TV & Movies

Five Things We Learned from Nine Oscar Shortlists

This year’s nine Oscar shortlists are voted on by five branches of the Academy — Music, Documentary, Animation and Shorts, VFX, and Makeup and Hairstyling — as well as the intrepid members from all over the world who were willing and able to watch online a minimum of a dozen qualifying international features. Reading the tea leaves of these shortlists reveals some strengths and weaknesses heading into the final round of voting for the final five nominations to be revealed on March 15.

To state the obvious, voters made their selection from a wide range of smaller-scale movies, given that many of the studio blockbusters, from Steven Spielberg’s “West Side Story” to Denis Villeneuve’s “Dune,” were pushed back due to the pandemic. Clearly, while stuck at home, many Academy voters were watching Netflix. That’s a huge advantage for “step one” on the road to an Oscar nomination: getting your movie seen.

1. Never underestimate Netflix

The streamer’s tireless awards team pursued every possible category, landing three shortlist spots for David E. Talbert’s musical fantasy “Jingle Jangle: A Christmas Journey” (Metascore: 69), which was not front and center on most Oscar prediction lists, landing Makeup and Hairstyling, Original Score (“The Passion of the Christ” Oscar nominee John Debney), and Song (“Make It Work”).

By our count, Netflix not only scored 24 shortlist slots over 18 movies, but two of them are arguably promotional vehicles for their other movies: John Legend’s shortlisted song “Never Break” is for the documentary “Giving Voice,” which follows auditions for an August Wilson play — “a must-watch before ‘Ma Rainey’s Black Bottom,’” wrote Decider — while documentary short “What Would Sophia Loren Do?” is a charming piece of fandom in support of Loren vehicle “The Life Ahead,” which also landed in Best Score for Oscar-winner Gabriel Yared (“The English Patient”) and Song for “Io Si (Seen)”.

Netflix landed 2 out of 15 International slots (Mexico’s “I’m No Longer Here” and Taiwan’s “A Sun”), 4 out of 10 Makeup slots, 6 out of 15 Score slots, 5 out of 15 Song slots, 3 out of 15 documentary slots (see below), and 2 out of 10 documentary short slots.

Two films that landed more than one slot are likely contenders in major categories: David Fincher’s Globe, SAG and Critics Choice nominees “Mank” (3) and Aaron Sorkin’s “The Trial of the Chicago 7” (2), while Edoardo Ponti’s “The Life Ahead” (2) is a long shot for Loren as Best Actress, and George Clooney’s Midnight Sky” may have to settle for nominations in its two shortlisted categories: VFX and Score.

“Jingle Jangle”


2. Never overestimate the Music branch

Notorious for strange out-of-the-box choices, this year’s voters not only voted for “Jingle Jangle,” but nominated long-overdue songwriter (and tireless self-promoter) Diane Warren for not one but two songs, “Io Si (Seen)” from “The Life Ahead,” and “Free” from the popular Disney animated film “The One and Only Ivan.”

To their credit, the music branch also included songs from documentaries, including “Turntables,” from “All In: The Fight for Democracy,” which also appears on the non-fiction shortlist; “See What You’ve Done,” from PBS documentary “The Belly of the Beast”; and the Red Hot Chili Peppers’ “Show Me Your Soul” from Melissa Haizlip’s PBS film “Mr. Soul!”

Two comedy songs landed spots: “Husavik” from “Eurovision Song Contest: The Story of Fire Saga” (Netflix) and “Wuhan Flu” from “Borat Subsequent Moviefilm” (Amazon).

Animated films always pull a few songs, including “Loyal Brave True” from “Mulan,” which also landed in Best Score, but Justin Timberlake did not make the cut for “Trolls: World Tour,” nor did Brandi Carlile’s song from “Onward.”

