Dear AMPAS... Love, Team Experience

With the final Oscar voting commencing today -- can we still say "ballots going out" when this season has been so dramatically electronic? -- I asked Team Experience to write very brief notes to Oscar voters.

I'll start us off...

❝Dear AMPAS, Two Words: Emmanuelle Riva. Respect your elders and wish her a happy 86th birthday on February 24th (your 85th!). In your 85 years you've had plenty of impossible dreamgirls like Lawrence, rapidly ascending versatile stars like Jessica, and resilient fierce mamas like Naomi. But you've never given the prize to anyone like Emmanuelle. Do your own Best Actress legacy proud by switching it up and proving you're still free thinkers in your 80s! 
Yours always, for better & worse, Nathaniel❞

pleas for The Master, Zero Dark Thirty, Moonrise Kingdom and more after the jump...

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Lawrence & Hoult Reunited... At the Box Office

Jennifer Lawrence recently split from X-Man boyfriend Nicolas Hoult and now they're reunited ...sort of... at the box office. He's a sort of dead heartthrob with a thing for a charismatic blonde in Warm Bodies while she's a charismatic blonde with a thing for a barely living headcase in Silver Linings Playbook.

Top of the Box Office
01 WARM BODIES $19.5 *NEW*
02 HANSEL & GRETEL: WITCH HUNTERS  $9.2 (cum. $34.4) 
03 SILVER LININGS PLAYBOOK  $8.1 (cum. $80.3)  Beau's Review
04 MAMA  $6.7 (cum $58.2) 
05 ZERO DARK THIRTY $5.3 (cum. $77.7)

In other movie/money news: Bullet to the Head, the only wide release going up against the zombie romcom Warm Bodies, came in at #6 which is amusing since that's how you generally kill the walking dead; The Best Picture nominees continue to make a lot of bank in the bottom half of the top dozen box office with those long legs at the box office;  A Royal Affair which is competing with Amour for Best Foreign Film just crossed the $1 million mark in US arthouses, always a significant line for subtitled pictures. Amour has reached $2.5 million, the lowest grossing Best Picture for decades... though it's still in under 100 theaters. (Expansion still in progress. Stay tuned.) Globally speaking it's still slightly behind Caché and The White Ribbon as the most successful Haneke picture. 

What did you see this weekend? Or were you all about The Superbowl?

César Noms: "Amour" vs "Rust & Bone" vs "Holy Motors"

Editor's Note: You may have figured out over the years that The Film Experience is more than a little fond of France and French cinema. Sadly I've never been to France. This year I've asked my friend in Paris, Julien to keep us up to date so he sent in the following article about this year's nominations. You should follow Julien Kojfer on Twitter because he's great. Just pretend you understand French whenever he goes there! - Nathaniel R

Julien takes it from here.

Three Films that also made waves Stateside

Here’s one for all you francophiles out there. France’s very own AMPAS, the César Academy, revealed its own set of nominees this morning. Since I’m guessing a lot of you won’t be familiar with most of the anointed films and performers, I’ll guide you through the major categories - a usual mixed bag of auteurist fare, populist hits, and biopic dreck.  

BEST PICTURE

• Amour
• Rust and Bone
• Holy Motors
• Farewell, My Queen
• In the House
• Camille Rewinds
• Le Prénom (What’s in a name) 

BEST DIRECTOR

• Michael Haneke for Amour
• Jacques Audiard for Rust and Bone
• Leos Carax for Holy Motors
• Benoît Jacquot for Farewell, My Queen
• François Ozon for In the House
• Noémie Lvovsky for Camille Rewinds
• Stéphane Brizé for Quelques heures de printemps

The major categories were bumped up from 5 to 7 nominees since the last couple of years, which makes no sense to me whatsoever, but who cares. The über-frontrunner is obviously Amour, which will be difficult to deny considering that Palme d’or and those 5 Oscar nominations.

