Merry awards season, one and all. Preparations of excitement, glee and eye-rolling apathy are well under way. We’ve had the Golden Globes and Baftas and today, we’ll have the Oscars – the most confusingly tiresome yet still engrossing film event of the year. While I’m too old to watch the Oscars (I’ve always been too old – I don’t have the stamina), I can, and have, watched OJ: Made in America in a one seven-hour sitting, but am unable to ever envisage doing the same for the Oscars).

Nevertheless, this year’s Awards Season has had a special buzz; there is genuine excitement and hope. The Academy has opened its ears to the ‘Oscars So White’ scandal of last year. Let’s hope its not just a show of tokenism and a proper step to embracing diversity. The Academy might not be so brave as the BAFTAs but baby steps! One thing’s for sure, the trolls against diversity have been shut down, their ignorant missives towards the quality of minority filming  have been thoroughly discounted by this year’s outstanding filmmaking that have transcended racial and social divides of audiences. All you’ve got to read is Mark Duplass’s impassioned plea to the Academy regarding Moonlight.

“I really want you to see ‘Moonlight.’

“Because it is a bit of a miracle.

“The sad truth is, films like this don’t get made anymore. It is a film about a young black boy from Florida navigating his burgeoning homosexuality while simultaneously trying to overcome the perils of being raised by his drug-addicted single mother. It has no movie stars. It is unabashedly honest and unapologetically runs against the tide of what is commonly considered to be commercial cinema. That’s all to say… it is impossible to get a movie like this made in today’s indie film ecosystem.

“Yet, the film exists. Somehow, it got made.

“Thank God.

“Because this is my favorite film of the last 10 years.

“And, I think it’s fair to say that it’s an important film. Not important in the ‘eat your vegetables and see this important art film even though it’s painful to watch’ way. The film is important because it is actually not a niche film. It is not just for people who like movies that feature marginalized characters who aren’t often featured in leading roles. The film is important because it is a beautiful, sweet, open love letter to the core human values that connect us all. It is important because it reaches beyond its specific characters and tells the story of all of our dreams and collective life experiences. It simultaneously tells a harsh truth and, miraculously, does it with an air of hope. It is the kind of film I have been trying to figure out how to make for my entire career.

“So now I recommend it to people as loudly and as often as I can. And I make it a point to recommend it not just to art film geeks but also to fans of blockbuster cinema, childhood friends from back home, or older couples who don’t like ‘these kinds of films.’ And inevitably they call me a week or two later. Or sometimes the very next day. And we talk about the film. About how it made them feel. About how they connected so deeply with characters who were, more often than not, very different from them.

“And I can’t help but think how a movie like this is helping to create a small but sturdy bridge in our extremely divided times. I think about those of us who are trying to find ways to connect with others we don’t fully understand. And I think that a simple, fun way to pitch in to this effort is to simply sit down and watch this film. And let it change you.

“So, please. Go see ‘Moonlight.’ Because the film is simply fantastic. And because, when you’re done, it feels really good to reach out to others and say to them ‘I really want you to see ‘Moonlight.’”

Like Mr Duplass, here is a selection of categories of personal interest. I’ve colour coded according to what I hope wins and what I think will win with some added analysis as to how I came to my conclusions. Without further ado…

Pink = my choice (the correct choice)
Gold = what will win

Best Picture

Arrival
Fences
Hackshaw Ridge
Hell or High Water
Hidden Figures
La La Land
Lion
Manchester by the Sea
Moonlight

 

There are boundless articles of both admiration and disdain for Damien Chazelle’s ode to classic hollywood musicals – Singin’ in the Rain, Umbrellas of Cherbourg, A Star is Born and the likes.  While appreciating the joyousness some experience watching La La Land, this reviewer finds herself firmly in the latter camp; overly underwhelmed by a superficial and lacklustre two hours. La La Land is all surface – from its paper-thin plot, equally thin characterisation of characters (particularly Emma Stone’s Mia) and their inexplicable romance (where was Stone’s and Gosling’s famed chemistry) to it’s befuddlingly clueless commitment to its “race-blindness”stance.

