Those of you who have long followed my site know that it’s been around through five presidencies. We’ve felt the pendulum shift here as it’s been felt throughout our culture for the past 22 years. Through all of it, I have tried to look at how the Oscars are impacted by what is happening in our culture, our government, our economy, and various other sorts of things. We’ve watched economics, technology and politics to factor in their impact. For the past six years, the Oscars have been a political entity more than almost anything else. That has meant a massive drop in interest by the general public, at least in my opinion. I’m sure others think differently.
Since 2020, the Oscars and film awards overall have been more about fixing our broken country, I think, than they have been about awarding films people like or think are good. I think the industry has been in a different mindset since the cultural revolution of 2020 where everything changed almost overnight. The BAFTA completely changed. Hollywood changed. The Oscars changed.
The question is whether the pendulum is shifting, how much it is shifting and where this goes from here.
In terms of how pendulum-swing adherents see it shaping up, they have named 2023 as the climax of the “we” era, where witch hunts will be at their absolute worst. They say that through each of these cycles, we reach a moment where there is too much of a good thing. Too many good people (a utopia) eventually turn on people who step out of line or are non-compliant. Witch hunts then purge the undesirables from their ranks. I didn’t think it would get as bad as it’s now. But here we are, heading into the thick of the storm.
You can read more about pendulum theory here. But suffice it to say, we’re at a point where we are about to start shifting again, heading, eventually, towards another “me” era. It kind of seems like we’re in a “me” era now in terms of it being the age of narcissism and all — I think that is going to be part of what starts to shift the overall perception of success. Yes, it is likely going to impact the Oscar race eventually.
You might see this as a “conspiracy theory” or gobbledegook – okay fine. I think there is SOMETHING to it, though clearly it can’t explain everything. Either way, we have a few more years of madness before this awful period ends. The last height of the “We” phase was 1943, 80 years ago. The McCarthy era lasted into the mid-1950s. Much of my life took place after that. I was born into and came of age in the “me” era, which explains why I continually chafe against so much as what is happening now. My daughter was born into and came of age in the “we” era, but I’ll bet she’d dig the “me” era too. The pendulum swings one way, then it swings the other way.
Pendulum was published in 2012, which means it was written and researched much earlier than that, still the authors were able to predict the time we’re living through with a fair amount of accuracy when they write:
Senator Joseph McCarthy was an American promoter of this witch-hunt attitude at America’s most recent “We” Zenith of 1943 (see the “House Un-American Activities Committee,” 1937–1953); Adolf Hitler was the German promoter (see the Holocaust, 1933–1945); and Joseph Stalin was the Soviet promoter (see the Great Purge, 1936–1938). Our hope is that we might collectively choose to skip this development as we approach the “We” Zenith of 2023. If enough of us are aware of this trend toward judgmental self-righteousness, perhaps we can resist demonizing those who disagree with us and avoid the societal polarization that results from it. A truly great society is one in which being unpopular can be safe.
Probably things are likely going to get a lot worse before they get a lot better. President Eisenhower had to stop his fellow Republican, Joseph McCarthy, from further dividing the country by chasing Communists. We don’t have that kind of leader, at least not one that has yet emerged, so the witch hunts will continue.
However, Johnny Depp suing Amber Heard and winning, Netflix telling its employees if they can’t handle the heat, get out of the kitchen, Elon Musk potentially buying Twitter all seem to indicate that some kind of shift is underway.
All of this to say that we’re living through a phase of transition in many different ways, which is shaping up like a true “Fourth Turning” as promised.
People vote for contenders that make them feel good. Giving their vote to a movie or a person because they have been told the film is great and they “should” isn’t as much of a motivator as when they feel like good people when voting.
What drives their urgency to vote? Does the film itself drive them to push it to the top of their ballots, like with, say, The King’s Speech (speech impediment), Slumdog Millionaire (impoverished kids in India), The Hurt Locker (first female to win BD/BP), The Artist (silent film star replaced by talkies), Birdman (real actor replaced by superhero movies)… there is always a reason a film wins, up to and including CODA last year.
Best Director has also been very international since the expansion of the Best Picture ballot. I am not sure why this is, but that’s how it’s turned out.
2009-Kathryn Bigelow-USA
2010-Tom Hooper-UK
2011-Michel Hazanavicius-France
2012-Ang Lee-Taiwan/USA
2013-Alfonso Cuaron-Mexico
2014-Alejandro G. Inarritu-Mexico
2015-Alejandro G. Inarritu-Mexico
2016-Damien Chazelle-USA
2017-Guillermo del Toro-Mexico
2018-Alfonso Cuaron-Mexico
2019-Bong Joon-Ho-South Korea
2020-Chloe Zhao-China/USA
2021-Jane Campion-Australia
Compare that to the previous period prior to the expanded ballot:
2008-Danny Boyle-UK
2007-Joel and Ethan Coen-USA
2006-Martin Scorsese-USA
2005-Ang Lee-Taiwan/USA
2004-Clint Eastwood-USA
2003-Peter Jackson-New Zealand
2002-Roman Polanski-Poland
2001-Ron Howard-USA
2000-Stephen Soderberg-USA
1999-Sam Mendes-UK
1998-Steven Spielberg-USA
1997-Jim Cameron-USA
1996-Anthony Minghella-UK
1995-Mel Gibson-Australia
1994-Robert Zemeckis-USA
1993-Steven Spielberg-USA
1992-Clint Eastwood-USA
1991-Jonathan Demme-USA
1990-Kevin Costner-USA
Maybe it means something, maybe it doesn’t. My brain always looks at patterns of history and that is definitely a pattern shift from local to global appreciation of cinema.
Of course, the ballot expansion isn’t the only thing that has changed since 2009. That also marked the beginning of the Obama era — and that makes sense when we look back once again at individualism vs. collectivism. The Obama era was very much about inclusivity. Prior to that, one could argue, it was very much about individualism.
Remember that book, Pendulum: How Past Generations Shape our Present and Predict Our Future? We are, according to the generations theory, in a “Fourth Turning” right now which means things are going to be rough going for a while as we transition out of this period and into a new one.
The authors separate out the 80 year cycle of the Fourth Turning into two 40-year cycles:
We is described as:
1. demands conformity for the common good;
2. applauds personal responsibility;
3. believes a million men are wiser than one man: “Two heads are better than one”;
4. wants to create a better world;
5. is about small actions;
6. desires to be a productive member of the team: “I came, I saw, I concurred”;
7. admires individual humility and is attracted to thoughtful persons;
8. believes leadership is “This is the problem as I see it. Please consider the things I am telling you and perhaps we can solve this problem together”; and
9. strengthens a society’s sense of purpose as it considers all its problems.
And “Me” is described as:
1. demands freedom of expression;
2. applauds personal liberty;
3. believes one man is wiser than a million men: “A camel is a racehorse designed by a committee”;
4. wants to achieve a better life;
5. is about big dreams;
6. desires to be Number One: “I came, I saw, I conquered”;
7. admires individual confidence and is attracted to decisive persons;
8. believes leadership is “Look at me. Admire me. Emulate me if you can”; and
9. strengthens a society’s sense of identity as it elevates attractive heroes.