This is Michael Haneke's 2nd Best Director nomination at the César Awards. He was previously nominated for Caché (Hidden)Rust and Bone seems to be the main challenger, but since Jacques Audiard has already triumphed twice at the César for his two most recent efforts, voters will presumably see no objection in handing the César-less Haneke his due. Also keep in mind that César voters are notoriously generous to foreign auteurs: Roman Polanski has won the Best Director prize thrice (and for English-speaking films to boot: Tess, The Pianist and The Ghost Writer) and past best director winners also include Joseph Losey (American) for Monsieur Klein, Andrzej Wajda (Polish) for Danton, Ettore Scola (Italian) for Le Bal and Denys Arcand (Canadian) for The Barbarian Invasions. 

The other nominees make for a surprisingly strong lineup: Farewell, My Queen (on Nathaniel’s own Top Ten list) is superior costume fare from respected veteran Benoît Jacquot; the deliciously sly In the House is François Ozon’s best film since 8 Women; Noémie Lvovsky’s Camille Rewinds is so charming and heartfelt that it manages to make you forget how blatantly it rips-off 80s classic Peggy Sue Got Married; and of course Leos Carax’s astonishing Holy Motors is everyone’s favorite comeback story of 2012 (I’m sorry, Ben who?) 

MORE AFTER THE JUMP including Cotillard vs. Riva

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Podcast Nom Reactions Pt 2: All Category Run Through

I've had bizarre trouble in getting this last two-part podcast up! I am technologically inept I suppose. I never can explain / figure out what happens when things go wrong but nevertheless here is finally part two of that Post-Nomination discussion. In Pt. 1 Joe, Katey, Nick and I (Nathaniel) discussed the big eight categories and answered reader questions.  

Pt 2:  Animated Feature, What happened to The Impossible?, Best Pictures, Small Pictures and Craft Categories, Best Makeup (and Hairstyling!), Costumes, Best Actor,  is Cinematography the "Supporting Actor" of the craft categories this year?, and lots of praise for Amour.

You can download the podcast on iTunes or listen right here at the end of the post. 

Category Run Through

Best of the Year: Nathaniel's Top Ten

Previously: The Honorable Mentions

Often during the calendar-straddling list-making frenzy of "top ten season" a scene or a line of dialogue or even a whole film will refuse to dislodge itself from any internal conversation you may have with oneself about the year. That moment for me this year was Kylie Minogue's cameo late in Holy Motors when she arrives in a trenchcoat, like some lost Casablanca love, to sing:

Who were we. When we were. Who we were back then?

It'd be ineloquent bathos, too crudely and redundantly stated, if it weren't sung. But this heightened musical longing for a lost identity, lifts and soars with pathos instead. The year's best films kept reinforcing this most interior of questions as they wrestled with their past selves towards an uncertain future.

Nathaniel's Top Ten of 2012
From all movies screened that received US theatrical releases...

ZERO DARK THIRTY (Kathryn Bigelow)
Sony/Columbia. December 21st 

[SPOILERS FOLLOW] My favorite exchange in Mark Boal's dense script occurs between a government official and a CIA operative. "What the fuck does that mean?" "It's a tautology". I laughed at the wordplay in the film but wasn't expecting the widespread tautological eruptions that followed the film's premiere as everyone bent themselves into self-affirming pretzels to debate its portrayal of torture in the film's opening scenes as if there were only one way to look at the damn movie... as if torture were the only thing worth discussing about the film! To Zero Dark Thirty's credit, though I too was discomfited by its suggestion that torture yielded useful intel, there's nary a comfortable or pandering moment in the film. Like The Hurt Locker before it, ZDT attempts something like an apolitical stance though how successful that is (or ever can be) will be left to each viewer to decide. In my mind, Bigelow doesn't suggest that you're meant to enjoy torture or even embrace the mission's success, exactly...

more on Zero Dark and 9 more triumphs after the jump...

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