The Year When Oscar Narratives Ate the Oscars

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The Oscars are often referred to as a “race,” where positions can change like horses in a race. One film might take the lead, only to fall behind. Interestingly, I haven’t witnessed an Oscar shift quite like the one that occurred on February 8. On this day, both the Directors and Producers Guilds awarded their top prizes to “Anora,” Sean Baker’s critically acclaimed film about a sex worker who quickly marries a wayward son of a Russian oligarch, only for sparks to fly when his parents discover the truth. However, this win was followed by quite a surprising turn of events.

Once “Anora” won those two awards, its film seemed destined for success. It immediately became the clear and undeniable frontrunner for the best picture category. A week later, when the Writers Guild awarded it the best original screenplay prize, that was just the final touch. What’s peculiar about this shift in odds is that it only solidified “Anora” in the position of front-runner that many had predicted it would hold from the start.

Once Anora won two awards, its movie became a sure winner for best picture. When it also won the Writers Guild’s best original screenplay award a week later, it was just the finishing touch. It’s strange that this series of wins only confirmed what many had thought all along – that Anora would be the front-runner from the start.

Ever since “Anora” won the Palme d’Or at Cannes back in May and left critics enamored, this film has been a favorite among favorites. Initially, it was considered a strong contender for best picture, but then it was excluded from that discussion; despite all the praise, it was seen as too independent, lacking the grandeur required to be “major.” For the past four months, discussions about the best picture award have primarily revolved around “The Brutalist” and “Emilia Pérez,” with “A Complete Unknown” making a strong showing on the sidelines.

Following the chaos caused by Karla Sofía Gascón’s tweetstorm that seemed to knock “Emilia Pérez” out of contention, the stage was set for a new player. Entering the scene was the underdog, “Anora,” who rose to the top. This tale of rise and fall and subsequent rise again perfectly encapsulates the dramatic twists and turns typical of an Oscar season where narratives have taken center stage. In fact, the year 2024/25 might be remembered as when the narratives surrounding the Oscars consumed the awards themselves.

Historically, there have been two main categories of Oscar narratives. One, dating back many years, is the “Long Overdue” theme: actors and directors receiving Oscars due to numerous nominations without a win, or because they are well-respected industry veterans who the Academy members feel deserve recognition. Examples include John Wayne in “True Grit,” Al Pacino in “Scent of a Woman,” and Martin Scorsese winning Best Director for “The Departed.”

For many years, there have been two primary types of Oscar stories. The first, known as the “It’s About Time” narrative, involves actors and directors earning Oscars because they’ve been frequently nominated but never won, or are respected industry veterans that Academy members want to honor for their long-standing contributions. Examples include John Wayne in “True Grit,” Al Pacino in “Scent of a Woman,” and Martin Scorsese winning Best Director for “The Departed.

In the Oscar world, a type of storyline emerged during the Harvey Weinstein era, and this strategy is known as the cutthroat negative campaign to sabotage an Oscar nomination. This tactic involves spreading a story about a movie that could potentially be true but is exaggerated by the media (often through enthusiastic publicists) to tarnish the film’s reputation and decrease its chances of winning. For instance, there was the smear campaign against “A Beautiful Mind,” claiming that its protagonist, John Nash, was anti-Semitic (the tactic failed in this case), or the attempt to portray “Saving Private Ryan” as a nearly perfect film that fell apart after its powerful opening sequence (this argument, though specious, managed to sway some voters).

In this year’s Oscar race, the narrative is layered and multifaceted, reflecting a postmodern flood of perspectives. If Demi Moore is indeed the favorite for Best Actress, it’s not just a matter of “It’s time!” but a recognition of the profound impact of “The Substance” – the long-overdue spotlight on the ageist bias in Hollywood towards female actors. This theme resonates deeply with Moore’s own journey.

Interestingly, almost every Best Picture contender this year seems to have been embroiled in some form of controversy. It’s not that there’s a sinister figure like Weinstein manipulating things from the shadows, but rather, the relentless criticism on social media has become the catalyst for these negative narratives.

In summary, ‘The Brutalist’, like several other top-contending films, uses AI enhancements. Meanwhile, ‘Anora’ includes sex scenes that were filmed without an intimacy coordinator, although Mikey Madison handled this sensitively enough for it to seem less prominent. Lastly, the controversy surrounding ‘Emilia Pérez’ arises due to best actress nominee Gascón, who initially appeared as a progressive trailblazer (potentially the first trans winner in that category). However, her controversial tweets have cast her as more of a trans rights skeptic, similar to Archie Bunker. These incidents serve as reminders of the ongoing bias against Netflix movies within the industry.

The film that seemed most likely to win Best Picture, “Conclave,” was largely overlooked all season because it fit the mold of what people expect from a Best Picture nominee. It was seen as too predictable and safe, which made it seem like an unlikely winner. However, with the new Oscar rules in place, the story that a movie tells is no longer the only factor that matters. The narrative surrounding a movie has become just as important. So, “Conclave,” which we secretly wanted to win, might now have a chance at becoming the mainstream favorite.

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2025-03-01 21:46