Here are Erik Anderson’s May predictions at AwardsWatch for Best Director:
1. Steven Spielberg – The Fabelmans (Universal Pictures)
2. Martin Scorsese – Killers of the Flower Moon (Apple Original Films)
3. Damien Chazelle – Babylon (Paramount Pictures)
4. Sarah Polley – Women Talking (MGM/UAR)
5. Alejandro G. Iñárritu – Bardo (Netflix)
6. The Daniels – Everything Everywhere All at Once (A24)
7. Park Chan-wook – Decision to Leave (MUBI)
8. Yorgos Lanthimos – Poor Things (Searchlight Pictures)
9. Darren Aronofsky – The Whale (A24)
10. James Cameron – Avatar: The Way of Water (20th Century Studios)
11. Florian Zeller – The Son (Sony Pictures Classics)
12. Sam Mendes – Empire of Light (Searchlight Pictures)
13. Ruben Östlund – Triangle of Sadness (NEON)
14. Todd Field – TÁR (Focus Features)
15. Ridley Scott – Napoleon (Apple Original Films)
16. Hirozaku Kore-eda – Broker (NEON)
17. Maria Schrader – She Said (Universal Pictures)
18. Martin McDonagh – The Banshees of Inisherin (Searchlight Pictures)
19. Ron Howard – Thirteen Lives (MGM/UAR)
20. Noah Baumbach – White Noise (Netflix)
Other contenders (alphabetical):
- Edward Berger – All Quiet on the Western Front (Netflix)
- David O. Russell – Amsterdam (20th Century Studios)
- James Gray – Armageddon Time (Focus Features)
- Andrew Dominick – Blonde (Netflix)
- Luca Guadagnino – Bones and All (MGM/UAR)
- Maggie Betts – The Burial (Amazon Studios)
- Benjamin Millepied – Carmen (Sony Pictures Classics)
- Stephen Williams – Chevalier (Searchlight Pictures)
- Alex Garland – Civil War (A24)
- Lukas Dhont – Close (A24)
- David Cronenberg – Crimes of the Future (NEON)
- Ari Aster – Disappointment Blvd. (A24)
- Olivia Wilde – Don’t Worry Darling (Warner Bros)
- Baz Luhrmann – Elvis (Warner Bros)
- Eva Longoria – Flamin’ Hot (Searchlight Pictures)
- Garth Davis – Foe (Amazon Studios)
- Guy Nattiv – Golda (Bleecker Street)
- Tobias Lindholm – The Good Nurse (Netflix)
- Peter Farrelly – The Greatest Beer Run Ever (Apple Original Films)
- Audrey Diwan – Happening (IFC Films)
- Kasi Lemmons – I Wanna Dance with Somebody (Columbia/TriStar)
- David Fincher – The Killer (Netflix)
- Laure de Clermont-Tonnerre – Lady Chatterley’s Lover (Netflix)
- Oliver Hermanus – Living (Sony Pictures Classics)
- Mark Mylod – The Menu (Searchlight Pictures)
- Dev Patel – Monkey Man (Netflix)
- Jimmy Chin & Elizabet Chai Vasarhelyi – Nyad (Netflix)
- Scott Cooper – The Pale Blue Eye (Netflix)
- Michael Grandage – My Policeman (Amazon Studios)
- Taika Waititi – Next Goal Wins (Searchlight Pictures)
- Rodrigo Garcia – Raymond & Ray (Apple Original Films)
- Lisa Neugerbauer – Red, White, Water (A24)
- George C. Wolfe – Rustin (Netflix)
- John Ridley – Shirley (Netflix)
- Kelly Reichardt – Showing Up (A24)
- Johan Renck – Spaceman of Bohemia (Netflix)
- Sally El-Hossaini – The Swimmers (Netflix)
- Michael Showalter – Spoiler Alert (Focus Features)
- Chinonye Chukwu – Till (MGM/UAR)
- George Miller – Three Thousand Years of Longing (MGM/UAR)
- Gareth Edwards – True Love (20th Century Studios)
- Sebastian Lellio – The Wonder (Netflix) Jonathan Glazer – The Zone of Interest (A24)
These are the names that catch my interest the most — in alphabetical order in terms of the Oscar race:
Damien Chazelle – Babylon (Paramount Pictures)
Peter Farrelly – The Greatest Beer Run Ever (Apple Original Films)
David Fincher – The Killer (Netflix)
Steven Spielberg – The Fabelmans (Universal Pictures)
Martin McDonagh – The Banshees of Inisherin (Searchlight)
Sam Mendes – Empire of Light (Searchlight Pictures)
Jordan Peele – Nope (Universal)
Martin Scorsese – Killers of the Flower Moon (Apple Original Films)
Ridley Scott – Napoleon (Apple Original Films)
James Cameron – Avatar: The Way of Water (20th Century Studios)
Florian Zeller – The Son (Sony Pictures Classics)
That looks like a very white, very male list. I always feel so much less hip than my Film Twitter brethren but you can’t teach an old dog new tricks and that’s the truth. But an all-white, all-male lineup could be tantamount to World War III so I doubt that’s going to happen.
For women, there’s potentially Audrey Diwan for Happening, Olivia Wilde for Don’t Worry, Darling, Maria Schafer for She Said, Sarah Polley for Women Talking. Erik is betting on Polley. I’m thinking more Schrader. But we have absolutely no way of knowing.
We also don’t know what kinds of narratives are going influence this year’s Oscar race. That’s because we don’t yet know what is going to happen in our society. Here are some cliffhangers for you:
The November midterms — how bad is it going to be for Democrats? Can they rally and stop a red wave?
Does Roe v. Wade actually get overturned?
Do we go to hot war with Russia? With ourselves?
How bad is inflation going to get?
Will America’s strong box office start continue through the next few months?
In all of the years I’ve been doing this site, and in all the years I’ve been alive I don’t think I’ve ever felt more worried about the state of almost everything. Probably the best thing we can do is try to humanize our enemies, reach out to those we don’t agree with, spend time with friends and family, and yes, go to the movies.
so Mendes , Spielberg and Innaritu are all making their personal projects so probably one of them will get a consolation prize in director or screenplay
“Since 2020, the Oscars and film awards overall have been more about fixing our broken country, I think, than they have been about awarding films people like or think are good. I think the industry has been in a different mindset since the cultural revolution of 2020 where everything changed almost overnight. The BAFTA completely changed. Hollywood changed. The Oscars changed.
The question is whether the pendulum is shifting, how much it is shifting and where this goes from here.”
i emphasise: Since 2020, the Oscars and film awards overall have been more about fixing our broken country, I think, than they have been about awarding films people like or think are good
now see, this is point Sasha makes i reinforce to ram directly down awards seasons throat is the FUNDAMENTAL FUK UP THAT IS HOLLYWOOD MENTALITY OF HOW IT SEES ITSELF IN RELATION TO SOCIETY FILM IN IT VERY CONCEPTION WAS NOT EVER EVER INTENDED TO BE MOTIVATED NOR DRIVEN BY NOTION THAT ROLE OF THE FILM INDUSTRY IS TO FIX OR ATTEMPT CLEARLY IN VAIN SOCIETAL PROBLEMS IT ALWAYS BEEN AS SHOULD BE MUST BEST BE IF THERE TO BE A SKERIT A GRAIN OF HOPE FOR COUNTDOWN TO OSCARS MEMORABLE CENTENARY TO NOT BE ONE TO FORGET (ALL INDICATIONS FROM CURRENT TRENDS COMBINED WITH THE FLATLINING GROSSLY UNDERPERFORMING FAILED RATINGS TIME AND AGAIN PROVE JUST HOW OUT OF FUKIN TOUCH THE ACADEMY INDEED HOLLYWOOD HAVE BECOME).
