Oscar Volleys: Best Picture is all about Narratives

Here’s Cláudio Alves and Ben Miller on the Best Picture race...

THE BRUTALIST, Brady Corbet | © A24

CLÁUDIO: Hello Ben, it's time to discuss the biggest category of them all - Best Picture.

This year, I'm sad to say I'm not especially passionate about the top contenders. Indeed, taking a glance at my rankings, it's likely that not a single nominee even cracks my top 25. Then again, miracles do happen once in a while, even when all seems said and done. Even so, imagining an AMPAS lineup without Anora, The Brutalist, Conclave, Emilia Pérez, or Wicked seems increasingly difficult. In those times before the category's re-expansion to ten nominees, these would be the five I figure most folks would be predicting. Do you concur? 

BEN: I am really enjoying the variance in this year's race…

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Oscar Volley: Best Original Screenplay is the Battle of the Auteurs

In this Oscar Volley, Eric Blume and Cláudio Alves discuss the Best Original Screenplay race…

HARD TRUTHS, Mike Leigh

ERIC BLUME: Hi Cláudio, I put us together on this one because I love arguing with you.  Hope that's okay.  Plus, I am curious to get your takes on some of these films and scripts.

Best Original Screenplay has a lot of strong contenders this year.  What I find particularly interesting is that eight of these feature scripts written by their directors - Seed of the Sacred Fig, A Real Pain, The Substance, September 5, Anora, The Brutalist, All We Imagine as Light, and Hard Truths.  That has to be some kind of record? 

CLÁUDIO ALVES: With the growing connection between the big European film festivals and the awards season, auteur cinema is on the rise as an Oscar gold magnet. And many of those selections favor director-forward productions, often where the folks in the director's chair also penned the script. Indeed, from the octet you mention, only A Real Pain and Hard Truths premiered outside Cannes or Venice. And with Mike Leigh's latest, it wasn't for a lack of trying on his part…

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Golden Globe Nominations!

by Eric Blume

Let's take a look at the Golden Globe nominations announced yesterday, in the major categories.

BEST MOTION PICTURE, DRAMA

• THE BRUTALIST, A24
• A COMPLETE UNKNOWN, Searchlight Pictures
• CONCLAVE, Focus Features
• DUNE: PART TWO, Warner Bros. Pictures
• NICKEL BOYS, Orion Pictures / Amazon MGM Studios
• SEPTEMBER 5 Paramount Pictures

It's very "Globe-y" that both NICKEL BOYS and SEPTEMBER 5 received a nomination for the Big Award and for absolutely nothing else.  They're both solid films, tricky to single out actors in.  The Globes went in big for both THE BRUTALIST and CONCLAVE, so it seems like the race is between those two at this point...

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Category Confusion '24: COMEDY or DRAMA – Part One

by Cláudio Alves

Is THE SUBSTANCE a comedy or a drama? What gives?

This year, I am part of the voting body for the Golden Globes, which gives me access to a cornucopia of screeners and FYC material that was erstwhile inaccessible to me. This also means I get a front row seat for the absolute circus that is category fraud from studios and distributors alike. Not just in terms of finagling distinctions between lead and supporting performances. Because this is the Globes, there's also the matter of which films compete in Drama, and which others battle it out in the presumably less competitive realm of Musical or Comedy. Because we all need distractions right now, let's ponder these inconsequential genre divides and enjoy some benign polls whose results don't really matter beyond these awards obsessive circles of ours…

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Venice 2024: Luca Guadagnino's "Queer"

by Elisa Giudici

Daniel Craig and Drew Starkey in QUEER (photo: Yannis Drakoulidis)

Luca Guadagnino's 2024 double feature, early release Challengers and the new premiere Queer, explore the intricate and slow process of calibrating love. In both,love is a delicate balancing act where one person loves intensely, perhaps even desperately, while the other remains more passive, content to be loved without being deeply invested in the relationship. The fundamental difference between the two lies in how they resolve this imbalance...

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