And now, we get to the good stuff. Having already analyzed the technical categories at this year’s Oscars, both large and small, it’s time to dig into the races that you really care about. Today, we’re looking at Best Supporting Actor and Best Supporting Actress; tomorrow, we’ll move on to the lead actors.
Ladies first:
BEST SUPPORTING ACTRESS
NOMINEES Maria Bakalova—Borat Subsequent Moviefilm Glenn Close—Hillbilly Elegy Olivia Colman—The Father Amanda Seyfried—Mank Youn Yuh-jung—Minari Read More
We’re running through the 20 feature categories at this year’s Oscars. Yesterday, we analyzed seven categories that receive a relatively low profile. Today, we’re moving on to five additional below-the-line fields that are somewhat more significant. I mean, they’re significant in my eyes; you might care more about Best Costume Design than Best Film Editing, but this isn’t your website.
BEST CINEMATOGRAPHY
NOMINEES 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 Read More
It’s mid-April, and this year’s Oscars still haven’t been held yet, which raises two questions: What is time, and what is Time? I’m not a capable enough philosopher to answer the first, but I can tell you that the second is one of the five nominees for this year’s Best Documentary Feature award. And so, even with the COVID-19 pandemic wreaking havoc on the cinematic landscape and the Academy’s schedule, it’s (ahem) time for everyone’s favorite time (oh come on) of year: our annual Oscar predictions.
You know how this works. Over the next week, I’ll be filing a series of pieces that briskly walk through each of the 21 20 feature categories (sorry, short subjects, I care for thee not), with predictions, preferences, and assorted thoughts. Does any of this matter? That’s up to you. The Oscars are a gaudy ceremony of self-congratulation, often better remembered for what they got wrong than right. They’re also significant as a marker of history, and they tend to honor some pretty good movies. There are more important things in the world, and more important things to complain about, too.
Today, we’re running through seven categories that are rather less high-profile than other races. But if you want to win your office pool (do people do office pools for the Oscars? Do people still work in offices?), this is where you can separate yourself.
BEST ANIMATED FEATURE
NOMINEES Onward Over the Moon A Shaun the Sheep Movie: Farmageddon Soul Wolfwalkers Read More
Movies lie. They lie not as a callous display of dishonesty, but as a matter of literal operation; deception is a necessary function of the medium. Actors pretend to play other people. Directors manipulate their environments. Set dressers and production designers falsify the scene just so. Special effects wizards show us things that don’t really exist. Every movie is a lie, even if the best ones search for the truth. It’s an art form based on artifice.
The Father, which is currently contending for six Oscars (including Best Picture), explores this inherent contradiction to peculiar and unnerving effect. It features an unreliable narrator, but instead of mining that trope for suspense, it wields it for the purpose of immersion. That’s because The Father, which was directed by Florian Zeller from a screenplay he wrote with Christopher Hampton (based on Zeller’s play), actively grapples with dementia in a way that’s especially unsettling. It uses familiar cinematic tricks, often better associated with genres like horror or thriller, to bring you inside the diseased mind of its protagonist. It lies to you because lies are all its hero knows. Read More
Endings are overrated. Or at least, the importance we attach to them tends to outstrip their actual significance. Quantitatively speaking, the typical ending constitutes less than 10% of a film’s runtime, so it seems peculiar that we factor their quality so heavily into our overall appreciation of a movie. At the same time, endings matter, if only as a simple matter of recency bias; it makes sense that our brains prioritize the last few scenes that we just watched as we leave the theater (or, sigh, exit the streaming service). That’s why a lousy ending can tarnish an otherwise enjoyable picture; by way of example, Danny Boyle’s mostly terrific Sunshine could have been a modern classic if it hadn’t so badly flubbed its finale. (The converse scenario, where a forgettable film is redeemed by a strong finish, is far more rare, though I’d submit for consideration Avengers: Infinity War.)
Promising Young Woman, which was just nominated for five Oscars, features an ending that is undeniably memorable—unusually so, given that it doesn’t rely on a big reveal à la The Sixth Sense or Planet of the Apes. I still don’t know whether its culmination is spectacular or terrible; what I do know is that it doesn’t change my opinion of the movie as a whole, which is largely fantastic. A modern jolt to the classic rape-revenge genre, Emerald Fennell’s debut feature is an exhilarating cocktail that blends provocative messaging with slow-building suspense and sure-handed craft. It’s a statement picture, both in that it has something to say and in that it announces the arrival of Fennell—heretofore best known as playing Camilla Parker Bowles on The Crown—as a hugely talented filmmaker. She could have wrapped up Promising Young Woman with aliens suddenly enacting a (ninth) plan from outer space, and the movie would remain a major achievement. Read More