THERE IS A DAMN WELL GAPING GRAND CANYON FUNDAMENTAL DIFFERENCE BETWEEN SOME FILMS THAT ARE NECESSARY TO BE MADE TO REFLECT SOCIETIES ILLS AND THOSE THAT AIR GRIEVANCES JUST FOR SAKE OF MAKING A STATEMENT THAT IF THESE TYPE OF OVERBLOATED WASTE OF MOST PPLE TIMES TYPE FILMS (LOOK NO FURTHER THAN THE CORRELATION AS IRREFUTABLE FACT BETWEEN IE DECISION TO MOST NOMINATE POWER OF THE DOG OF A FILM WHICH WAS A DOG OF A ABSOLUTE DOG OF A UNDERPERFORMER AT THE OSCARS WITH MOST NOMINATIONS MOST NOMINATED FILM DOES TRULY DRIVE FORTUNES OF RATINGS IN CONSIDERABLE PART IT HEADLINE STORY MOST NOMINATED FILM EACH OSCAR YEAR AS IT SETS THE TREND AND TONE OF OSCARS ATTITUDES TO FILM AND MORE OFTEN THAN NOT THEIR ABHORRENT DESPICABLE SELF HUMILIATING FAILURE TO DISTINGUISH BETWEEN THOSE FILMS AUDIENCES IN CINEMA TRULY CARE ABOUT AND THOSE THAT PANDER TO THE CRITICAL SOCIOLOGICAL PATHOLOGICAL DREAMERS IT THESE LATTER THAT IN OSCAR PANDERING TIME AND AGAIN WE CAN SAFELY NOW SAY THAT THIS FLAWED METODOLOGY AND MENTALITY TO TRUMPET AND OVERBLOW THEIR HORN TO US ALL SO ARROGANTLY WITH SO LITTLE CONSIDERATION TIME AND TIME AND TIME A FUKIN GAIN..FACT OF THE MATTER IS THAT IT ONLY DRIVES AWAY THE SILENT MAJORITY FROM PARTICIPATING AND ENGAGING IN THE CEREMONY AND TRADITION WE WERE ONCE PROUD TO PARTAKE IN CONVERSATION OF AWARDS SEASON…
I speak on behalf of MOST of us even those here without any hesitation at all…that WE HAD I HAD AN ABSOLUTE FUK GUTFUL OF OSCARS BELLIGERENCE AGAINST THE MASSES.. AGAINST COMMON SENSE AGAINST WHAT OSCAR SUPPOSED TO STAND FOR: THE FILMS MOST NOMINATED NOT SUPPOSED TO BE THE ONE OF MOST VIRTUE SIGNALLING MORALISTIC ‘ TELL US HOW TO BEHAVE WITH HOPE IT FIXES SOCIETY’ TYPE ILLS… THAT EXACLTY EXACLTY THE TYPE OF FLAWED MSG THAT OSCAR AUDIENCES SAW RIGHT THROUGH LIKE A LASER PIERCING IN ONE SIDE AND OUT THE BLOODY OTHER THAT WAS THE EXACT OUTCOME FROM MOMENT POWER OF THE DOG WAS WRONGLY DECLARED TO BE MOST NOMNATED FILM OF THE YEAR IT CONTINUES A LOSING RUN AND DETERIORATION OF WHAT OSCAR SUPPOSED TO STAND FOR ENTERTAINMENT BEFORE VIRTUE SIGNALLING NO MAKE THAT HIGH QUALITY THOUGHT PROVOKING ENTERTAINMENT IN PRECEDENT TO FILMS THAT SCREAM A SOCIOLOGICAL MSG LOUD ENOUGH WITH FOOLS HOPE IN THEIR PIGSTY OF A STATE OF DENIAL OF THEIR OWN DAMN MAKING THAT HOLLYWOOD CULTURALLY HAS CORRUPTED IT PURITY OF ARTISTRY CROSSING OVER TO CINEMATIC- CRITICALLY ACCLAIMED- AUDIENCE APPEAL.
AND IT CLEARLY NOT A PRODUCT OF THE PANDEMIC THAT JUST LAME EXCUSE USED AS A PLAYTFORM TO MISREPRESENT AND AS THAKFULLY IT FAILED TO DO SO.. FOR OSCAR TO TRY TO FOOL AND HOODWINK THE TRADITIONAL AUDIENCE BASE.. BUT THEY CONTINUE TO STAY AWAY HMMM I WONDER WHY THAT IS? SIMPLY PUT IN LAST DECADE HAS BEEN THE LOWEST POINT BY FAR BY COUNTRY MILE OF OSCARS HISTORY ALL TOLD THE SINGLE MOST UNDERWHELMING DECADE OF OSCAR WINNERS…
OMMISSION OF COMMON SENSE HAS TO STOP AND MOST US DEMAND IT STOPS FROM THIS YEAR ONWARDS..
NO MORE PRETENDING TO BACK IN FILMS THAT CAN FIX A BROKEN AMERICA THE LIMIT OF FILMS INFLUENCE IS TO CASTR A REFLECTION ON SOCIETY ILLS AND EVEN THEN I SAID IT THRICE I SAY IT AGAIN I BELLOW IT TO RAM POINT HOME HERE I INSIST: ‘ THE TRADITIONAL AUDIENCE BASE HAVE SPOKEN THEY WILL NOT RETURN TO BOOST RATINGS EVEN WITH REVAMPED HOST/ FORMAT OF SHOW THEY WILL ONLY RETURN WHEN HIGH QUALITY HIGHLY ACCLAIMED FILMS THAT EXIST FOR PURPOSE PRIMARILY TO ENTERTAIN AND ENGAGE AND ERNTHRALL WHEN THESE FILMS ARE MOST NOMINATED DOMINATE MAJOR CATEGORIES MARK MY WORDS AUDIENCES WILL COME BACK IN DROVES.
2023 IS THE YEAR OF OSCARS RECONING IT MARKS SIX YEARS TO GO TILL THEIR CENTENARY AND AS OF NOW THE MERITS AND WORTH VALUE OF CENTENARY TO US AND THOSE WHO ABANDONED OSCAR FOR FORESSEABLE FUTURE TILL THEY BRING BOUT RESTORATION TO TYPE OF FILMS I ALUDED TO OUGHT TO BE BIGGEST CONTENDERS MOST YEARS BTW NOW AND THE CENTENARY PARTICULARLY..BUT IT THIS CENTENARY BUILD UP IN SIX YEARS TIME IS THREATENING TO BE UNDERMINED BY IRONICALLY AND DISTURBINGLY THE VEYR INSITUTION THAT MUST SURELY SEE FIT TO TAKE STEPS WITH URGENCY TO WIND BACK THEIR PREFERENTIAL BROKEN BALLOT AND START TO RESTORE SOME ORDER AND ORIGINAL PURPOSE OF VISION TO REVIVE OSCARS DIGNITY AND SELF RESPECT..THEN OTHERS WILL FOLLOW..IF THEY CANNOT IN 2023 WITH SUCH A PLETHORA OF CROWD PLEASING CRITICALLY ACCLAIMED- POTENTIALLY FILMS THEN LORD HELP THE ACADEMY COS AS IT STANDS THE GOOD LORD IS FRANKLY WAITING TO ASSESS WHETHER THEY STEP IN TO HELP OSCAR..
