NYFCC Opens Its Archive of Past Gala Speeches

Jane Campion (Best Director, Power of the Dog) and Martin Scorsese (presenter for Best Director)
Jane Campion (Best Director, Power of the Dog) and Martin Scorsese (presenter for Best Director)

The NYFCC’s annual gala is a different from other awards shows for a number of different reasons, but one aspect is that everyone already knows the winner. (No nerves, just chill vibes!) But that doesn’t mean there aren’t surprises. Part of the fun is when our winners are introduced to the podium by a colleague, who usually is an old friend.

Below is just the tip of the iceberg of what’s in our vault. Click into our archive to hear Martin Scorsese introduce Jane Campion, Adam Sandler introduce Josh and Benny Safdie, as well as the winners accepting their prizes. 

More treasures coming soon!

Lady Gaga sheds tears, Martin Scorsese makes surprise appearance at NYFCC event

From USA Today: NEW YORK — Lady Gaga shared a lot of “big feelings” — and some tears — as she accepted a best actress award Wednesday night for her role in “House of Gucci.” The singer and actress, who starred in the 2021 biographical crime drama as Patrizia Reggiani, took …

Lady Gaga Bids Final Farewell to Patrizia Reggiani at New York Film Critics Circle Awards

From Variety: To get in character for “House of Gucci,” Lady Gaga spent the better part of last year inhabiting the mind, body and spirit of Patrizia Reggiani, the Italian socialite who was convicted of hiring a hitman to kill her former husband, Maurizio Gucci. Though the film wrapped production …

Inside the NYFCC Awards, from Lady Gaga’s 13-Minute Speech to Martin Scorsese’s ‘Power of the Dog’ Love

From IndieWire: Thursday night’s Omicron-delayed New York Film Critics Circle Awards dinner at TAO in the Meatpacking District in New York City gave many of this year’s Oscar nominees — and a few Oscar also-rans — a last chance to unbutton and let loose and celebrate before the big show …

K. Austin Collins on Martin McDonagh’s Three Billboards Outside Ebbing, Missouri

[Martin] McDonagh’s sense of morality readily lends itself to entertaining plot turns and impressive acting. He leans into the kinds of vicious, manipulative contradictions that make melodramas so powerful. But in this case, his predilections only lead us down a rabbit hole of dumb ideas, symbolic ironies that really only …

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