Best Picture in Monochrome

by Cláudio Alves

The trend of rereleasing critical darlings in black and white is apparently here to stay. After George Miller’s Mad Max: Fury Road and James Mangold’s Logan, it’s time for Bong Joon-ho’s Parasite to be revisited in sharp monochrome. The artistic value of such exercises is dubious, but they do offer a chance to reflect upon a film’s visual idiom and aesthetic construction. After all, do these works gain something by being in color? Is that an intrinsic part of their form or simply a consequence of convention? Would they be better, at least better looking, in black and white?

Those answers will have to remain unanswered, but as a fun exercise here are some from this year’s Best Picture nominees. They’ve been drained of color for your pleasure…

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Echoes from Oscars Past

by Cláudio Alves

The past always returns, one way or the other. It haunts the present and prophesizes our uncertain futures. That's why History is a cycle of recurring nightmares and dreams, one overtaking the other in ruthless combat.

Anyway, we're here to talk about the Academy Awards. The ghosts of Oscars past always come to haunt the current races, helping shape narratives, setting records to be broken and announcing patterns of cyclical discontent. Regarding the Best Picture nominees of 2019, here are some of the Oscar champions of the past that haunt them… 

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The Cinematic Redemption of Amy March

by Cláudio Alves

Greta Gerwig's Little Women is a bold adaptation of Louisa May Alcott's beloved classic in more ways than one. Structurally, it shatters the novel's chronology, making past and present, childhood and adulthood, talk to each other in a dialogue of echoes and rhymes. For instance, when Jo loses a sister in the wintery coldness of the present, Gerwig marries the moment to the memory of another kind of sisterly loss, when a wedding in warm colors was a harbinger of future loneliness for the heroine. Another element that makes this new adaptation so radically different from the previous ones is its treatment of Jo's sisters. No longer are Meg, Beth, and Amy March relegated to the periphery of the text. This 19th-century classic is called Little Women, after all, not Little Woman.

When it comes to its portrayal of Amy, the novel's most condemned character, the 2019 film is of particular innovation. We could almost say this Little Women redeems Amy March after centuries of villainizing her…

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So many awards this weekend!

Designers, makeup artists, and personal stylists must be logging looooong hours this month. There's so many awards galas happening crammed in before Oscar night. We already covered the DGA and the Annies but that wasn't all that happened this weekend (and the Grammys are still to come tonight!). After the jump, a list of other prizes handd out this weekend to luminaries like Greta Gerwig and Roger Deakins.

USC Scripter Awards
Greta Gerwig won this prize along with the posthumous Louisa May Alcott and gave this lovely acceptance speech...

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Is it (finally) Thomas Newman's time?

Just 15 days til Oscar. Here's Cláudio Alves on a 15 time nominee...

When we think of Hollywood royalty, our mind tends to go to those dynasties of movie stars or celebrity directors -- families like the Barrymores, the Hustons, the Fondas or the Coppolas. But not every tinsel town lineage is made up of those who sit on the director's chair or dazzle in front of the cameras.

The Newmans are a good example. With more than 90 collective nominations and many wins, they're the Academy Awards' most beloved family. Alfred Newman is the most Oscar-winning composer of all-time with a total of 43 nods and 9 victories. His son David Newman is a one time nominee and his brother, Lionel Newman, won the Oscar for adapting the score of Hello Dolly! and received 10 additional nominations. Emil Newman, another brother, was nominated for the score of 1941's Sun Valley Serenade. Their nephew, Randy Newman, has amassed 22 nods and 2 statuettes. 

And then there's Alfred's other Oscar-beloved son, Thomas Newman…

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