznor, Atticus Ross, and Jon Batiste
BEST ORIGINAL SONG
"Fight for You" from Judas and the Black Messiah – Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas
"Hear My Voice" from The Trial of the Chicago 7 – Music by Daniel Pemberton; Lyric by Daniel Pemberton and Celeste Waite
"Husavik" from Eurovision Song Contest: The Story of Fire Saga – Music and Lyric by Savan Kotecha, Fat Max Gsus, and Rickard Göransson
"Io Sì (Seen)" from The Life Ahead – Music by Diane Warren; Lyric by Diane Warren and Laura Pausini
"Speak Now" from One Night in Miami... – Music and Lyric by Leslie Odom Jr. and Sam Ashworth
BEST SOUND
Greyhound – Warren Shaw, Michael Minkler, Beau Borders, and David Wyman
Mank – Ren Klyce, Jeremy Molod, David Parker, Nathan Nance, and Drew Kunin
News of the World – Oliver Tarney, Mike Prestwood Smith, William Miller, and John Pritchett
Soul – Ren Klyce, Coya Elliot, and David Parker
Sound of Metal – Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortes, and Philip Bladh
BEST LIVE ACTION SHORT FILM
Feeling Through – Doug Roland and Susan Ruzenski
The Letter Room – Elvira Lind and Sofia Sondervan
The Present – Farah Nabulsi
Two Distant Strangers – Travon Free and Martin Desmond Roe
White Eye – Tomer Shushan and Shira Hochman
BEST ANIMATED SHORT FILM
Burrow – Madeline Sharafian and Michael Capbarat
Genius Loci – Adrien Mérigeau and Amaury Ovise
If Anything Happens I Love You – Will McCormack and Michael Govier
Opera – Eric Oh
Yes-People – Gísli Darri Halldórsson and Arnar Gunnarsson
BEST DOCUMENTARY SHORT SUBJECT
Colette – Anthony Giacchino and Alice Doyard
A Concerto Is a Conversation – Ben Proudfoot and Kris Bowers
Do Not Split – Anders Hammer and Charlotte Cook
Hunger Ward – Skye Fitzgerald and Michael Shueuerman
A Love Song for Latasha – Sophia Nahali Allison and Janice Duncan
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tothemaxxx · 4 years ago
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My Favorite Films and Performances of 2020
“I wish I could’ve seen it on the big screen.”
It was a strange year, and even stranger year of movie watching. In 2020 I saw only one of my top films in a theater, which is crazy (like much else over these past months). But the experience of keeping up with the movies this year was a reminder that great filmmaking can transcend the specifics of the viewing experience. In your living room, in bed, projected onto the side of a garage, streaming on Twitch, broken up into multiple sittings, maybe even on your phone (desperate times)… if doesn’t matter as long as it connects with you. A great film has the power to soothe and transport, to alter your perspective, to re-wire your brain. So while I didn’t get on a single airplane last year, I definitely went places. And I’m grateful for these changes of scenery. For the time-travel as well; last year in my house, we found great comfort in revisiting a bunch of old favorites. It was also an opportunity to finally watch a number of those older films that had someone evaded us… a year of catching up, now or never. We were members of a weekly movie club for some months — that was cool. Another pleasant silver lining was the emergence of virtual film festivals, which have been a fantastic opportunity. I hope that they can continue in some form when this pandemic is in the rearview. Because, you know, getting to Park City is a real schlep. All this to say: like you, I’ll always remember 2020. In this truly crummy year, the movies really helped.
I’m including some of the film festival stuff that’s coming out a little later, because the boundaries between 2020 films and 2021 films feels blurry to me without proper theatrical releases.
TOP 5, loosely ranked. I love these deeply.
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1. LOVERS ROCK, Steve McQueen
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2. NOMADLAND, Chloe Zhao
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3. ANOTHER ROUND, Thomas Vinterberg
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4. TIME, Garrett Bradley
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5. MARTIN EDEN, Pietro Marcello
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The rest of the Top 25, in alphabetical order. I loved these.