I Stuneed Sasha you do not see fit to back in ELVIS as what ought ti be the CLEAR FRONTRUNNER not cos it bout Elvis but because the perspective and brash and spectacular nature of the story and angle and behind the scenes insights of man behind the performance and Tom Hanks in surely oscar winning role potentially along with Austin’s incredible performance of one most complex and iconic musicians of all time…and successful a measure very few if any to this day of solo artists can measure up to with consistent success the ‘king’ had…
But you did not Sasha identify that Bas Luhrmann should be amongst front runners of best director i demand with respect to ask ‘ why not’? This bloke has pioneered the modern day musical and now he invested in his riskiest most ambitious venture an aussie filmmaker no less bringing to life an no THE MOST FAMOUS AMERICAN ICON OF SEVERAL GENERATIONS… furthermore fact the film was almost entirely filmed in the gold coast to recreate old style hollywood and that the film hardly if any to make ELVIS used traditional existing old style hollywood backlots other filmmakers would use in LA, california, Hollywood only reinforces the craftsmanship and authenticity that Mr. Luhrmann rose to that challenge…
But i cant deny i said ‘ not just’ but also it first Elvis biopic drama to be released in decades…but more than any other film it is unashamedly stylistically strong as it is drama and musical entertainment to revive type of musical biopic in quality and execution we not witnessed in truth since ‘ Tom Jones’ biopic dominated oscars i think in the 70’s!!
ELVIS is easily the most significant reincarnation of the biopic musical drama in over a quarter of a century to hollywood it timing is all more poignant and significant at a time pandemic is easing and it only reinforces importance even if critics only gave it eighty pcnt on RT frankly it would be a absolute PR disaster that could haunt oscar for decades if ELVIS does not get nominated for picture, director, screenplay and shit load of production value and arts nominates and yes actor and supp actor.
So i ask again Sasha how can u have bas luhrmann as only a outside chance ? you do seem to gravitate to the ‘ ones been there before ‘ mentality’ of past winners and NO WAY INARRATu OR Del Toro will win another oscar in near future.. they already won more their fair share it time to either a) restore some order and sanity and logic to american or british film maker or better yet to give it to bas luhrmann..the films has been huge success maybe i suggest ELVIS should get a re release i also point out it no coincidence harder oscar push for inclusivity and diversity then have these culturally diverse filmmakers win more often than not to point not so much they win HOW OFTEN THEY DAMN WELL WIN best director and as per Sasha’s list is it any coincidence ever since oscar went so far one way to filmmakers most pple hae not heard of nor embrace at level of say ie one most snubbed filmmakers is Ridley Scott…pple look at that and go ‘ well what about filmmakers we love’? hmmmm it just laughable that oscar so determined to self implode by prioritising so excessivley new comer contenders over more familiar filmmakers that either have not won after several nominations (like scott and luhrmann) for that matter, or filmmkers tthat had a 15 yr gap between their last and only oscar win such as james cameron for instance..
on Mr. Luhrmann the genius who gave us ‘ Dirty Dancing’ more than arguably any other modern day film maker in last 30+ years Luhrmann has made musical spectaculars his niche…he owns the genre in that time..need i say that from ‘Moulin Rouge’ to his rendition of remake very effective of ‘ the great gatsby’ Luhrmann has been the modern day pioneer that fans adore..and he is owed big time by oscar who love their i owe you’s…
and in case everyone is wondering yes i storngly believe ‘ top gun maverick’ which lot more than jsut a whiff of nostalgia ought get best picture nominationb too..and for the record Tom Cruise should have wqon 2 oscars in his career by now still to this day easily not only most bankable of actors but one most outstanding and influential actors of last 30 years and if you need see what emblematic of hollywood problems look no further than 2 of most dopminaant forces in cinema in last 30 years and influential that of Sir Ridley Scott and Tom Cruise..see how lacking unwilling oscar are to give oscar to past proven masterpieces by both these stars in their own right and legends vs oscaes willingness to let newbies dominate hollywood oscars ..it toooo much now time to stop time to reconnect what made oscar great made pple engage in droves to it..
IT JUST COMPLETELY UNACCEPTABLE AND UTTERLY REPREHENSIBLE path oscar and hollywood culture is going down…far less activism and time to start embrcing type of films that dare i say it? can ;’ make the academy great again?’
lay off the all-caps, man
how, exactly, does CODA winning solve the country’s problems?
He’s committed to the bit, I’ll give him that
My Ten Best : The Good Sheperd , Flags of our Fathers and Letters from Iwo Jima , Apocalypto , Pan’s Labyrinth , Borat , Casino Royale , Lives of Others , V for Vendetta , Marie Antoinette and Prairie Home Companion .
Poll:
What are your top ten movies of 2006? If enough people vote, I’ll compile a poll
For reference, the films that came out this year that garnered any attention at all were:
Akeelah and the Bee, Apocalypto, Babel, Bobby, Borat, Cars, Casino Royale, Children of Men, Days of Glory, Departed, Devil Wears Prada, Flags of Our Fathers, Good German, Good Shephard, History Boys, Infamous, Illusionist, Idiocracy, Inconvenient Truth, Happy Feet, Hollywoodland, Kinky Boots, Last King of Scotland, Little Miss Sunshine, Little Children, Lives of Ohters, Letters from Iwo Jima, Marie Antoinette, Notes on a Scandal, Over the Hedge, Pan’s Labyrinth, Pirates of the Caribbean: Dead Man’s Chest, Prestige, Pursuit of Happyness, Queen, Running with Scissors, Scanner Darkly, Stranger than Fiction, Spellbound, Talladega Nights, Thank You for Smoking, United 93, V for Vendetta, Venus, Volver
Don’t vote for what you haven’t seen (partially the reason, I’m not telling anyone anything about these films). Half the battle of a film is getting the person into the movie theater
Don’t have time to do a full research on what was on 2006, now, but at this point, using your guide…
1. Borat: Cultural Learnings of America to Benefit Glorious Nation of Kazakhstan (on my top 10, along its sequel, of the XXIst Century so far… it was completely revolutionary, and one of my top 3 experiences in a movie theatre, saw it in Montreal, in a packed huge cinema)
2. Pan’s Labyrinth
3. Marie Antoinette
4. Little Miss Sunshine
5. Talladega Nights: The Ballad of Ricky Bobby
6. Idiocracy
7. Thank You for Smoking
8. Children of Men
9. The Lives of Others
10. V for Vendetta
barely miss: The Queen, Volver, United 93, The Departed, Casino Royale, Over the Hedge, The Prestige, The Host
I think it is clear that I love satires, isn’t it?
It was definitely a year for satires.
The comedies of some of the other years like 2005 and 2007 were more noted for Apatow gross-out stuff and heavy brat pack stuff
By US release date:
1. Marie Antoinette
2. Miami Vice
3. Inland Empire
4. Three Times
5. A Prairie Home Companion
6. Children of Men
7. Casino Royale
8. Letters from Iwo Jima
9. The Departed
10. Pan’s Labyrinth
By world premiere date:
1. Marie Antoinette
2. Miami Vice
3. Inland Empire
4. The Host
5. Syndromes and a Century
6. A Prairie Home Companion
7. Children of Men
8. Casino Royale
9. Letters from Iwo Jima
10. The Departed
The best is clearly Half Nelson (not on your list)
Three more good ones…
Pan’s Labyrinth
Children of Men
Once (also not on your list)
And the best forgotten film of 2006 is…
Old Joy – I really feel like this is a must-see movie, especially if you enjoy movies that consist largely of 2 characters in an extended conversation, although this is an overnight camping trip. Kelly Reichardt’s first released film (I think) and still one of her best in my opinion.
And a special shout-out to Brick.
Once is very clearly 2007. It won at that year’s Oscars.
