Queering the Oscars: Best Original Screenplay "Far From Heaven"

by Patrick Ball

It certainly isn’t a stretch to consider any Todd Haynes filmography part of the Queer Oscar Canon. The filmmaker brought us La Blanchett in the all-timer Carol and as a gender-bent Bob Dylan in I’m Not There. He directed Laura Dern and Kate Winslet on the small screen in prestige HBO offerings Enlightened and Mildred Pierce (respectively). And I know I’m not alone in my extreme anticipation for his forthcoming May/December, his third collaboration with primary muse Julianne Moore. If the proverbial Dorothy is 'a great actress or queer icon of her generation' than the man is a *friend* of Dorothy. But my favorite, and an early example of how a queer perspective permeates through his style, enriching the work, is Far From Heaven. 

Far From Heaven, a juggernaut on the 2002 Critics Circuit, eventually was nominated for four Academy Awards- including one for Haynes’ himself for Best Original Screenplay. Though it didn’t take home any trophies that night (in an intensely competitive and notorious Oscar race), Far From Heaven was considered a breakthrough for Haynes as a filmmaker...

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This Had Oscar Buzz & Chasing the Gold

by Nathaniel R

I had the pleasure of recording not one, not two, but three podcasts this week. Yes, The Film Experience's own podcast returns very soon (hopefully tomorrow). But before that's edited, please enjoy these two guest-spots I had the pleasure to do.

THIS HAD OSCAR BUZZ
Joe Reid and Chris Feil, former Team Experience members!, launched this brilliant podcast in 2018. You're probably already a fan. "This Had Oscar Buzz" discusses one failed awards hopeful per episode. They gave me a list of films to choose from for my guest spot and perusing it I knew exactly which film I had to choose. The very blonde, very actressy, very complicated, very Pfeifferiffic White Oleander (2002) called out to me. Please give it a listen! 

CHASING THE GOLD
You can also hear me discussing the brand new Oscar nominations on InSessionFilm's podcast hosted by Ryan McQuade.  Erik Anderson of Awards Watch and I were the special guests and we really get into the weeds of Oscar campaigns and this odd season. 

Almost There: Michelle Pfeiffer in "White Oleander"

by Cláudio Alves

This past weekend, actressexuals and Pfeiffer pfans were scandalized when Lucas Hedges revealed he had never seen a movie starring Michelle Pfeiffer before working with her on French Exit. I kid, while also admitting I was surprised. Being only two years older than Hedges, I've seen plenty of Pfeiffer movies as have many of my friends, ranging from work by renowned auteurs to blockbuster fare. Hers is a varied filmography. She may have only been nominated thrice for the Oscars, but Michelle Pfeiffer has delivered a fair share of awards-worthy star turns and her range is quite expansive. Equally brilliant in big leading parts and small supporting roles, broad comedy and thrilling drama, Pfeiffer is one of my favorite actresses and I'd love nothing more than to share my adoration with you, dear readers.

With that in mind, let's delve into one of the best performances in her resume. Maybe more than any other of her other films, White Oleander got Michelle Pfeiffer very close to that elusive fourth Oscar nod…

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Almost There: Andy Serkis in "The Lord of the Rings: The Two Towers"

by Cláudio Alves

The particularities of screen acting make it a collaborative effort, even in the most low-fi of situations. What gets left on the cutting room floor, what reactions are chosen by the editor and director, the sound, the makeup, the way a cinematographer lights the performer's eyes, all shape what we see projected on-screen. Still, when it comes to awards, there's a belief that performance is the sole responsibility of the individual in front of the camera.

When the collaborative aspects of screen acting are made inescapable, it's  difficult to collect golden accolades. We see that happening to voice-only performances and motion-capture efforts, in particular. With The Lord of the Rings trilogy new to streaming on Hulu, we have a good opportunity to explore the mo-cap performance that came closest to Oscar glory. I'm talking about the paradigm-shifting work of Andy Serkis as Sméagol/Gollum in 2002's The Lord of the Rings: The Two Towers…

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Sandy Powell as an auteur and the splendor of 2002

by Cláudio Alves

Auteur theory may be important, but it has clear limitations. Cinema is an intrinsically collaborative art form and the creation of the cinematic object often involves the work of numerous artists brought together by a common creative mission. To point at one of those minds as the singular visionary of a film is, in part, to erase the authorship of the others. Over the years, scholars, critics, and casual cinephiles have argued for the auteur description to be expanded beyond directors, often signaling actors and writers as good candidates for that same validation. I'd argue that all sorts of contributors to the construction of cinema can be seen as artists who bring their authorial voice to their filmography.

For example, costume designers like Sandy Powell may putatively work for their director's grand vision. However, if you look at their filmography, you see recurrent obsessions and mechanisms, repeated themes, and the development of a personal aesthetic that transcends the limits of directorial intent. Since we're celebrating the year of 2002 because of the impending Supporting Actress Smackdown, I invite you all to consider Powell's authorship as we explore her fabulous designs in Gangs of New York and Far from Heaven…

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