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À L’ABORDAGE, Guillaume Brac
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BACURAU, Kleber Mendonça Filho
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COLOR OUT OF SPACE, Richard Stanley
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THE FATHER, Florian Zeller
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FIRST COW, Kelly Reichardt
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I’M THINKING OF ENDING THINGS, Charlie Kaufman
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JASPER MALL, Bradford Thomason and Brett Whitcomb
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LUXOR, Zeina Durra
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ALEX WHEATLE / EDUCATION / MANGROVE / RED, WHITE AND BLUE, Steve McQueen
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THE NEST, Sean Durkin
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NEVER RARELY SOMETIMES ALWAYS, Eliza Hittman
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NEW ORDER, Michel Franco
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THE PAINTER & THE THIEF, Benjamin Ree
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THE PERSONAL HISTORY OF DAVID COPPERFIELD, Armando Iannucci
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POSSESSOR, Brandon Cronenberg
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PROMISING YOUNG WOMAN, Emerald Fennell
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RELIC, Natalie Erika James
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SAINT FRANCES, Alex Thompson
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SOUND OF METAL, Darius Marder
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THE TRUTH, Hirokazu Koreeda
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I also enjoyed (some more than others):
Apples, The Assistant, Babyteeth, Bad Education, Black Bear, Blow the Man Down, Borat Subsequent Moviefilm, Butt Boy, The Climb, Da 5 Bloods, Deerskin, Emma, The Father (Bulgaria), Greed, His House, The Hunt, I Used to Go Here, I'm No Longer Here, Impetigore, The Intruder, The Invisible Man, Kajillionaire, La Llorona, Let Them All Talk, Lost Girls, The Man Who Sold His Skin, Mank, Never Gonna Snow Again, News of the World, One Night in Miami, Palm Springs, Preparations to Be Together for an Unknown Period of Time, Rebecca, She Dies Tomorrow, Shirley, Slow Machine, Sorry We Missed You, Soul, Spree, Straight Up, A Sun, Swallow, Tenet, Tesla, Tommaso, The Traitor, The Trip to Greece, True History of the Kelly Gang, Uncle Frank, Under the Open Sky, The Vast of Night, Vitalina Varela, Wendy, The Whistlers, Wildland, Young Ahmed
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And these documentaries!
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American Murder: The Family Next Door, The American Sector, Assassins, Beastie Boys Story, The Bee Gees: How Can You Mend a Broken Heart, Bloody Nose Empty Pockets, Boys State, Brainiac: Transmissions After Zero, Circus of Books, Class Action Park, Collective, Crip Camp, David Byrne's American Utopia, Dick Johnson is Dead, Fireball: Visitors From Darker Worlds, The Go-Go's, Gunda, Miss Americana, MLK/FBI, The Mole Agent, Mucho Mucho Amor: The Legend of Walter Mercado, My Psychedelic Love Story, Mystify: Michael Hutchence, Narrowsburg, On the Record, Other Music, Sisters with Transistors, Spaceship Earth, The Way I See It, Whirlybird
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And these shorts:
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Bye Bye Body (which I edited), Fit Model, Friday Night Pizza for Daddy, Hard Cracked the Wind, The Human Voice, John Was Trying to Contact Aliens, Michael's Preference West, What Did Jack Do?, World of Tomorrow Episode Three: The Absent Destinations of David Prime
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My favorite performance of the year:
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Frances McDormand as Fern in Nomadland
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Favorite ensembles:
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À l’abordage, Another Round, Bad Education, Babyteeth, Bloody Nose Empty Pockets, Blow the Man Down, Emma, First Cow, Kajillionaire, Let Them All Talk, Lovers Rock, Mangrove, Mank, One Night in Miami, The Personal History of David Copperfield, Promising Young Woman, True History of the Kelly Gang
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More memorable (and in some cases under-discussed) performances:
Christopher Abbott as Colin Tate in Possessor and as Gabe in Black Bear
Idir Ben Addi as Ahmed in Young Ahmed
Riz Ahmed as Ruben Stone in Sound of Metal
