As a movie enthusiast who has been following the film industry for years now, I must say that the upcoming awards season is shaping up to be quite intriguing. With so many talented actors and actresses vying for recognition, it’s always exciting to see who will emerge as the winners.
At what point did you recognize that your perception had been irrevocably influenced by the election? For me, it was last weekend when I watched Robert Eggers’s “Nosferatu,” and instead of appreciating it as a classic horror film, I found myself interpreting it as a tale about local business leaders conniving with an Eastern European ruler to exert control over a woman’s body. If I couldn’t disengage from current events enough to enjoy a movie featuring Simon McBurney biting a pigeon, what chance do other Oscar-worthy films have?
Despite our hopes for a break, it seems we’re once again navigating awards season amidst the backdrop of recent political events. (It was quite something to vent about Maestro during that time, wasn’t it?) With the current political landscape shaping interpretations of films created years ago, several Oscar contenders may find opportunity in this shift, much like Moonlight and Three Billboards did previously. Here’s a suggestion for how the top 15 Best Picture nominees can craft compelling messages out of this challenging situation.
The Slam Dunks
America can sometimes feel like a land where pledged commitments are not always fulfilled; this is mirrored by an individual in a powerful position, who conceals his questionable morality by erecting a grand structure that primarily serves as a self-aggrandizing monument.
Perhaps the book “Nickel Boys” suggests that America’s justice system is segregated and brutal, with the true triumph being to endure and survive despite it all.
Perhaps America functions like a prison – yet, unlike other prisons, here, we have the opportunity to care for each other. In this shared space, we may find a path towards rehabilitation and renewal.
Pretty Easy
Emilia Perez’s nomination might be perceived as a stand for a marginalized community under attack by the new president, given that some leading trans critics find fault with the musical’s overly optimistic portrayal of transition, suggesting that altering one’s body alters society, which in turn transforms one’s soul.
Anora: The bad guys are Russian oligarchs who disrespect our nation’s civil institutions, to say nothing of the way they treat our proud service workers.
As a film enthusiast, I can’t help but draw parallels between “Wicked” and the chilling reality of modern-day creeping totalitarianism. Remarkably, the themes portrayed in this movie resonate just as strongly today as they did during the Bush administration. What makes it even more unsettling is that its allegory isn’t explicitly tied to a specific oppressed group, making it eerily applicable to many situations we face today.
Gladiator II: Is an Empire Best Governed by a Noble Ideal, or Simply a Tool for the Powerful to Overpower the Vulnerable?
As a devoted admirer, I’d say that Steve McQueen’s masterpiece aims squarely at challenging the rosy, right-wing portrayals of World War II heroism commonly peddled by media outlets. Instead, it offers a more authentic and inclusive narrative.
Emphasizing the Empowerment:
In a more rephrased form, the statement could be: “Contrary to your assumption, J.D. Vance, the role of a ‘postmenopausal woman’ isn’t to transform into ‘Monstro Elisasue’; rather, it represents a unique life stage and potential.
Slightly Different Vibe, But Still Workable
Conclave: Given that it’s related to an election, using Conclave might be a bit too similar to recent events, making comparison uncomfortable. It’s best for Team Conclave not to emphasize the term and let viewers make their own connections instead.
Unlike a movie based on a Holocaust tour being referred to as “election counterprogramming,” this lighthearted drama could be this season’s equivalent to “Arrival.” It carries an anti-Trump atmosphere more in its tone than its content, providing a thoughtful and quiet respite from the chaos.
September 5: Reflecting on a hypothetical film set during the Munich hostage crisis, it seems that the gritty, truth-revealing approach reminiscent of “democracy dies in darkness” during Trump’s first term would have enriched its narrative. Alas, we find ourselves longing for the days of journalists like Peter Jennings, as their unwavering pursuit of truth seems more relevant and admirable than ever.
Probably Not Happening
A Complete Unknown: Maybe Bob Dylan can tweet some unflattering anecdote about Trump?
Dune: Part Two: They shoulda kept the Harkonnens’ weird hair.
