1. I am not remotely surprised by the EMILIA PÉREZ love, because I witnessed it firsthand. The hype was very real at Cannes; everyone I spoke to adored it and (give or take a SEED OF THE SACRED FIG) thought it was a lock for the Palme. Personally I was mixed: loved the audacity and spectacle (very “how the fuck does this exist”, which often scores extra points in a sleepy festival environment), but felt that its ultra binary handling of gender would be seen as clunky and regressive by a younger, especially American audience. In other words, it was the perfect recipe for a thing that would sweep awards while being hated by moviegoers. The Netflix of it all did it no favors, as most people experienced it in the *least* spectacular setting.
2. Totally agree with Tansy on I SAW THE TV GLOW, and David on CHALLENGERS, for original screenplay. I’d sub out SEPTEMBER 5 and THE SUBSTANCE (which I adored but not primarily for its script).
3. My other biggest snub would be NICKEL BOYS for cinematography. Maybe I’m falling into the “most cinematography” trap, but I can’t think of a movie this year that had half the ambition. It lives or dies by Jomo Fray’s work, and in my mind it’s a triumph. (It was also my favorite film of the year, period, but I knew better than to expect a sweep!)
As Mexican, Emilia Perez is offensive and ridiculous. I wonder what the opinions would be like if the violence and tragedy of our actual situation used to tell the story were situated in the US or other country.
Well, I thought The Remarkable Life of Ibelin might be nominated for Best Documentary, especially since Netflix bought and showcased it, but that didn’t happen. I don’t think we should speculate too much about this. The Academy consists of thousands of members, so bribing them all would be quite a challenge, I think. ;)
I'm really glad the Academy sees the quality in films like Wicked and The Substance. A couple of years back, they would have overlooked films like this for being to commercial and "easy". Things have changed, to the better.
Surprisingly not surprised by most of the nominations given how closely they mirrored the Golden Globes, though I would like to have seen more love for smaller films like Sing Sing and Nickel Boys. Also it’s funny that Emilia Perez apparently became the designated villain this year when a much more blatantly Oscar-baity movie like A Complete Unknown gets away scot free.
I think in my mind it’s sci-fi/fantasy and Return of the King, shape of water, and even everything everywhere all at once came to mind. But you’re probably right in that dune is hard sci-fi!
A bit disappointed by its lack of awards attention. I saw Part Two four times in theatres, what an extraordinary moviegoing experience firing on all cylinders!
A few thoughts:
1. I am not remotely surprised by the EMILIA PÉREZ love, because I witnessed it firsthand. The hype was very real at Cannes; everyone I spoke to adored it and (give or take a SEED OF THE SACRED FIG) thought it was a lock for the Palme. Personally I was mixed: loved the audacity and spectacle (very “how the fuck does this exist”, which often scores extra points in a sleepy festival environment), but felt that its ultra binary handling of gender would be seen as clunky and regressive by a younger, especially American audience. In other words, it was the perfect recipe for a thing that would sweep awards while being hated by moviegoers. The Netflix of it all did it no favors, as most people experienced it in the *least* spectacular setting.
2. Totally agree with Tansy on I SAW THE TV GLOW, and David on CHALLENGERS, for original screenplay. I’d sub out SEPTEMBER 5 and THE SUBSTANCE (which I adored but not primarily for its script).
3. My other biggest snub would be NICKEL BOYS for cinematography. Maybe I’m falling into the “most cinematography” trap, but I can’t think of a movie this year that had half the ambition. It lives or dies by Jomo Fray’s work, and in my mind it’s a triumph. (It was also my favorite film of the year, period, but I knew better than to expect a sweep!)
I am stunned by the lack of love for Challengers
Yes! This.
As Mexican, Emilia Perez is offensive and ridiculous. I wonder what the opinions would be like if the violence and tragedy of our actual situation used to tell the story were situated in the US or other country.
How much did Netflix pay the academy for Amelia ? This is why we don’t trust the academy anymore
Well, I thought The Remarkable Life of Ibelin might be nominated for Best Documentary, especially since Netflix bought and showcased it, but that didn’t happen. I don’t think we should speculate too much about this. The Academy consists of thousands of members, so bribing them all would be quite a challenge, I think. ;)
I'm really glad the Academy sees the quality in films like Wicked and The Substance. A couple of years back, they would have overlooked films like this for being to commercial and "easy". Things have changed, to the better.
Surprisingly not surprised by most of the nominations given how closely they mirrored the Golden Globes, though I would like to have seen more love for smaller films like Sing Sing and Nickel Boys. Also it’s funny that Emilia Perez apparently became the designated villain this year when a much more blatantly Oscar-baity movie like A Complete Unknown gets away scot free.
“A movie like Dune 2 would’ve swept the Oscars years ago”???? Since when does the Academy give any major category noms to science fiction?
I think in my mind it’s sci-fi/fantasy and Return of the King, shape of water, and even everything everywhere all at once came to mind. But you’re probably right in that dune is hard sci-fi!
A bit disappointed by its lack of awards attention. I saw Part Two four times in theatres, what an extraordinary moviegoing experience firing on all cylinders!