Other notable omissions include Andra Day’s Globe and Critics Choice nominee “Tigress & Tweed” from Hulu’s “United States vs. Billie Holiday,” which may not have been widely seen. Notably, “Fight for You” from Warner Bros.’ late-breaking “Judas and the Black Messiah” did make the cut.

It’s a sign of strength that two indies landed slots, “Green” from “Sound of Metal” (Amazon) and “Rain Song” from “Minari” (A24), which also landed a slot for Best Score. Expect Leslie Odom Jr.’s song “Speak Now” from “One Night in Miami” (Amazon) to lead the final nominations field.

As for Original Score, the rather eclectic selection included Latvian Oscar entry “Blizzard of Souls,” which the New York Times critic Glenn Kenny singled out for its “treacly music score”; the lovely score by Dustin O’Halloran and Volker Bertelmann for period lesbian love story “Ammonite” (Neon), and one of two possible Terence Blanchard scores, for Spike Lee’s Vietnam drama “Da 5 Bloods.”

Meanwhile Trent Reznor & Atticus Ross were nominated twice, for both their New Age score for “Soul” (with Jon Batiste helping out on the jazz side) and their Bernard Herrmann-homage for “Mank.” If they get nominated for both, they could cancel each other out. Our money is on “Soul” making the final five.

While Oscar perennial Alexandre Desplat will likely make the cut for “The Midnight Sky,” he’s won twice. So expect two veteran Oscar nominees, James Newton Howard (“News of the World”) and Thomas Newman (“The Little Things”) to fight for their long overdue wins after eight and 15 nominations, respectively.

"the Painter and the Thief"

“the Painter and the Thief”


3. Don’t expect ‘My Octopus Teacher’ to make the final five Documentary Feature nominees

Following the precedent of last year’s Macedonian documentary “Honeyland,” two films landed on both the documentary and international lists this year: Romania’s health-care exposé “Collective” (Magnolia) and Chile’s “The Mole Agent” (Dogwoof), a charming look at an elderly spy undercover at a nursing home. They are strong contenders in both categories.

While both the disabled-rights history “Crip Camp” and imaginative “Dick Johnson Is Dead” were expected to make the cut, the big surprise on the documentary list of 15 was the inclusion of Netflix’s hugely popular “My Octopus Teacher,” a well-made but manipulatively narrated story about a free diver communing underwater with an octopus. It remains an unlikely selection for the final five.

Nabbing respect from branch voters were three films from Neon: well-reviewed Sundance pickup “The Painter and the Thief,” a fascinating tale about an artist’s intense relationship with an addict, which had not been turning up with awards groups; Victor Kossakovsky’s black-and-white “Gunda” (Neon), a moving portrait of a sow and her litter; and Gianfranco Rosi’s gorgeously lensed look at the war-torn Middle East, “Notturno.”

Among the award circuit favorites are “Time” (Amazon), Garrett Bradley’s poetic black-and-white look at a family torn by an imprisoned father’s unjust sentence; Sony Pictures Classics’ sweetly nostalgic glimpse of a vanishing world, “The Truffle Hunters”; IFC’s archive dive “MLK/FBI,” an elegiac portrait; and “76 Days” (MTV Documentary Films), a harrowing portrait of Wuhan’s hospitals during the pandemic.

Among the missing were high-profile true stories “On the Record” (HBO Max), Kirby Dick and Amy Ziering’s portrait of a sexually-harassed record executive, and “The Fight” (Magnolia) a valentine to the ACLU. Also overlooked were “Assassins,” about two women charged with killing the brother of Korean leader Kim Jong-un, which major companies were unwilling to acquire, along with “Icarus” Oscar-winner Bryan Fogel’s “The Dissident,” which may have been hurt by not being backed by a major streamer. (The documentary branch often does not return to recent Oscar winners.)

4. International Oscar voters love auteurs 

As expected, films from established auteurs made the cut, including Thomas Vinterberg’s frontrunner “Another Round,” starring the incomparable Mads Mikkelsen; “Charlatan,” Oscar perennial Agnieszka Holland’s look back at an infamous Czech healer; and Andrei Konchalovsky’s surprisingly feminist black-and-white critique of ’60s Russia, “Dear Comrades!”

