10 - Ana de Armas - Knives Out
9 - Noémie Merlant - Portrait of a Lady on Fire
8 - Zhou Dongyu - Better Days
7 - Florence Pugh - Fighting with My Family
6 - Honor Swinton Byrne - The Souvenir
5 - Scarlett Johansson - Marriage Story
4 - Vitalina Varela - Vitalina Varela
3 - Lupita Nyongo - Us
2 - Vasilisa Perelygina - Beanpole
1 - Virginie Efira - An Impossible Love
10 - Bartosz Bielenia - Corpus Christi
9 - Edward Rowe - Bait
8 - Mel Gibson - Dragged Across Concrete
7 - Carloto Cotta - Diamantino
6 - Andrew Garfield - Under the Silver Lake
5 - Willem Dafoe - The Lighthouse
4 - Brad Pitt - Once Upon a Time in Hollywood
3 - Paul Walter Hauser - Richard Jewell
2 - Adam Sandler - Uncut Gems
1 - Robert De Niro - The Irishman
10 - Zhao Shuzhen - The Farewell
9 - Chloe Endean - Bait
8 - Cho Yeo-jeong - Parasite
7 - Elle Fanning - A Rainy Day in New York
6 - Margot Robbie - Once Upon a Time in Hollywood
5 - Sara Forestier - Oh Mercy
4 - Da'Vine Joy Randolph - Dolemite Is My Name
3 - Estelle Lecure - An Impossible Love
2 - Julia Fox - Uncut Gems
1 - Kseniya Kutepova - Beanpole
10 - Alec Baldwin - Motherless Brooklyn
9 - Charles Dance - Fanny Lye Deliver'd
8 - Sterling K. Brown - Waves
7 - Alfredo Castro - Rojo
6 - Swann Arlaud - By the Grace of God
5 - Wesley Snipes - Dolemite Is My Name
4 - Martin Lawrence - The Beach Bum
3 - Craig Fairbrass - Muscle
2 - Sam Rockwell - Richard Jewell
1 - Joe Pesci - The Irishman
In his 1979 essay ‘What Is the Cinema for Us?’ the great Mauritian filmmaker Med Hondo argued for the importance of films made by and for the African and Arab diasporas habitually excluded by the mainstream, and how they might be freed from the monopolies of American and European filmmaking to grow into a thriving independent national cinema.
“Throughout the world,” he wrote, “when people use the term cinema, they all refer more or less consciously to a single cinema, which for more than half a century has been created, produced, industrialised, programmed and then shown on the world’s screens: Euro-American cinema.”
This desire for cinematic liberation was an abiding concern throughout Hondo’s career, notably in his experimental and provocative film Les Bicots-Nègres vos voisins (1974). In the same year that he wrote this essay, Hondo made his most audacious attempt to beat Hollywood at its own game with his extraordinary musical West Indies. “I wanted to free the very concept of musical comedy from its American trade mark,” he said. “I wanted to show that each people on earth has its own musical comedy, its own musical tragedy and its own thought shaped through its own history.”
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