All that aside, La La Land isn’t particularly musically solid. With approximately four songs throughout the film, repeatedly sang (sometimes poorly) in different variations, the throwaway nature of the music was shocking, each song progressively less memorable than the last; a wrong-headed devotion to raising itself to the dizzying heights of terrible elevator music status. This is particularly true and especially aggravating with regards to the jazz music featured. Jazz is a particuarly polerizing genre, La La Land does very little to disuade jazz naysayers. Ryan Gosling’s Sebastian, an apparent Chazelle surrogate, – and not throwing shade at who Chazelle might be like – the charisma of a damp rag, dreams of keeping alive the legacy of Thelonius Monk, Miles Davis, Nat King Cole and co. While not a jazz aficionado by any stretch, I actually like some jazz, especially Miles Davis, who’s Lift to the Scaffold score was one of the first experiences where I was as mesmorized  by the score as much as what was happening on screen. This doesn’t occur here, instead 

I get the core fundamentals of the film – individual struggle to achieve one’s dream, where love and romance can sometimes help and hinder that journey – and that these characters as ‘ordinary people’ (which is why the singing and dancing isn’t polished) try to create the idea that anyone of us can achieve our dreams, if we really want it. Essentially, this message isn’t well executed. Instead there’s another message:  all it takes is looking like Emma Stone and Ryan Gosling and you’re practically there, some above-mediocre talent is needed but there’s no need to worry. There might be slight stumbles (the obstacles are very low stakes but blown up to faux emotional proportions for a reverence that’s undeserved), but eventually you can have it all! It’s Hollywood baby!

Despite all the personal misgivings towards La La Land, it’ll probably win. Why? Because Hollywood! Hollywood loves nothing more than the opportunity to circle-jerk to imagery of it’s own legend. It’s particularly galling that its up against such strong competition – MOONLIGHT FOR PITY’S SAKE – but even if it does win, in a couple of years, there’ll probably/hopefully be the inevitable show of contrition a la The Artist or Crash. Although La La Land isn’t nor ever will be as egregious as little-bit-of-sick-in-the-mouth inducing Crash. 

Academy listen to Mark Duplass – MOONLIGHT FOR THE WIN!

Actor in a leading role

Casey Affleck – Manchester by the Sea
Andrew Garfield – Hackshaw Ridge
Ryan Gosling – La La Land
Viggo Mortenson – Captain Fantastic
Denzel Washington – Fences

Oh Casey! How you pain me! Why do you have to be so problematic? I both love your work and loathe your actions. Why yet again are we to posit the question of how and why should we separate the artist from the art?

Against some of my inner core moral principles, for my sins, I’ve decided to be objective. While I haven’t seen Andrew Garfield in Hacksaw Ridge I have seen the other nominees and while LOVING the nod to Viggo (and if by some miracle he won, I would be as pleased as punch), I believe Affleck gave the most affecting and nuanced performance of both this year and quite possibly his career thus far.

I’ve already railed about my misgivings of La La Land so I’ll say no more on that and Denzel was fine in Fences but there more than a fair few moments of extraordinary mugging and Oscar-baiting that had me silently wishing him to sit down.

Actress in a leading role

Isabelle Huppert – Elle
Ruth Nega – Loving
Natalie Portman – Jackie
Emma Stone – La La Land
Meryl Streep – Florence Foster Jenkins

Isabelle Huppert – the dark horse of Hollywood but not to the rest of the world. White Material, Amour, The Piano Teacher,  Abuse of Weakness – what’s not to love about this fearless woman? Second only to the Piano Teacher in terms of a daring role, a win for Huppert would be the perfect contrast to the adoration of the ‘safety’ La La Land represents. It is also for that reason that Huppert might not win, Elle could be too far out of the comfort zone of the kinds of tastes that make up the Academy. It’s abrasive and un-apologetically French. On the other hand, in the current US political climate this could work in the film’s favour, but would involve giving the Academy great benefit of doubt.

As of yet Loving hasn’t been released  yet but there’s no worry of Ruth Nega’s skills as an actress, so she’s invariably deserving of a nomination. However, as I haven’t seen Loving, my other choice would be Natalie Portman in Jackie. Embodying one of the most visible yet enigmatic women in modern history, Portman brings Jackie and a powerful moment in history back to life. The film is revolutionary in the way it revisits an infamous time from a refreshed and considered perspective – the intimate grief of a widow. Portman’s portrayal is a bundle of contradiction –  staid, erratic, poised and awkward. It’s a quite movie, unassuming and for that matter all the more powerful for it, focused on a commanding performance that spellbinds.

Actor in a supporting role

Mahershala Ali – Moonlight
Jeff Bridges – Hell or High Water 
Lucas Hedges – Manchester by the Sea
Dev Patel – Lion
Michael Shannon – Nocturnal Animals

Appearing in only a third of Moonlight, Mahershala’s performance as Juan, the compassionate drug dealer, is revolutionary in that it sets the tone for one of the most revolutionary films of the year at the very least.