I’ll add your picks to my poll
Sorry, it showed up on the 2006 list I got. It wasn’t from memory.
For the record, Old Joy is not Reichardt’s first film, although the mistake is very understandable as there’s a long break between her first movie (River of Grass released in 1994) and Old Joy
I said “released film” I should have been more clear since I have never heard of the first two and I didn’t bother to check if they were released. I am fairly sure that when I first discovered Reichardt, they were not listed on imdb because that is how I came to watch Old Joy (although I had heard of it well before)
1. Volver
2. The host
3. Inland Empire
4. Children of men
5. Flandres
6. Old joy
7. The life of others
8. Little children
9. Wassup rockers
X. Syndromes and a century
1-Little miss sunshine
2-Volver
3-V for vendetta
4-Children of men
5- Letters from Iwo Jima,
6-Scanner Darkly
7-The departed
8-Pan labyrinth
9-Babel
10-Little children
My top 5
Pirates of the Caribbean Dead Man’s Chest – I enjoyed it even more than Curse of the Black Pearl which is also excellent. It’s the best kind of blockbuster and also far more creative than what passes for quality blockbuster these days.
Devil Wears Prada – another endlessly rewatchable and quotable classic. Streep should have won her 3d for this.
Talladega Nights – another endlessly rewatchable and quotable classic. It even had a gay kiss which supposedly sunk Lightyear (yeah right). No sinking here. It was a smash.
The Departed – another classic. Everyone should have been nominated. Sucks that Leo got in for Blood Diamond.
In case anyone needs a list of Academy-eligible films from 2006: https://www.atogt.com/askoscar/display-reminder-list-text.php?yr=79&origin=list-text
(Of course, there were other films released that year, especially world-wide)
My Favorites:
1) Children of Men
2) Notes on a Scandal
3) The Queen
4) The Lives of Others
5) Volver
6) Little Children
7) Brick
8) The Departed
9) United 93
10) Shortbus
1. Little Miss Sunshine
2. Notes on a Scandal
3. The Devil Wears Prada
4. The Departed
5. Stranger than Fiction
6. Casino Royale
7. The Queen
8. Illusionist
9. Cars
10. Little Children
My Oscar winners (from those nominated in the top category:
Picture-Little Miss Sunshine
Director-Scorsese
Actor-Forrest Whitaker(really weak category that year)
Actress-Judi Dench
Supporting Actor-Alan Arkin
Supporting Actress-Cate Blanchett
O. screenplay-Little Miss Sunshine
A. screenplay-Notes on a Scandal
This made me think of a couple of good films I’d not thought of in eons. Notes on a Scandal and Little Children. There’s some other good ones here, but United 93 towers over all of them. It’s just hard to watch. It might be the best film ever that people just don’t want to see. Scorsese needs to give that director Oscar to Greengrass. It’s among the most amazing pieces of direction I’ve ever seen.
Totally agree about United 93, and also Little Children and Notes on a Scandal.
1. United 93
2. The Queen
3. Apocalypto
4. Little Children
5. Pan’s Labyrinth
6. Notes on a Scandal
7. Inland Empire (I don’t see it on your list)
8. The Departed
9. Volver
10. The Lives of Others
1. Children of Men
2. United 93
3. The Lives of Others
4. Candy
5. Marie Antoinette
6. The Prestige
7. Out of the Blue
8. The Departed
9. Babel
10. Casino Royale
(FYI: domestic release in the country of origin is how I tend to do)
Was my last year of high school, saw half of these in cinemas.
What country of origin are you referring to?
What are Candy and Out of the Blhe about?
I meant more generally, as in the initial non-festival release in the production countries (it isn’t fixed to where I am nor stateside). Pretty normal, hope I’ve made that clear to you.
Candy is about a drug addict couple starring Heath Ledger, Abbie Cornish and Geoffrey Rush. Self-adapted by Luke Davies.
Out of the Blue is based on a mass murder in New Zealand, starred Karl Urban.
They were both at TIFF that year and were critically acclaimed, not too obscure.
Cool stuff
1. United 93
2. The Departed
3. Little Miss Sunshine
4. Notes on a Scandal
5. Little Children
6. Lives of Others
7. Marie Antoinette
8. Thank You for Smoking
9. Last King of Scotland
10. Bobby—I liked this but know that a lot of others didn’t.
Darn, I forgot The Queen. It would have been my fourth.
-I hope they stop nominating Marty Scorsese for everything he does. I think he’s a great individual and his movies are great, but since Gangs of New York, nearly everything he’s made has been nominated and that’s just too much (6 of 8 films I believe were nominated). I particularly think Wolf of Wall Street and Irishmen were terrible anyway. Other directors didn’t enjoy a 75% success rate at BP nominations and they’ve had better streaks than Gangs-Aviator-Departed-Hugo-Wolf-Irishman
-I would not mind seeing Martin McDonaugh get it because he deserves recompense around the bogus narrative surrounding 3 Billboards being racist
-Likewise, I think it’s time to award an American filmmaker for best director
I tend to believe, honestly, and I know it is sacrilege… that The Wolf of Wall Street is his best film. The Irishman’s 4 hours had the perfect ally in Netflix, as you could decided when to pause and take a break, and the only thing that bugged me, was the decision of not taking body doubles for the younger versions of the characters, because of the clear difference in the way they moved with the way they should be moving. The Aviator is another masterpiece, and Hugo is fantastic, even thought it is a slightly weaker film. The Departed is the film that I feel shouldn’t have been nominated for Best Picture… and it actually won?
The lesson of the Departed isn’t that it was undeserving because it wasn’t top-tier Marty (although I think the fact that he wasn’t TRYING to win an Oscar resulted in much more relaxed filmmaking on his part), it’s that you’re only winning BP against the films you’re competing with that year. And frankly, it wasn’t a great field. It’s the equivalent of the Warriors sailing to the finals because their playoff opponents were all dealing with substantial injuries.
i think that honor will go to spielberg if he doesn’t win screenplay for his family autobiographical drama
Yeah, I’d rather see situations like Silence getting a measly Cinematography nom versus The Irishman going 0 for 10. If you want to award him, actually award his film something.
Agree completely about St . Marty ! Wolf of Wall St. was a boring , bloated mess as was The Aviator and The Irishman was an abomination ! And Scorsese and Spielberg will probably be nominated again for Killers of the Flower Moon and The Fabelmans even if they don’t deserve it ! As for awarding an American filmmaker for Best Director I’ll be rooting for James Gray for Armageddon Time !
And what about Robert Eggers for the northman?? It was an super film!
It’s a juiced up version of Conan the Barbarian. Son seeks vengeance for father’s death.
I’m for a 100% “ME” approach when it comes to nominating and voting for winners. It is the only morally acceptable too. If they like shitty movies, what are we to do? It’s their organization.
Wow! Thank you for reminding me of so many movies that weren’t on my radar (Napoleon!!!). I anticipate I might return to movie theaters sometime this fall/winter, so that should make things easier for me. For now, I can’t fathom a scenarion where Terence Davies’ Benediction doesn’t storm the season as the current frontrunner with double digit projections. That’s the actual ME though.
I love that Top Gun is crushing the latest Jurassic Park at the box office.
I am avoiding them both.
Good! Check out Sublet from Eytan Fox if you’ve not done so yet. Not sure of your location but in the US it can be found on HBOMax.
just checked out reviews and are quite mixed…
yeah, I found it utterly captivating nonetheless. I consider Fox a great director even though most of the world doesn’t.
