Amy Madigan and Oscar Horrors Past

by Cláudio Alves

Weapons is the talk of the town and people can't stop obsessing over the movie's villainess supreme, the wicked witch of the suburbs, the pied piper of Pennsylvania – Aunt Gladys. Some have even started dreaming about Amy Madigan's potential as a Best Supporting Actress contender, a Ruth Gordon in Rosemary's Baby for the new millennium. While such speculation seems a bit too hopeful for this horror-loving skeptic, it did remind me that Madigan is already an Oscar nominee. Indeed, she was one of the acting honorees I had yet to see before biting the bullet on Twice in a Lifetime earlier this week.

So, as part of my journey to watch all Oscar-nominated performances, here are my thoughts on Madigan. And, since horror is on the mind, let me mention a couple of the worst films ever graced with an acting Academy Award nomination, too. You better believe that there are things scarier than witches out there…

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NYFF 63: Guadagnino opens, Cooper closes, DDL returns

by Cláudio Alves

As the summer's end comes ever closer, it's that time of the year when cinephiles worldwide vibrate with anticipation and ready themselves for what's to come – the fall festival season. Venice is almost here, TIFF comes after, and the NYFF after that, world premieres as far as the eye can see. And for those who concern themselves with awards, this is the point when the race starts to take some definite shape after months of amorphous speculation. Here, at The Film Experience, we'll be covering all these incredible events, one way or another, with countless reviews coming your way. With that in mind, let's consider some of the festival selections that have been announced lately. Just earlier today, Toronto and New York closed their programs, and there's much to discuss.

Starting with Luca Guadagnino's latest star-studded creation blessing the 63rd NYFF with glamour, provocation, maybe even some controversy…

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"Weapons" Starts the School Year Right

by Nick Taylor

     Have y’all seen Zach Creggar’s new film Weapons, the breakout hit of this past weekend and the most recent evidence this year that Horror Is Back? You and I know both know horror has been back, and arguably never left to begin with. But in a very real, almost metaphysical sense, just because something has always been here doesn’t mean it can’t also be Back. Weapons proves this, not always a fresh or streamlined experience but an endlessly compelling one, especially in a crowded movie theater.

     Weapons begins with the narration of an unnamed, unseen young girl (Scarlett Sher), telling the audience we’re about to be told a story so weird and disturbing it was kept out of the news by the police. You can probably imagine the tone in which the girl says this, like she’s telling you a really crazy secret you gotta promise you’re cool enough to hear about before she gets started. Spoilers follow after the jump, so if you’re a cool cat, come with me into this basement . . . .

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Dutch, Swiss, and Israeli Shortlists for Oscar submission

Three more countries are nearing their decisions: Netherlands, Switzerland, and Israel. The first two have won the category before but Israel remains the most-nominated country that's never taken this Oscar. Let's look at the posisble contenders from each after the jump...

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South Korean Film Awards & the Oscar Race

by Nathaniel R

THE UGLY... one of 19 films competing to become the Oscar submission

Since we've just starting hearing about Oscar submission decisions from the 100+ countries that Oscar invites to participate each year, let's talk about a country that wisely invested in their own arts, with both deregulation and regulation tactics (reducing government censorship whilst protecting home-grown cinema from Hollywood dominance via screen quotas) for the past couple of decades. The results have been impressive and South Korean entertainment is big in multiple countries now, including the US. While their cinema has been popular and lauded for some time, the American Oscars haven’t quite come around, with the sole exception of Bong Joon-Ho's Parasite (2019). It helped that Parasite had a) absolutely exquisite timing of festivals-to-theater-to-awards pipeline and b) was easy to spot as an instant classic / masterpiece. The former is hard (though not impossible) to manage and the latter is exceedingly rare! 

We suspect that Oscar’s resistance to South Korean cinema has to do with the Academy's general genre-aversion...

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