Not to sound too hyperbolic, but Moonlight quietly does what few films in the history of the medium has failed to do – introduce multi-dimensional characterization to its black screen presence, transcending racial identity to create a world in which watchers of the film, regardless of racial, social or sexual identity can find a personal connection and resonance. This is all due to the film’s commitment to honesty, eschewing the usual narrative black and white (no pun intended) world view. Through the honesty of the world in which these character’s inhabit, in a dreamlike state, Moonlight weaves a new kind of realism. Juan is a drug dealer, yes, but he’s also a person. Like any person, he’s complicated and the film’s treats him as such. He’s both the most honourable and dishonourable character committed to screen and the effects of this are felt throughout the rest of the film.

Actress in a supporting role

Viola Davis – Fences 
Naomie Harris – Moonlight
Nicole Kidman – Lion
Octavia Spencer – Hidden Figures
Michelle Williams – Manchester by the Sea

A statement I’ve made a thousand times before – to the point when I’ve received leaving cards with Viola Davis’ face adorned (as all things should be) – VIOLA DAVIS IS QUEEN. As much as there is unending love for Michelle and Octavia, it’s a simple fact that can’t be ignored. Viola Viola-ed once before in this epic scene from Doubt, which converted the great Meryl Streep to an avid Davis disciple:

Robbed this time by Penelope Cruz in 2008, Viola is a  back with a vengeance in Fences. In all honesty how can she not walk off with this award after the most epic of playmaking in Fences. Over a two and half hour film, mostly dedicated to Denzel Washington directing himself in the most Denzel-ist performances, Viola Viola’s with some magnificent displays of subterfuge that has Denzel reminding me of Streep in Doubt:

Just give it to her already! She let snot stay her face for this!
Bow down to Viola and the world will applaud you for it Academy members, I guarantee it.

Directing

Denis Villeneuve – Arrival
Mel Gibson – Hackshaw Ridge
Damien Chazelle – La La Land
Kenneth Lonergan – Manchester by the Sea
Barry Jenkins – Moonlight

Documentary (Feature)

Fire at Sea
I Am Not Your Negro
Life, Animated
OJ: Made in America
13th

In a year of strong contenders, the documentary category has been particularly difficult. Always a believer that the documentary genre is egregiously underappreciated and a recent ponderer of why they can’t actually be included in Best Picture category because ladies and gents, docs can be that good! Docs have been proved to be catalysts to social awakenings and actual change. This particular year shows how.

Like the genre in general, all the docs nominated display a variety of style, thought and creativity that some fiction struggle with; there’s your poetic essay films like Fire At Sea and I Am Not Your Negro; intimate personal stories of Life, Animated; and societal examinations of justice in OJ: Made in America and 13th. While I’ve highlighted nearly two thirds of the nominees as worthy winners, I actually think that all five are deserving and it proved neigh impossible to really choose.

I picked 13th as the likely winner as it’s been doing well all Awards season. However, as good as 13th is, and no matter how deep my girl-crush for Ava Duvernay runs, I think 13th would have worked better as a series, so dense and complex its subject matter. In some ways I wish it had been a bit like OJ: Made in America, originally a mini-series that unpicks all of its elements carefully. Despite that, like all of its fellow nominees, 13th is powerful, timely and worthy of its recognition.

Documentary (Short)

Extremis
4.1 miles
Joe’s Violin
Watani: My Homeland
The White Helmets

Foreign Language

Land of Mine
A Man Called Ove
The Salesman
Tanna
Toni Erdmann

A Separation was a marvel. The Past was good. The Salesman also good. As supportive as I am for Asghar Farhadi; for his work and for the current political ridiculousness he’s and so many like him have been unwittingly embroiled in, I have to be honest and say my vote goes to Toni Erdmann just because I had such a memorable time with it.

Animated Feature Film

Kubo and the Two Strings
Moana
My Life as a Courgette 
The Red Turtle
Zootopia

Music (Original Score)

Mica Levi – Jackie 
Justin Hurwitz – La La Land 
Dustin O’Halloran & Hauschka – Lion
Nicholas Britell – Moonlight
Thomas Newman – Passengers

Writing (Original Screenplay)

Taylor Sheridan – Hell or High Water
Damien Chazelle – La La Land
Yorgus Lanthimos – The Lobster
Kenneth Lonergan – Manchester by the Sea
Mike Mills – 20th Century Women

Writing (Adapted Screenplay)

Eric Heisserer – Arrival
August Wilson – Fences
Allison Schroeder & Theodore Melfi – Hidden Figures
Luke Davies – Lion
Barry Jenkins (Story by Tarell Alvin McCraney) – Moonlight

 

With the pre-Oscars analysis complete. Let’s see how wrong/vindicated my prognosis is next time!