Having a charming movie star like Stellan Skarsgard may have boosted “Hope,” a true family drama about a woman fighting cancer, while Barbara Sukova gives a stellar performance in French entry “Two of Us,” about aging lesbian lovers. Guatemala took a chance submitting “La Llorona,” even though it’s a horror film available on Shudder, which paid off.

Among the missing are Greek New Wave title “Apples,” one of a series of films that may have played better for critics than Oscar voters, and might have benefitted from the usual executive committee “saves,” which were eliminated this year, as voters could see the films online, including “Beginning,” “Never Gonna Snow,” “Notturno,” and “Preparations To Be Together For An Unknown Period Of Time.”

Despite the protestations that Netflix abandoned Taiwan entry “A Sun,” it made the shortlist along with popular Mexican entry “I’m No Longer Here.” Again, it’s about getting seen.

“Welcome to Chechnya”


5. Always Expect Surprises from the VFX Branch

Thanks to the pandemic and the absence of big budget, VFX-intensive studio films, this one is the wildest, most idiosyncratic VFX shortlist in Academy history. How else do you explain the inclusion of such outliers as HBO’s “Welcome to Chechnya” (the first documentary entry in the category), “Bloodshot” (Sony), the low-budget Vin Diesel comic book actioner, and “Love and Monsters,” the even lower-budgeted post-apocalyptic monster comedy? The VFX branch included them alongside the sci-fi trappings of George Clooney’s “The Midnight Sky,” David Fincher’s black-and-white “Mank,” and Christopher Nolan’s time-inversion thrill ride, “Tenet.”

Whatever the reason for celebrating greater indie diversity as a result of online viewing and streaming, the surprising exposure for “Welcome to Chechnya” is fascinating. It proves that the executive committee is willing to be more daring during this new normal. Director David France knew he would need to protect the identity of the LGBTQ Chechens who risked their lives to participate in his film, but he was determined to find a way to do it that was both safe and engaging. After six months of research and consultation, he landed on using “deep fake” technology – replacing his subjects’ faces with 22 people (mostly New York City-based queer activists) who lent their likenesses to the project.

Likewise, the inclusion of Pixar’s “Soul” (with its ethereal and semi-transparent world of The Great Before) is somewhat surprising, given the fact that CG animation rarely gets its due (the last Pixar movie to be considered was “Ratatouille”). This is certainly an instance of greater open-mindedness in terms of the great tech work involved.

Then again, the inclusion of “Birds of Prey and the Fantabulous Emancipation of One Harley Quinn” over “Wonder Woman 1984” can be seen as a vote for idiosyncratic design over more straight-forward work. Yet shortlisted “The One and Only Ivan,” with its virtual production-led CG zoo and animals by MPC, falls in line with the usual studio VFX work favored by the VFX branch.

The same goes for “Mulan,” with its fine CG environment of the Imperial City by Weta Digital (populated by digital extras). Also missing in action were “Greyhound,” the World War II North Atlantic actioner, starring Tom Hanks, with DNEG providing photoreal CG ocean and assorted augmentation, along with such animation-heavy studio films as “Dolittle,” “The Call of the Wild,” and “Sonic: The Hedgehog.”

While there is no clear frontrunner, the likely favorites will be two from Netflix: “Midnight Sky” and “Mank.” The former offers cutting edge facial capture by Framestore, especially during the stunning ballet of blood death scene, as well as a pop-up version of Industrial Light & Magic’s innovative LED wall tech (from “The Mandalorian”) for exterior backgrounds. The latter delivers a monochromatic recreation of ’30s-era LA (including Artemple’s matte paintings, Territory’s LED screens for rear projection, and ILM’s CG animals and Victorian zoo cage.

Chris O’Falt contributed to this article. 


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