I have this weakness with the absolutely amazing Frank Oz. His direction seems invisible, yet you can quickly recognise his hand behind the camera, with most of his films, specially the comedies.
From what I recall about previous posts Sasha has made concerning this “Me” and “We” approach to thinking about the world, the “we” phase is described as the worse phase. The previous “we” phase reaches its height in the middle of World War 2, and I remember comments about the writer of the book saying something about hoping to alleviate the “we” phase by presenting the theory. Though of course concepts like witch hunts and paranoid group think (which have existed in the “me” eras as well, just think of the intensification of the Cold War and as a result the increased paranoia about communism in the 1980s, the middle of the “me” era) are put into this worse era, the worse era is also described by the following phrases here: “wants to create a better world” and “admires individual humility and is attracted to thoughtful people”. That seems kind of off to me. Also, it’s interesting that the individualist “Me” era is the one that sounds more like a structure where everyone follows mindlessly, they just have the illusion of having choice: if you have individual leaders who are confident, not thoughtful, deciding everything by themselves because “one mind is better than a million” and are elevated into heros (and thus in some ways worshipped like gods) for it, you do not have freedom of expression because these leaders will actually make all the decisions.
To me these types of descriptions have no matter what time in the previous 50 years expressed the points of view of one of your political parties. Is it a coincidence that the center of the previous “good era” is the decade where every presidential election was won by Republicans, financial liberalism was the unquestioned agenda of the decade and which represents the era that it feels like the Republican party is nostalgic about currently through choosing people like Trump as Reagan-esque figures (while the 80s were of course a nostalgia trip to the 50s and the 50s were a nostalgia trip to the pre-World War 2 era)?
The “Me” and “We” philosophies that you are describing here do not “cycle” with each other; they just perpetually compete with each other. One or the other is more popular at a particular time due to a variety of factors, regularly scheduled “cycles” not being one of them. But the main problem with this way of thinking is the way it casts off personal responsibility.
A person doesn’t behave selfishly because they’re in a “Me” cycle, and they don’t try to bully others into agreeing with them because they are in a “We” cycle. A person makes an individual choice to do or not do those things. The Civil War didn’t happen because of cycles, it happened because of specific choices that certain people made, which they could have made differently.
People on Twitter are choosing to act like assholes. Twitter doesn’t make them. Historical cycles don’t make them. It’s a choice.
Whichever party holds the presidency has lost 18 of the last 20 House elections, so probably not. What’s troubling is how little the Republicans are talking about what they plan to do if/when they win. It’s still been many years since they released a policy platform.
Probably
No
Why would we do that? That’s not a rhetorical question; I’m curious as to why you or anyone would suggest such a thing.
Same as it was in the ’80s. It’s the same problem as the ’80s; both parties want to spend, Republicans want to lower taxes, and Democrats don’t have the guts to raise them.
It should, but which movies are driving it also matters. Franchise blockbusters, or serious films?
“It should, but which movies are driving it also matters. Franchise blockbusters, or serious films?”
Avatar, obviously
Imagine the following as the Best Original Song 2022 category:
(54 new releases seen as of comment)
—
“Dosti” (RRR: Rise, Roar, Revolt)
“Good Tonight” (The Bad Guys)
“Hold My Hand” (Top Gun: Maverick)
“Lucky Ducks” (The Bob’s Burgers Movie)
“Naatu Naatu” (RRR: Rise, Roar, Revolt)
https://media.kulfyapp.com/1C90N1/1C90N1-360.gif
My Curated Best Original Song 2022 Shortlist (So Far):
(in ideal listening order)
—
“Nobody Like You” (Turning Red)
“Dosti” (RRR: Rise, Roar, Revolt)
“I Ain’t Worried” (Top Gun: Maverick)
“Lucky Ducks” (The Bob’s Burgers Movie)
“Good Tonight” (The Bad Guys)
“Naatu Naatu” (RRR: Rise, Roar, Revolt)
“Komuram Bheemudo” (RRR: Rise, Roar, Revolt)
“Hold My Hand” (Top Gun: Maverick)
“Stars in the Sky” (Sonic the Hedgehog 2)
“One More Time” (Moonfall)
https://c.tenor.com/jRzqBWTvoQ8AAAAd/naatu-naatu-ramcharan.gif
Imagine the following as the Best Director 2022 category:
—
James Cameron (Avatar: The Way of Water)
Daniel Kwan & Daniel Scheinert (Everything Everywhere All at Once)
Robert Eggers (The Northman)
S.S. Rajamouli (RRR: Rise, Roar, Revolt)
Joseph Kosinski (Top Gun: Maverick)
I do notice that anyone who watches Avatar on a TV screen finds it boring. In this age of screeners, it probably won’t have as much power.
Which is a testament to the power of the first film: It compelled average moviegoers to revisit it on the big screen.
I’m looking forward to the 1st film’s re-release early this autumn, in anticipation of The Way of Water.
Now, driving narrative. I think we are heading for some dark times faster than anyone has thought possible. Republicans will likely do quite well since most Americans don’t care about the US Capital being overrun. Abortion will be an old story by then (that’s why it was leaked by conservatives, to soften the blow when it actually happened) And no one votes for more gun control even though 75% of Americans want more.
People will be upset about gas prices, which are artificially high thanks to American Oil Companies not caring about America. And people will be outraged that Biden, the Socialist, is not doing anything to rein in the greedy capitalists. People will scream about 6 dollar gas, but not do anything personally to lower demand as they keep buying their Ford 150’s (but not the electric ones)
Republicans will take back Sentate and House but complain about their margins which should have been much greater but were limited due to voter fraud. Trump will announce a bid for PResidency, and all Republicans will clear the field. (A couple people will vie to be his VP pick at the risk of being hanged)
How will this affect the Director Race – I think a film with a “vaguely” political message will emerge, one where people struggle with the state of the world, the fact that “truth” becomes relative and ultimately meaningless. A film where happiness in the family emerges as something important because finding happiness in the world will become increasingly difficult. A film that’s openly critical of historical fascists but notes that people are inextricably drawn to fascists because really, they don’t like freedom, they like to be told what to do and what to be, as long as it matches with what they like to do and what they like to be.
Now I have no idea what this movie could be, but there is that movie about a well-photographed barn coming up in a few months time.
Lol, there is no freaking way a clerk of one of the “conservative” SCOTUS justices leaked the Dobbs v. Mississippi draft majority opinion by Justice Alito. Also, the blow when the opinion will actually get released will be soft once more pro-abortion activists realize for once that they’ll simply vote for whatever amount of abortion each of their particular states wants. Which should’ve been the case this past half-century anyway.
Whenever former VP Biden keeps mentioning the permits those oil companies have, he fails to mention how the land those existing permits are for don’t have much oil at all. Also, let’s not forget that he signed the executive order to cancel the Keystone pipeline his first day in office.
the keystone pipeline has nothing to do with the price of oil. It’s also been pretty much neutered, it will provide no benefit if completed. It’s just a political fossil.
There is oil in North Dakota. But production is not increasing, even though it could. Production is below that of 2019, the most productive year ever for North Dakota.
Immediatly I assumed it was a conservative leak (the Alito Draft) and judging by how viciously the Fox crowd attacked the “leaker” it basically was confirmed for me that I was right.
Well yeah, one executive order undid all those years of development. But then the administration is cool with Putin’s pipeline supplying oil to the rest of Europe, making them dependent on Russia? And how TF would the completed Keystone pipeline “provide no benefit”?
