Through Her Lens: 2012 (The 85th Oscars)
Saturday, July 16, 2022 at 7:00PM A series by Juan Carlos Ojano. Introduction / Explanation
Come Oscar nominations announcement, the Best Director category was one of the most discussed among Oscar fans and predictors. Perceived frontrunners Ben Affleck (Argo), Kathryn Bigelow (Zero Dark Thirty), and Tom Hooper (Les Misérables) missed out on nominations while two legitimate shockers came in their place: Michael Haneke for the arthouse drama Amour and Behn Zeitlin for the fantasy drama Beasts of the Southern Wild. This led to one of the most chaotic Oscar races of the decade, leading to Argo winning Best Picture even without its director Affleck nominated.
While she was a strong force in that category leading to nominations, previous winner Kathryn Bigelow was the only female director given considerable awards attention that season...
This was yet again another missed opportunity to recognize other female directors who had done excellent work that year. Out of the 281 films included in the Reminder List of Eligible Films in 2012 (85th Academy Awards), 40 (14.2%) were directed/co-directed by women. OSCAR-NOMINATED FEMALE-DIRECTED FILMS (in alphabetical order): Brave, Inocente*, Kings Point*, Mondays at Racine*, Zero Dark Thirty (*not in the eligibility list for Best Picture)
AN ALTERNATIVE SET OF FIVE
Lana Wachowski & Tom Tykwer & Lilly Wachowski - Cloud Atlas
Helmed by the triptych of directors, this is a sprawling saga of beauty and love that spans six storylines from different time periods. With distinctive creative choices from the visuals to acting, each of these segments operate as a spiritual sibling to the other to create an overarching narrative that transcends what is explicitly stated. How could a seafaring thriller, a period romance, a 70s style thriller, a comedy, and two science-fiction storylines connect? This is the tricky undertaking that the film embraces with clear-eyed passion, with one story bleeding into the other with flawless grace and enthrallment. Its storytelling keeps on making big swings while still balancing its sweeping scope with delicious control. One could only hope that more films have the kind of audio-visual audacity that the trio were able to imbue. Truly a colossal piece of filmmaking. Available to rent on most platforms.
Brian M. Cassidy & Melanie Shatzky - Francine
This directing duo follows the titular character as she settles into a small town following an extended imprisonment. For the most part, the film explores her experience with solitude in its various forms. The way Francine struggles in connecting with other people is quietly striking; her walking around a metal rock band’s performance with ther casual audience members has more human connection than her uncomfortable interactions with her amiable work supervisor. She is most comforted by her interactions with animals, whether it be a dog, cat, or a horse. In all of this, Melissa Leo is the film’s quiet center, one that goes through a dramatic journey all internally. She gives a piercing performance that resides in the deafening silence of isolation. The film embraces independent filmmaking in the truest sense - small-scale, unpolished, and yet invigorated - in bringing this intimate character study to life. Streaming on Kanopy, Fandor, and Mubi.
Sarah Polley - Take This Waltz
In this film, director Polley has come up with a mutation of romance, drama, and comedy that is so oddball that it easily outdoes any schematic categorization. Tackling the topic of marital infidelity, she uses smokey steam, sweaty skin, and warm colors to tell this story not as a series of melodramatic peaks but as fleeting segues from daily life that lead into seduction. The film is very sensual in capturing the intricacies of the protagonist’s home life, making the world feel tactile. The film also possesses contrasting rhythms; Margot’s marriage with Lou has beats that jump from comedic to heartbreaking. Meanwhile, her conversations with Daniel paces from playful banter to verbal adultery. Margot as a character is anything but simple. The film achieves a narrative crescendo without breaking its rhythm, making its emotions even more difficult to externalize in simple terms. Streaming on Prime Video and other platforms.
Amy Berg - West of Memphis
Where does one begin with the case of the West Memphis Three? The only way to not repeat the miscarriage of justice imputed on them is by doing a fair reexamination. Berg throws us right into the sensationalized media coverage of 1993 that resulted in their conviction and then slowly parses through the remains of the past through the careful organization of the evidence available. The sense of time and place gets stronger as she revisits the crime to unearth whatever loose ends the initial investigation has. Not only to prove the innocence of the three, but to condemn the Arkansas justice system that has failed not only the three wrongfully convicted, but of the three boys that were murdered in cold blood. Berg’s incisive focus leads to a multifaceted study of the surrounding circumstances. The turn of events packs an emotional wallop not because of shock but of empathy. Available to rent on most platforms.
Kathryn Bigelow - Zero Dark Thirty
Following up her historic Oscar win for The Hurt Locker, Bigelow returns to the Oscar race with the relentlessly engaging story of the decade-long manhunt for Osama Bin laden through the eyes of CIA analyst Maya. The approach that she employs in this film is very matter-of-fact. The effect is that the scenes become startlingly direct, one that does not allow the audience to detach and instead immerse in the inner workings of this high-stakes mission. Even in the scenes depicting torture, Bigelow maintains this keen eye for observation and laser-sharp attention. We are not allowed to look away but neither does it feel exploitative. The film employs the same vigor that electrifies even during the tense quietness that precedes explosions of all sorts. When the climactic raid on the compound takes place, we are still bound by the same visual rigor that makes Maya’s eventful journey engaging and yet haunting by the film’s final shot. Streaming on Netflix.
HONORABLE MENTIONS
- Julia Loktev - The Loneliest Planet
- Ava DuVernay - Middle of Nowhere
- Ursula Meier - Sister
- Nadine Labaki - Where Do We Go Now?
- Lynn Shelton - Your Sister’s Sister
What would your dream ballot have looked like for the films of 2012?
Previous Episodes: 2013 | 2014 | 2015 | 2016 | 2017 | 2018 | 2019 | 2020
Reader Comments (7)
I feel sorry and embarrassed for anyone whose love of Les Mis stems from this abomination of a film. I don't mind Anne Hathaway as an actress, but she won that Oscar for the role and the song and less about actual performance.
I love seeing my hometown girl Sarah Polley getting some love here. She has been a part of my life since my very young days having to watch Road to Avonlea on Sunday nights as a family after dinner.
Zero Dark Thirty, even in spite of its nauseating pro-Americanness, is a great film and Jessica Chastain has always been an amazing force. I'm delighted she's finally an Oscar winner, and I truly believe it should have happened here.
David O Russell looks different …
Agreed on the shoutouts to Polley and the Wachowskis!
Although I am not a huge supporter of the film's win in Animated Feature, I think Brenda Chapman needs to be mentioned here, being the first female winner in that category.
I'd also put forward Cate Shortland and LORE - I'm not a fan of the film itself, but it certainly shows her wonderfully focussed directorial eye.
@Travis C: LORE is eligible in 2013 and is actually included in my piece for that year!
Apologies. I had gone with the Australian release date.
Still have trouble wrapping my head around how a snub led to a pretty solid year overall being dominated by one well made, if ultimately blah film. Justice for Lincoln and Tony Kushner! That being said, this was a stellar line up for Director. Swap out Bigelow for Russel, and I think you have a group for the ages. I can appreciate them embracing a romantic comedy, but this is Russel's weakest nomination (and film) from his run. And whatever issues I have with her film's politics, there's no denying the sheer craft in Bigelow's work. The raid scene alone was worthy of a nomination.
I wouldn't mind any of these five winning: (alphabetical order)
Wes Anderson
Kathryn Bigelow
Michael Haneke
Ang Lee
Benh Zeitlin
I'd dump Russell immediately for Bigelow, and dump Speilberg probably for Anderson, or the Twyker/Warchowskis combo.