Oscar Futures: This Is the Weirdest Episode of Emily in Paris I’ve Ever Seen
Every week until the Academy Awards’ nominations are revealed on January 17th, Vulture will use its crystal ball to predict the shifting dynamics in this year’s Oscar competition. In our “Oscar Predictions” section, we’ll share exclusive insights, analyze fresh updates, and monitor industry chatter to decipher who’s gaining ground, who’s losing it, and who’s currently ahead in the race for a highly coveted Oscar nomination.
Best Picture
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Emilia Pérez
Following its arrival on Netflix alongside a fellow titled counterpart, Jacques Audiard’s film has been upholding its divisive standing. In The Independent, Clarisse Loughrey criticizes Audiard for using the trans experience as a metaphor and a means to delve into his own ideas about renewal and redemption. On the other hand, Stephanie Zacharek from Time sees it as an ideal post-election solace after a difficult election season. She describes the musical as “a revolutionary act of imagination filled with compassion.” The general consensus is that Emilia Pérez stands out distinctly among movies this year. Although there has been the usual social media criticism, I believe Academy voters will embrace it.
Even
Gladiator II
Following the release of restrictions this week, Ridley Scott’s sequel was praised by critics as “entertaining,” “a pleasant distraction,” and “overly reliant on its predecessor.” The original Gladiator captured success as a throwback to the sword-and-sandals epics from Hollywood’s golden era. If Gladiator II is to compete without criticism, it needs to tap into the same nostalgic masculinity as Top Gun: Maverick. In the upcoming weekend, Gladiator II faces off against Wicked, which appears set to outshine it in both box office predictions and critical acclaim. Can these blockbusters find a place together in the Best Picture category?
Current Predix
Anora: Another Name
Best Director
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Jacques Audiard, Emilia Pérez
As a film enthusiast, I can’t help but admire the undeniable directorial flair of the 72-year-old French maestro responsible for “Emilia Pérez.” This movie carries his distinctive touch, echoing his past works like “A Prophet” and “Rust and Bone.” For those who have fallen under its spell, their affection is intense – a testament to the fearless creativity of director Jacques Audiard. He delivers an overwhelming experience that keeps you on the edge of your seat, as Manohla Dargis puts it, “he throws so much at you, you don’t dare blink, almost.” This style, brimming with razzle-dazzle maximalism and the allure of an international auteur, is sure to captivate those who appreciate such cinematic mastery.
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Payal Kapadia, All We Imagine As Light
The choice not to submit Kapadia’s Cannes-winning film for consideration at the International Film category has reignited discussions on potential changes within this category. It seems unusual that the Academy permits foreign governments to dictate what eligible films can be nominated by its members. Janus Films continues to remain optimistic, as they are releasing ‘Light’ in both New York and Los Angeles this weekend, and arranging a tour for Kapadia to meet with US audiences, aiming to gain traction in this category. While it may seem like an unattainable goal considering the past, the recent success of films such as ‘RRR’ and ‘Anatomy of a Fall’, which were initially overlooked by their home countries, suggests that it’s not entirely impossible. However, Kapadia’s film, a subtle drama about nurses in Mumbai, might face more challenges in making an impact compared to its flashier counterparts.
Current Predix
Jacques Audiard, Emilia Pérez; Sean Baker, Anora; Edward Berger, Conclave; Brady Corbet, The Brutalist; Denis Villeneuve, Dune: Part Two
Best Actor
Down
Paul Mescal, Gladiator II
In his debut major studio film, Mescal might find himself facing a stiffer competition, similar to how Russell Crowe did in “Gladiator.” Critic Alison Willmore notes that while Mescal is often captivating, he seems to blend into the chaos of this movie rather than stand out. Unfortunately for Mescal, his character spends most of the second half confined in the Coliseum, allowing the political intrigue outside to overshadow him as it intensifies.
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Jesse Eisenberg, A Real Pain
It’s surprising that Eisenberg has stayed in my Best Actor predictions for so long, but until Timothée Chalamet reveals his Bob Dylan voice soon, the versatile actor seems to have a strong chance of maintaining his position in this competitive category, essentially due to a lack of other strong contenders.