No way, the leaker would’ve been absolutely torn apart by the corporate news media had they been of the “conservative” justices. Why would a side viciously attack the leaker while at the same time protect them? Also, there has already been speculation as to which clerk of the “liberal” justices since one of them has had a business relationship with that specific Politico article’s author.
there are other pipelines other than the keystone pipeline, you know. The problem with the keystone pipeline is that it was potentially dangerous to certain land areas should an accident happen. There were other possible solutions when the keystone was planned. Well, since then, the other possible solutions have been completed. The keystone pipeline is entirely political at this point.
That the right wing media cares so much about the leaker and is targeting the left as a major controversy tells me that all they are doing is deflecting. No laws were broken here, so ultimately it’s a non-story. Does it break tradition? Sure. Who cares about who leaked it.
Meanwhile, elsewhere in Washington, there are thousands of links between the press and major players in the government – have you ever heard of Andrea Mitchell? We don’t hear about these connections very often simply because they are so plentiful. Remember Sean Hannity – He was on the phone nightly with Trump. I am sure Trump told him a million things “off the record”. It’s washington, it’s a cesspool.
If those other pipelines were good enough, then we wouldn’t be in the gas price crisis we’re in right now, would we? In any case, cancelling that pipeline was just the first of several decisions meant to dismantle Trump-era US energy independence. Perhaps oil companies and gas stations are simply and “selfishly” expressing their lack of confidence and desire for self-preservation to this administration. I don’t see them changing their tune anytime soon.
Sure, “no laws were broken here,” but in terms of conduct and trust within the institution? If you worked for a tech company and decided to leak the presentation slides on a new product not meant to be revealed for a few months, would your higher-ups not see fit to terminate your ass and spread the word to make sure you never get a job in the tech industry ever again? Would you trust that clerk to be your lawyer? I strongly doubt it.
Since the oil was going to be shipped out of the country via US ports, safe to say that no American would have benefited. Also, building a pipeline running through the largest aquifer in the US was always a boneheaded idea
It’s objectively good for no one if it goes back to the states because it will be dominating state legislatures for years when they could easily be focused on more pressing matters
Lol, “objectively good”. To those pro-abortion, it is a pressing matter. The states will adjust accordingly, especially the ones with the trigger laws. Meanwhile, I’m a Washingtonian and I’ve long fully accepted that my state government will make sure abortion up until birth will be codified in Washington law.
Actually, probably what happened was that a Ginni Thomas type or Ginni herself was shown the draft and reached out to their GOP infrastructure to start slamming anti-abortion laws onto the books as fast as possible. I’m in the camp that too many copies of the draft were in the wind, and someone got careless and Politico ended up with a copy.
“Do we go to hot war with Russia? With ourselves?
How bad is inflation going to get?”
The MIT study made in the early 70s has been my handbook of my life since I found out about it, in the 90s, while researching in the University, and it has been spot on, so far, so no reason to doubt it will continue to match the worldwide economy for the next 30-60 years… a quick summary/guide is in this graphic (which I already posted). I could discuss what it exactly means, but that would take hours and, honestly, no one is going to like what it actually says (the end of capitalism).
https://uploads.disquscdn.com/images/fe9a9205b4d4d2eadbb014b903f7e92b455d5dfbc3db2fc470ef43504b285c66.jpg
the huge error in that graph is the decline of non-renewable resources (primarily oil) – There is plenty of oil out there to last until the world explodes in a heatwave, although it is getting harder to get to. But technology gets better and better. (Think of all the oil beneath the ocean floor we haven’t even touched)
Nor does it include the increase in renewable energy.
again, you commit a mistake: there’s a clear decline in oil, specially when techniques like fracking are being used to get worse quality resources, and also, the huge developement of overpopulated countries like China, India, and many more, are skyrocketing the demand of non-renewable resources. The process is actually accelerating in an insane way, in the last months.
Fossil fuel production is increasing this year. Look it up. Russia may not be adding to the grand totals but it doesn’t mean their oil is magically disappearing.
Fossil Fuel production will only decrease when demand for it decreased. That decrease in demand will result not from some 1970’s graph but because renewable energy is becoming cheaper and cheaper, and in many parts of the world now, it is indeed cheaper than fossil fuels. Renewable energy would skyrocket if we had the proper infrastructure for it (like for example, solar panels at home that were used specifically for your electric cars)
Fossil fuel production is increasing this year (to compensate the effect of the Ukraine war) but that only means that what’s left is diminishing faster and accelerating the process. It’s called non-renewable for one reason.
It doesn’t sound like you realize that as technology improves more and more non-renewable energy sources can be reached. Most stats one comes across list “known” resources. We really have no idea how much energy we can eventually get from the Earth, we just know that every year we find more and more. Coal, the easiest and cheapest to get, will likely be mined for years to come, but the rest will slowly become less important as we are better at creating renewable energy on a global scale.
Climate Change will be the limiting effect of population. Not any of the “traditional” reasons like food or energy – food, too, becomes more widely available because of technology, particularly genetically modified food where nutritional value can be increased.
ah, the “science will save us all” phallacy. It won’t. It is in the hands of corporations who get more interest in their own profit than on the interest of humanity. Recall again, for example, how Universal Healthcare is everywhere and why not suffering pain isn’t a basic human right?
Now you want a bait and switch argument and I’m not interested.
People have been getting energy wrong for decades. If you’d listened to “experts” back in 1985 we would have run out of oil ten years ago. Read a book on the industry. It’s illuminating.
well, difference is, that I have an actual career in developement (3 diplomas) and international experience in diplomatic environment.
But you can have your (wrong) opinion, as well. Feel free to express it, that will NOT change reality
this is probably the silliest argument I’ve participated in on this website.
I hate the sentence “We will have to agree to disagree”
Instead, I will suggest we meet back here in 10 years to see if the world population starts to decline as your graph predicts. Until then, more movies!
no. Again, the fact that you can write an opinion, doesn’t necessarily mean that your opinion is as valid or respectable as anyone’s. You have to back your opinion with knowledge, effort and experience, which I do. I don’t speak, on this issue, as some random guy on the internet. I studied a career, then got two extra diplomas and literally risked my life in a country at war, field work, in a diplomatic environment, to learn about our world, our economy, our international relationships, and the absolute war on resources that we are living through, since decades ago. And I mean, literally, I saw things, faced things, and even survived things, that can’t be dispatched with a “we will have to agree to disagree”, if your only background is what you read on some mainstream media which is clearly designed to keep you asleep about how urgent and drastic the actual situation of the world’s economy and the fuel-based capitalism, actually is, with an extreme crash probably about to happen, and even probably WW3 – as even President Biden has already hinted a couple of times, as result of the deadend of Ukraine’s conflict.
I am basically repeating Daniel Yergin. His 3 books are indispensible if you want to understand Oil’s place in world history.
only that I worked as developement expert in a country rich in oil, obliterated by a civil war funded from abroad… field experience, my friend… saw things and learned things, you wouldn’t believe… it’s different when you work in the inside.
but i don’t see how that experience gives you any insight into how many fossil fuels are still inside the Earth? If so, how?
Angola happens to be one of the most important oil (and other resources) producers in the world? Lol.
it ranks 18th in the world, or less than 2% of oil produced.
