Almost There: Gene Hackman in "The Conversation"

by Cláudio Alves

This past weekend, Francis Ford Coppola's The Conversation celebrated its 50th anniversary. Originally released in 1974, the film represents the peak of the paranoia thriller craze of that decade, encapsulating a cultural zeitgeist along with the creative zeal of New Hollywood. And yet, it's usually overshadowed by the director's other release that year – Best Picture winner The Godfather Part II. Thankfully, at The Film Experience, we've regularly showered praise on The Conversation, whether in Cannes at Home musings or Hit Me With Your Best Shot analysis. That said, one element remains under-discussed, a facet of this masterpiece so essential that, without it, the entire project would fall apart. It's Gene Hackman, of course…

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Almost There: Robert De Niro in "Mean Streets"

by Cláudio Alves

Fifty years ago today, the 46th Academy Awards took place in Los Angeles. It was a starry night, as Oscar nights often are, and The Sting would end the ceremony as its big winner. The Exorcist and The Way We Were also did well for themselves, illustrating a push-and-pull between modernity and tradition as the industry tried to reckon with the nascent Old Hollywood movement within its ranks. Indeed, that same year, an up-and-coming New York-based filmmaker had premiered his third feature to great acclaim. Amid its cast was an actor who'd become one of his most important collaborators, a creative partnership that lasts till today and has shaped a good part of American film history.

Mean Streets was also the first time Robert De Niro entered the Oscar conversation. Critics singled him out for his turn as Scorsese's Johnny Boy…

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Almost There: Margot Robbie in "Barbie"

by Cláudio Alves

Everybody complains about comedic performances not getting their due on awards season. But of course, the instant such work becomes a serious contender, the knives come out. These achievements are generally dismissed, as if straight drama was inherently superior to broad comedy. I'm not accusing anyone in particular, but it is a phenomenon that can be felt across cinephilia, especially when it involves a movie like Barbie, which tapped into the zeitgeist and somehow became one of the year's defining movies. I thought about writing on the reaction to Ferrera's Best Supporting Actress nomination or how the tides have turned on Gosling as the season unfolded. Yet, Robbie was perfect for the Almost There Series, so here we are. 

With the 96th Academy Awards mere days away, the dust should have settled after the collective psychosis that followed the movie's "snubs" in Best Director and Best Actress. At least, I hope cool heads prevail as I dive into Margot Robbie's portrayal of Stereotypical Barbie…

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Almost There: Charles Melton in "May December"

by Cláudio Alves

Apologies for the delay in what was supposed to be the Almost There series' glorious return. Since the Oscars are less than one week away, let's see if I can get things back on schedule, starting with a look at one of the season's most disappointing "snubs." When May December premiered in Cannes, many singled out Charles Melton's performance, starting a narrative with great potential. Here was a Riverdale heartthrob making his way into the big leagues, proving he could go toe to toe with such awards-winning stars as Natalie Portman and Julianne Moore. Sadly, not long after a Gotham victory, Melton's campaign lost steam, victim of his film's failure to secure industry support, and he ended outside of AMPAS' Best Supporting Actor ballot…

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Almost There: Barry Keoghan in "Saltburn" & Andrew Scott in "All of Us Strangers"

by Cláudio Alves

Earlier this week, the Almost There series returned with a look at Penélope Cruz's failed bid for the Best Supporting Actress Oscar. Now, it's time to move on to Lead Actor, where the season's most prominent contender without a nomination was Leonardo DiCaprio in Killers of the Flower Moon. But since you're probably tired of reading my defense of Scorsese's latest, I decided to focus on two others instead. The first victim is Barry Keoghan in Saltburn, for which he was nominated at the Golden Globes, BAFTAS, and Critics Choice Awards. Our second sacrifice is Andrew Scott, whose campaign for All of Us Strangers was full of passion but few actual plaudits. There were nominations at the Globes, Spirit and British Independent Film Awards, little else...

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