Current Predix
Adrien Brody stars in “The Brutalist”; Daniel Craig takes on the role in “Strange One”; Colman Domingo is featured in “Sing Sing”; Jesse Eisenberg plays the part in “True Troublemaker”; Ralph Fiennes appears in “The Assembly”.
Best Actress
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Karla Sofia Gascón, Emilia Peréz
This season also sees Erika Gascón as a significant breakthrough, alongside Mikey Madison. In the telenovela, she portrays Emilia Pérez, both before and after her transition. Critics are praising Gascón’s performance, with Dana Stevens remarking that “it is Gascón’s boundless charm that carries the movie through some of its more challenging tonal shifts.” Stevens further notes that Gascón continually finds new and profound ways to embody Emilia Pérez, a character who embodies the ongoing journey of self-discovery. Despite facing stiff competition from well-established actors, including multiple past winners, many believe that Gascón’s exceptional performance is one of the strongest contenders for Best Actress.
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Amy Adams, Nightbitch
This past week, I delved into Marielle Heller’s latest film, and I find myself aligning with my colleague Joe Reid’s assessment – it’s a captivating, albeit imperfect, production that suits the talents of Meryl Streep at this stage of her career. Despite its shortcomings, it doesn’t quite propel her any closer to the elusive Oscar she’s long been waiting for.
Current Predix
Here are the actresses and their respective roles in a more natural and easy-to-read manner:
Best Supporting Actor
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Denzel Washington, Gladiator II
In the manner of a benevolent Roman emperor, critics are showering praise upon Washington’s performance in “Gladiator“. Tim Grierson comments that “Washington exudes a performer’s joy, savoring his character’s cunningness.” During recent promotional events, the two-time Academy Award winner has hinted at considering retirement from on-screen acting. This seems to me like a subtle reminder to the Academy: “I won’t be around indefinitely, so don’t underestimate my value.
Down
Édgar Ramírez, Emilia Pérez
In the film Emilia Pérez, the Venezuelan actor was the sole male main cast member who wasn’t recognized at Cannes, where his four female counterparts shared the Best Actress award. It appears this pattern might continue during awards season: Although Ramírez portrays a crucial character in the musical’s climax, his role is primarily limited to expressions of “being hot and dangerous,” leaving him with few opportunities for nuanced acting.
Current Predix
Kieran Culkin stars in “A Real Troublemaker”; Clarence Maclin appears in “Sing Sing”; Guy Pearce is featured in “The Harsh One”; Stanley Tucci plays a part in “The Vatican Conclave”; Denzel Washington takes on the role in “Gladiator’s Sequel
Best Supporting Actress
Up
Zoe Saldaña, Emilia Pérez
Emilia Pérez allows Saldaña to demonstrate the skills she’s honed from her “Center Stage” training in this film. She starts off with an energetic musical number and follows it up with a stunning show-stealing sequence, reminiscent of Bob Fosse choreographing a Britney Spears VMA performance. Richard Brody, despite a generally unfavorable review, notes that Saldaña delivers powerful action with immense passion, hinting at unrealized potential and purpose. As the film’s stand-in for the audience, a disillusioned lawyer rediscovering her ideals, it could be argued that she deserves recognition in the Best Actress category. In fact, some might even consider her performance as the one to beat, regardless of how Netflix markets her.
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Selena Gomez, Emilia Pérez
The real test of Emilia Perez’s resilience will lie in whether Gomez, who plays the role similar to Sally Field in this peculiar version of Mrs. Doubtfire, can secure a supporting nomination with the help of Gascón and Saldaña. As Lindsay Bahr notes, “Gomez delivers a dedicated performance as a woman being manipulated into madness.” However, the film escalates into absurdity, lacking any sense of relief or catharsis. Though Gomez’s Emmy-nominated role in Only Murders in the Building should garner her recognition from voters who might have otherwise dismissed her, I’m not convinced another popular artist, Ariana Grande, gaining traction in this category, will aid her cause.
Current Predix
The Storm); Zoe Saldaña – Emilia Pérez
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2024-11-16 16:54