Daniel Algrant as Kelvin Kranz in Let Them All Talk
Maria Bakalova as Tutar Sagdiyev in Borat Subsequent Moviefilm
Haley Bennett as Hunter Conrad in Swallow
John Boyega as Leroy Logan in Red, White and Blue
Rob Brydon as Rob Brydon in The Trip to Greece
Jessie Buckley as Young Woman in I’m Thinking of Ending Things
Nicolas Cage as Nathan Gardner in Color Out of Space
Salif Cissé as Chérif in À L’abordage
Sheyi Cole as Alex Wheatle in Alex Wheatle
Cleopatra Coleman as Trina in The Argument
Carrie Coon as Allison O’Hara in The Nest
Michael Angelo Covino as Mike in The Climb
Willem Dafoe as Tommaso in Tommaso
Charles Dance as William Randolph Hearst in Mank
Catherine Deneuve as Fabienne Dangeville in The Truth
Katie Findlay as Rory in Straight Up
Sidney Flanigan as Autumn in Never Rarely Sometimes Always
Johnny Flynn as George Knightley in Emma
Julia Garner as Jane in The Assistant
Robbie Gee as Simeon in Alex Wheatle
Chris Giarmo as himself in David Byrne’s American Utopia
Betty Gilpin as Crystal Creasey in The Hunt
Ethan Hawke as Hank in The Truth
Kris Hitchen as Ricky Turner in Sorry We Missed You
Anthony Hopkins as Anthony in The Father
Jonathan Jules as Dennis Isaacs in Alex Wheatle
Sandra Guldberg Kampp as Ida in Wildland
Joe Keery as Kurt Knuckle in Spree
Udo Kier as Michael in Bacurau
Orion Lee as King Lu in First Cow
Delroy Lindo as Paul in Da 5 Bloods
Peter Macdissi as Walid "Wally" Nadeem in Uncle Frank
Matthew Macfadyen as Wilcock in The Assistant
George MacKay as Ned Kelly in True History of the Kelly Gang
Yahya Mahayni as Sam Ali in The Man Who Sold His Skin
Luca Marinelli as Martin Eden in Martin Eden
Tuppence Middleton as Sara Mankiewicz in Mank
Mads Mikkelsen as Martin in Another Round
Wunmi Mosaku as Rial in His House
Elisabeth Moss as Cecilia Kass in The Invisible Man
Kelly O'Sullivan as Bridget in Saint Frances
Shaun Parkes as Frank Crichlow in Mangrove
Robert Pattinson as Neil in Tenet
Paul Raci as Joe in Sound of Metal
Kadeem Ramsay as Samson in Lovers Rock
Gayle Rankin as Marissa in The Climb
Tanya Reynolds as Mrs Augusta Elton in Emma
Tyler Rice as Detective Russell Fox in Butt Boy
Andrea Riseborough as Hana in Luxor
Cecilia Roth as Marta in The Intruder
William Sadler as the Grim Reaper in Bill & Ted Face the Music
Kenyah Sandy as Kingsley Smith in Education
Amarah-Jae St. Aubyn as Martha Trenton in Lovers Rock
David Strathairn as David in Nomadland
Michael Stuhlbarg as Stanley Edgar Hyman in Shirley
Swankie as Swankie in Nomadland
Tilda Swinton as Woman in The Human Voice
Kristin Scott Thomas as Mrs. Danvers in Rebecca
Steve Toussaint as Ken Logan in Red, White and Blue
Alec Utgoff as Zhenia in Never Gonna Snow Again
Jairaj Varsani as young David Copperfield in The Personal History of David Copperfield
Ben Whishaw as Uriah Heep in The Personal History of David Copperfield
Sharlene Whyte as Agnes Smith in Education
Letitia Wright as Altheia Jones-LeCointe in Mangrove
Ramona Edith Williams as Frances in Saint Frances
Kôji Yakusho as Masao Mikami in Under the Open Sky
Youn Yuh-jung as Soon-ja in Minari
Helena Zengel as Johanna Leonberger in News of the World
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Favorite pre-2020 films I saw for the first time in 2020:
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Blood on the Moon, But I’m A Cheerleader, Crooklyn, Cure, Daughters of the Dust, The Death of Dick Long, Deep Cover, The Draughtsman's Contract, Eyes of Laura Mars, Give Me Liberty, Greener Grass, Hardcore, High Hopes, The Last Party, Long Day's Journey into Night, Maiden, One Day Pina Asked, Persona, Right Now Wrong Then, Right On!, The Seventh Victim, Slightly French, Synonyms, Tammy and the T-Rex, Variety, The Watermelon Woman... and a tip of the hat to Coppola's new The Godfather Part III recut, The Godfather, Coda: The Death of Michael Corleone
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goldenglobenoms · 4 years ago
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Maria Bakalova as Tutar Sagdiyev - Borat Subsequent Moviefilm (2020)
Golden Globe Award Nominee for Best Actress in a Motion Picture - Comedy or Musical
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personagensautistas · 4 years ago
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Tutar Sagdiyev de Borat, el próximo documental es autista.
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Obrigada por sugerir! Mais um personagem do dia: Tutar Sagdiyev, do filme Borat 2. Sugerido pela ask de Anônimo.
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weekendwarriorblog · 4 years ago
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BORAT SUBSEQUENT MOVIEFILM: Does Sacha Baron Cohen deliver the Un-PC laughs again?
