Chart Updates: Film Editing, Production Design, Cinematography!

by Nathaniel R

All of the Visual categories in the Oscar charts have now been updated save Costume Design which we tend to give its own articles -- playing favourites, sorry! But looking over the charts and the possibilities, it does beg the question: are Dune and West Side Story just going to be nominated in every category? And will any other films core as many nominations?  The year isn't short on films that are visually remarkable of course. There's Power of the Dog, Nightmare Alley, Tragedy of Macbeth, The French Dispatch, The Green Knight, Passing, and more.

But the question is always what are voters actually watching and what are they liking? Being remarkable only gets you so far...

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Year in Review: Best Movie Posters

by Nathaniel R

Movie posters may be an endangered artform since movies are seldom chosen from lobby posters or slapped on DVD covers anymore. Most people see only those interchangeable rectangles of movie star faces deployed by Netflix or Hulu in scroll bars. Nevertheless we still love the way posters at their best can brand or encapsulate a movie, become iconic pieces of art in their own right (rare), or cleverly tease or suggest the kind of experience you'll be having when you watch the movie.

Movie posters are often lazy so we want to cheer the good ones. Some titles that missed the following list but remain noteworthy are:  Benedetta which arranged the text in an invisible crucifix frame, Annette, which memorably placed its romantics underneath a tidal wave, the teasers for The Matrix Resurrection and Black Widow  which went minimalist and flat but impactful, Swan Song and The Eyes of Tammy Faye for the way they presented the main character's face while also obscuring it emotionally, and the graphic whatsthis? boldness of both Titane and Tragedy of Macbeth.

The best movie posters of the year after after the jump...

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Thankful for... Cláudio Alves!

This year for our "thankful for" column we're mixing it up a bit. Instead of asking our contributors to share a brief list of favourite things, I'm interviewing them so you can get to know them a bit better. We love them all, here, at TFE HQ and hope you do too. On Thanksgiving's Eve let's talk to our most frequent contributor, CLÁUDIO ALVES. 

Cláudio first joined us two and a half years ago and it makes all kind of sense that his first piece was on the potential of Oscar's costume design race of 2019. He blesses us with his expressive writing so often it's hard to choose favourites or even know where to point you but if you're just joining us but our most popular series, currently, is his "Almost There" column on performances that didn't quite win Oscar favor so start there! Other passions of his include film festivals and International Cinema and Hollywood History. Any links in this interview go to related beautiful pieces of his, too.

Here's our short interview...

When did you first fall in love with the movies?

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Box Office: "Eternals" opens big, "Spencer" doesn't pack them in.

What did you see this past week/weekend? The public came out in droves for Marvel's disappointing Eternals because the public always comes out for Marvel's Anything. In more surprising news Wes Anderson's The French Dispatch held strong as it added theaters and continues to overperform while Spencer, despite a lot of Oscar buzz for Kristen Stewart, slightly underperformed. Of course you could also argue that it overperformed given the dire market these days for non-franchise* adult-oriented pictures.

Weekend Box Office November 5th-7th 🔺 = new or expanding
1-5	6-10
ETERNALS	FRENCH DISPATCH
1 ETERNALS 🔺  $71 Nathaniel's Review	6 THE FRENCH DISPATCH 🔺$2.6 (cum. $8.4) Elisa's Review
2  DUNE  $7.6 (cum. $83.9)  Elisa's Review	7 HALLOWEEN KILLS $2.3 (cum. $89.7) Elisa's Review
3 NO TIME TO DIE  $6.1 (cum. $143.1) Deborah's Review	8 SPENCER 🔺$2.1 Nathaniel's Review
4 VENOM LET THERE BE CARNAGE  $4.4 (cum. $197)	9 ANTLERS $2 (cum. $7.6)
5 RON'S GONE WRONG $3.6 (cum. $17.5)	10 LAST NIGHT IN SOHO $1.8 (cum. $7.6) Nathaniel's Review

* Director Pablo Larraín's lonely globally famous woman trilogy -- Jackie, Spencer, ?  -- doesn't count as a franchise ;)

Next weekend: a director's cut of Rocky IV and the family film Clifford the Big Red Dog are new in theaters, meanwhile the excellent Passing is in select theaters and hitting Netflix.

Will black-and-white dominate Best Cinematography?

by Cláudio Alves

I don't know about you, but I love how démodé film styles are slowly making a comeback. Black-and-white cinematography and Academy aspect ratio, for instance, have become something of a fad. I'd love for it to persist until the techniques go beyond boutique indie distributors and prestige awards bait, returning, at long last, to the forefront of mainstream moviemaking. Sure, it's a bit of a pipe dream, but one can hope. At the very least, AMPAS is enamored by the trend. Their last Best Cinematography winner, Mank, was in silvery monochrome and, for the past three years, there's been at least one black-and-white film nominated in the category. Considering the prominent contenders of the season, this year will surely prolong the tendency.

Indeed, we might even have a majority of black-and-white movies in the Best Cinematography lineup. Don't believe it? Check this out… 

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