But again, you don’t give any response to my assertion that fossil fuels are not running out anytime soon.
gold, uranium, fertile soil, fishing, Angola has everything. The forces clashing there – corporate, political – are to be seen to be believed.
again, you don’t respond to my assertion that there are plenty of unmined and unused fossil fuels in the world and that your map suffers because of that mistake with information that is superfluous. If we want to discuss Angola that’s fine, but please don’t think you are winning the “debate”
A more updated point of view on the study that is referenced here: https://www.theguardian.com/environment/2021/jul/25/gaya-herrington-mit-study-the-limits-to-growth
when I discovered that, I decided to analyze my future, being Spanish. I know I won’t ever retire.
pointing out: Jane Campion is from New Zealand, not from Australia
Still reading, but:
“I am not sure why this is, but that’s how it’s turned out.”
Because other countries appreciate the arts more, giving money to them on a national level, something the U.S. no longer does. This in turn sets up creatives with financial stability to focus on their craft.
Best Animated Film predictions:
-Disney movie
-Disney movie
-Disney movie
-DreamWorks movie?
-token foreign movie
Winner is the most popular Disney movie. Lather, rinse, repeat.
Well, it ain’t gonna be Lightyear, that’s for damn sure.
https://uploads.disquscdn.com/images/9a39acccbf0ff6df5e03cfc045d79e21edec72f3b59415dd2e61ab6fcd75a3cd.gif
The Bad Guys deserves to be the uncontested frontrunner until proven otherwise.
I would like to see Mad God nominated, but it’s probably too “extreme” for the Academy.
If Mad God only toured the festival circuit prior to getting released on Shudder, then I’m afraid it has made itself ineligible. A film has to screen for 7 consecutive days, 3 screenings/day (with one between 6—10pm), in a theater in either LA County, the Bay Area, Chicago, NYC, Atlanta, or Miami to become eligible for the Oscars.
Didn’t it get a limited theatrical release last week?
Maybe it did, but all I see on its IMDb “Release Info” page is a bunch of festivals and then “Internet” for 16 June (meaning its Shudder release). If it did an Oscar-qualifying theatrical release, then it did the bare minimum.
That’s often all it takes for Netflix movies to qualify for nominations.
If it ain’t Lightyear then Turning Red or Strange World. Disney gonna Disney.
No one really knows nothing until trailers drop and we hear about test screenings. Babylon should be the frontrunner because of the subject matter and the enormous cast. Campion is from New Zealand by the way.
Before I actually discuss film. But it seems like Trump, the most “Me” president ever, shouldn’t exist since we are at the peak of the “we” phase. And there is a SCOTUS primed and ready to “Me” us all to death (like literally since they will absolutely destroy any environmental legislation out there)
Now for looking at the directors. Maybe the American directors stopped winning since most of them have been reined in by the studio system that’s been demanding more films aimed at a more youthful audience. A couple of them like Scorsese and Spielberg still have creative freedom but most have been given limited budgets and are subjected to test screenings, which most assuredly neuter anything truly original. As a result, the best films come from countries whose government provide lots of financial support for the arts and ample freedom as well.
Now for this year. Noah Baumbach. See elsewhere for this obvious choice.
Noah Baumbach wouldn’t stand a chance if everyone double-thought about Marriage Story’s unbelievable narcissism… having every single character in the film, label his avatar as “genius”… it became a running joke through the film, despite not being played for laughs!
I don’t think people missed that (at least I didn’t), there just happen to be things in that movie that make it worthwile nonetheless (even if it is one of Baumbach’s weaker efforts). And if we automatically threw out every single film that feels slightly narcissistic for its writer or director (I’d say narcissism on a dialogue-level like that is not even a particularly intense form of cinematic narcissism), we’d be throwing out some great movies along with a lot of pretentious garbage.
Narcissistic + revenge film to his ex. That’s how I feel about it.
also, the ONLY MS performance that I actually enjoyed and didn’t feel in the wrong key… was Julie Hagerty’s. The movie came alive to me, whenever she was on screen. Everyone else ranged from the pretentious high class, nose up character, that forced me to make me impossible to empathize with Driver and Johannsson (and Dern’s caricature, one of the most shrug-inducing Oscar wins, to me, in a long time… which I can only justify for how due she actually was), to the paper-thin characterization of every supporting character (including the child). I really disliked the film, and certainly made me have zero sympathy for Baumbach both as an artist, and as a human being.
I’m not sure how many Baumbach movies you’ve seen but I wouldn’t really be going in looking to have sympathy for Baumbach as an artist or especially as a human being. After all, we’re talking about the person whose nostalgic movie about their childhood is The Squid and the Whale, who said that Margot in Margot at the Wedding (a phenomenal film but maybe one of the more misanthropic films I’ve seen) is based on himself, and I don’t remember the characters in Greenberg or The Meyerowitz Stories (New and Selected) to be in any way likeable either. And although I feel like Gerwig somewhat softens his vitriol in their writing collaborations, Frances Ha and Mistress America are still filled with selfish, pushy and often mean people as well.
As for the stuff I enjoyed in Marriage Story, I think Driver is doing incredible work with what he has, building in that character more shading and interrogates that character in a way that the script might be somewhat lacking (although I fully understand if the script is too much for someone to get over as well). And even beyond that, I think Johansson does good work and the supporting cast including beyond just Julie Hagerty also for example Alan Alda and Merritt Wever are doing a phenomenal job. The Newman score is fascinating and stylistically there’s a confidence that, while slightly veering from what I like about certain Baumbach movies, is still very engaging to watch.
He could have made as many great films as he could, but basically his MS nervous breakdown tells more about him, than anything else. Same as Cuaron with Roma, for example (yes, it’s a masterpiece, but his supposed chant to his nanny developes into pure narcissism both in story and style, for those paying close attention on the “what” and “how”).
Honestly, neither can kiss the boots of Franz Ripploh’s “Taxi Zum Klo” despite all the budget and artistic limitations… THAT’S a true personal autobiography without being ashamed or scared to show the worst of one self. Self-hate and honesty pours in each one of its – extremely graphic – scenes. He puts John Waters and the early Almodovar to shame, in comparison, on how daredevil he was.
But it’s not like Marriage Story is this film that showcases himself as a narcissistic fool in a way that’s different than his other films. It’s always there in the characters that seem like Baumbach’s alter egos, it’s usually just mixed with more bitterness (the only real exception that I’ve seen being While We’re Young, which I’d argue is closer to the clueless narcissism you seem to ascribe to Marriage Story)
White noise is gonna be very divisive with audiances thou plus do you really think he is gonna beat up the son , women talking , she said , killers of the flower moon for screenplay
In today’s obituary of the great Jean-Louis Trintignant he states: “Why do they give us awards? We’re already well paid. They’d be better off giving Oscars to people working jobs that aren’t fun at all.”
Words hard to argue, especially his first two sentences.
I never knew he turned down roles in Apocalypse Now and Close Encounters of the Third Kind !
Let me guess, respectfully: The plantation owner Hubert de Marais (Christian Marquand) and the scientist Claude Lacombe (François Truffaut, who’d go on to direct Trintignant in 1983’s Confidentially Yours)?
Hopefully there will not be a red wave and Roe v Wade will not be overturned and we won’t go to war with ourselves or James Gray’s Armageddon Time will not just be a story of how the election of Ronald Reagan in 1980 changed everything and led to the coming of Donald Trump and how the dreams of our youth curdled into the rancor and divisiveness of today when we ceased being the country of dreams and instead became the country of to hell with the other guy I’ve got mine !
James Hastert needs to be given credit. He ruined partisanship, not allowing any legislation to pass unless it was supported by a majority of Republicans and then forcing all Republicans to support whatever bill was being passed. No Democrats needed.