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Fourteen years ago, Sacha Baron Cohen was unleashed on America in his 2006 comedy Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan. In the years since, very few people thought Cohen might ever consider masking a sequel, because the movie turned his character into a household name and recognizable face across the nation. The chances of being able to pull off half of the pranks Cohen managed in that first movie seemed impossible, one of the problems with anyone trying to do any sort of successful hidden camera anything.
Granted, I wasn’t the biggest fan of Borat when I first saw it, mainly because I didn’t really get what Cohen was trying to do, which was to expose stupid Americans to slightly less stupider Americans (and the rest of the world) for laughs. Unfortunately, he did it by playing an anti-Semitic character in an effort actual anti-Semitism for the amusement of people who think anti-Semitism is something to laugh about. (Oddly, you didn’t see nearly as many Jews complaining about the movie or about last year’s Jojo Rabbit, which I had similar problems with.)
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Fortunately, I actually got to listen to Cohen talking about the movie on NPR as himself after it was released, rather than doing all the in-character press the rest of the world was subjected to, and that gave me a lot clearer idea  what he was aiming for, and that made it easier to appreciate Borat, the character and movie.
Cut forward to 2020 – possibly one of the worst years in American history in at least half a century – and Cohen does deliver a sequel conveniently titled, Borat Subsequent Moviefilm … never fear, there’s a number of significantly longer alternate titles sprinkled throughout, some which may be a plot spoiler. It may not be such a surprise if you realize this year also produced a third “Bill and Ted” movie, that following Ben Stiller and Will Ferrell returning to their own popular characters, Derek Zoolander and Ron Burgudy, with mixed results. The big difference is that Cohen was able to make his movie almost entirely in secret and during a pandemic, no less.
Saying too much about the movie could in theory be deemed a spoiler, but just knowing he basic premise won’t ruin any of the surprises or laughs. Basically, things have gone very poorly for Borat Sagdiyev since the previous movie, which made an embarrassment of his country Kazakhstan. The Kazak reporter is given as chance to make up for it by returning to the United States to bring a gift to Vice President Michael Pence in order to win his country favor ala places like Russia, North Korea, etc.  What Borat doesn’t expect is that his teen daughter Tutar (Maria Bakalova) has tagged along, so he changes his plans to give her to Pence, who is rumored to be a big ladies’ man.
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That’s all you really need to know, and honestly, fans of the first movie probably won’t even have to know that much or even whether I liked the movie or whether it’s better than the first movie (which I personally think it is), for them to decide whether they’re going to watch it or not. Borat’s never particularly woke humor doesn’t necessarily deviate too much from the jokes from the first movie, although they’re delivered in a world and country that is so different now than it was fourteen years ago.
Also Cohen has a new secret weapon in Maria Bakalova as his daughter Tutar, who not only keeps up with him while setting up the movie’s bigger gags, but also has many of her own solo moments to fleece those she interacts with. It’s actually surprising to see Cohen share the spotlight so freely, but there’s little question Bakalova steals many scenes as Borat’s much-maligned daughter by being just as game for anything as Cohen.
Frankly, I’m surprised Cohen could still find ANY Americans that didn’t recognize him either as Borat or other “disguised” characters, but he proves how easy it is to find idiot Americans to say and do the stupidest things. Some of the reactions he gets from some of his raciest and outright racist pranks, especially in places like Texas and Georgia, are often worth some of the biggest laughs.
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There’s no question that Cohen has a lot more ammo this time with the likes of Trump, Pence and other politically incorrect individuals to poke fun at, and in American 2020, Cohen is given plenty of targets or victims or whatever you want to call them. He also has so much more taboo topics to explore, whether it’s abortion or all of the rhetoric and bull crap coming out of the White House. The key to the sequel working so much better than the original movie is that all these jokes and pranks are tied together by an actual story and solid throughline.
In my mind, this ends up being funnier than the original movie maybe because Cohen had plenty of time to analyze what worked and didn’t work, plus he brings back the character at a time when a world really needs to be able to laugh right now. In fact, I really wish I had a chance to see the movie with an audience who would probably be in the aisles laughing. Heck, I bet if Amazon sends a copy of this to Governor Cuomo or Mayor DiBlasio, they might have had the druthers to reopen NYC theaters so that New Yorkers (who really need to laugh right now) could get some laughs before the election. Still, it will be on Amazon Prime and should do very well to make Jeff Bezos even more money.
Rating: 8/10
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