Best Editing: The Art of Disorientation

by Cláudio Alves

There seem to be two big schools of thought regarding what good film editing is. On the one hand, classic Hollywood precepts indicate a preference for the invisible, cutting so organically enmeshed with the rhythms of the story one barely notices its mechanisms. On the other hand, there's a showier style, editing that calls attention to itself and demands applause, especially in the realm of action cinema. In either case, an unwritten rule posits clarity of information and storytelling as a defining tenet. Editing should facilitate the movie-watching process by allowing the audience to follow along with the narrative or thesis, its emotional beats, spatial awareness, and chronology. Nonetheless, two of this year's biggest contenders in the race for the Best Editing Oscar do the exact opposite, choosing to engage with the art of editing as a tool of disorientation rather than clarification, chaos instead of order…

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Interview: on "Welcome to Chechnya" and putting visual effects to humanitarian use.

by Nathaniel R

Director David France and Visual Effects Supervisor Ryan Laney on "Welcome to Chechnya"

If you haven't yet screened the documentary Welcome to Chechnya, a finalist for Best Documentary Feature, don't delay. The film details the journey of a group of incredibly brave LGBTQ activists in Russia, working to help people escape Russia and Chechnya where the government condones the abduction, torture, and murders of queer people, by denying that it's happening at all. The primary storyline involves "Grisha" (not his real name) a gay event planner who was abducted and tortured in Chechnya while working on a job there.

Due to the unique risks to the people involved and the need to protect their identities, Welcome to Chechnya opted to deploy innovative visual effects rather than the traditional "shot in shadow" or blurred faces you would usually see with anonymous voices in documentary. Now the film finds itself charting unfamiliar awards territory as a finalist for the Best Visual Effects Oscar, a category that's usually focused on sci-fi films, superheroes, and action blockbusters...

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Lunchtime Poll: Who would Bette & Larry vote for?

IT'S 10 DAYS UNTIL OSCAR NOMINATIONS. Academy voting on those nominations begins right now. For a bit of silly "lunchtime poll" fun, let's place ourselves in the shoes of 10* times nominated legends Bette Davis and Sir Laurence Olivier.

Both legendary performers liked to go BIG. Bette was a dangerous risk-taker and Sir Larry a big ol' THESPIAN ham. Pretend they're still alive and staring at their Oscar ballots. We know Sir Larry loved other hams (Mickey Rooney was his favourite) but what did Bette like in other actors? She was inarguably opinionated but her passions and turn-offs were hard to predict. We know that in the 1980s she preferred Debra Winger's work to Meryl Streep's (which makes a lot of sense if you consider that Debra's obstinant fire was much closer to Bette's persona than Streep's chameleon fluidity) but who would she have been into right now?   

Which movies and stars would they be voting for this year? Share your theories! 

* Bette has 10 official Best Actress nominations but we view it as 11 due to her write-ins for Of Human Bondage (1934). Olivier had 13 nominations but 3 of them were in non-acting categories.

Will Regina King be nominated for Best Director? It'd be a first in more than one way.

by Eurocheese

All Oscar season, I’ve heard a comment that didn’t sit quite right with me. When discussing Regina King’s Oscar chances for a Best Director nomination, the belief was that because she is a well-known actress, her nomination was more likely. Is that true, when we look at previous Best Director nominees? My knee jerk reaction has been 'tell that to Ben Affleck and Bradley Cooper', two of the most surprising Oscar snubs in the category over the last decade. Does Best Director typically resist award winning actors? And would King be an unusual choice for a nominee? My answer to both questions is yes, and before you object, I brought receipts.

There have certainly been acclaimed actors (mostly white males, of course) that have crossed from the acting world to become acclaimed directors. Examples typically fall into a few specific categories...

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FYC: "Pinocchio" for Best Makeup & Hairstyling

by Cláudio Alves

Carlo Collodi's 1883 novel The Adventures of Pinocchio has been adapted countless times to the big screen, from the time of the silent shorts to today's world of streaming services and opulent CGI. However, it should be noted that, throughout the majority of film history, the most famous adaptations of this literary nightmare have been rather unfaithful to its source material, its sharper edges indiscriminately sanded off. A tale of cruel moralism full of ghoulish characters, Pinocchio's story is often mellowed until its hellish visions are more enchanting than terrifying. 

When it was time for Matteo Garrone to shoot his version of the narrative, the Italian director went back to Collodi's original tone…

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