Best Picture, Black-and-White Edition

by Cláudio Alves

Ever since NEON released a black-and-white version of Parasite during the awards season's peak, we've begun a tradition here at The Film Experience of looking the Best Picture nominees each year, and trying to imagine what they'd look like devoid of color. Naturally, we'll never know that since making a black-and-white movie is much more complex than simply turning the saturation to zero. Matters of design and lighting are involved, as are other elements of pre and post-production. Still, it's fun to peruse movies in search of striking imagery. But of course, beyond personal amusement, there's another component to this exercise…

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Best Film Editing Oscar Volley

Team Experience is discussing the various Oscar categories. Here's a particularly volatile race given that BAFTA, CCA, and ACE Eddie Awards all chose different winners.

ERIC BLUME: Tim and Carlos, we're the lucky gang to discuss the Oscar nominees in the Best Film Editing category.  This year our five nominated films are: 

• Don't Look Up
• Dune
• King Richard
• The Power of the Dog
• tick, tick...Boom!

Last year's win for The Sound of Metal was uniquely exciting as it was an out-of-the-box winner in terms of its smallness (this award often goes to "big" movies). Maybe that means people are thinking a bit more carefully about this category?  I bring this up in hopes there might be some genuine support for my  favorite pick of this bunch, which is the editing duo for tick, tick...Boom...

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The Power of Jane Campion

by Mark Brinkerhoff

What a wild week it has been, ancillarily, for a certain New Zealand filmmaker. The presumed—and deserved—frontrunner for Best Director at this month’s Academy Awards, Jane Campion had her latest masterpiece unexpectedly shut out at the SAG Awards and herself inexplicably drawn into a ridiculous imbroglio stirred by none other than an apparently sexist and homophobic Sam Elliott. (Bronco Henry could never, y’all.)  

But for those less keen on reading too much into Oscar-adjacent developments or unnecessary, boneheaded statements that go viral, we find ourselves at the glorious height of a hopeful culmination of a brilliant, one-of-a-kind director’s justly lauded year. So what makes Campion such an enduring, singular international filmmaking force?

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Jesse Plemons is an Oscar lucky charm

by Cláudio Alves

Mr. Kirsten Dunst is a lucky guy, wouldn't you say? The past decade has seen him rise in prominence, acting in movies by some of today's greatest directors – Spielberg! Scorsese! Campion! – while also delivering a slew of memorable performances in supporting roles. After earning TV awards glory, he finally transferred that same acclaim to big screen prizes, winning his first Academy Award nomination in the same movie that got his wife an overdue recognition. For awards aficionados, his turn as George Burbank in The Power of the Dog holds even more Oscar trivia goodness. You see, when Jane Campion's latest scored a Best Picture nomination, it marked the fifth consecutive year of Plemons starring in a movie up for the Academy's greatest trophy…

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The frontrunners for Best Picture went-home empty-handed at SAG. What does it mean?

We'll talk more about the SAG ceremony and actual winners soon but first let's talk about what happened to Belfast and The Power of the Dog. While Kenneth Branagh's memoir and Jane Campion's instant classic have long been considered Best Picture frontrunners neither of them won a single prize at the Screen Actors Guild Awards. Does this mean anything? Well,  yes and no...

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