Candid Charlotte Rampling

Rampling for NYTimes Magazine

Murtada here. Charlotte Rampling’s performance in 45 Years is a quiet storm of volatile emotions, holding attention with understated intimations that hint much more than show. Inexplicably left off both the Golden Globe and SAG nominations list, she might become this year’s Marion Cotillard, missing the early nominations and getting in at the Oscars. She’s already won the LA Film Critics Association best actress award and here’s hoping more regional critics notice her in the coming weeks. We will talk about the movie and performance once the movie is released.

One glorious result from being in the awards conversation is that Rampling was in Hollywood and New York recently giving good quote. And unlike her 45 Years character, Rampling is not holding back and is quite candid in these interviews.

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Oscar Prediction Updates - Carol's Up. But What's Down?

Will Oscar voters love how obsessed with Oscar statues the SAG nominated TRUMBO is? It's been an enormously busy week with precursor decisions confusing and clarifying in equal measure. Even if you don't put much stock in the Critic's Choice Awards (also known as the BFCA, an organization that includes your host) it'll be interesting to see what they come up with since ballots were due today and so many questions remain. Though the organization prides itself on Oscar predictive power (a very weird thing to pride yourself on unless you're a pundit rather than a critic) the confusing nature of the race won't make things easy on any pundit.

While I've been accused of overthinking various races often (who, me?) such is the curse of punditry and Oscar obsessiveness. Here's where I think we stand now...

PICTURE & DIRECTOR If this race we're taking place in 2008 with the old school five-wide race it would obviously be Spotlight, The Martian, Carol, The Revenant, and Room at this point with one of the directors jettisoned for Mad Max's overachievement by George Miller. Beyond that it's so complicated both because we don't know how many nominees we'll get and because seven other pictures still seem plausible as a Best Picture nominee for one reason or another though they had shakier reactions in these first two precursor weeks. For instance: Creed hasn't been doing all that well but I still think it's a big Oscar possibility. Am I crazy or just concussed? And speaking of...

The SAG miss for Sir Ian McKellen could spell trouble for his Oscar dream

ACTOR While I don't imagine we'll see a repeat of Will Smith's Globe nominated Concussion performance on the Oscar shortlist it's one of about ten performances that still seem to be in the race. You'll have to cleave that in half in January. DiCaprio, Redmayne, Fassbender, and Cranston all have the key nominations (Globe & SAG) but each year at least one or two people across the four categories with that combo miss and you need #1 votes given the Academy's nomination tallying system. So which performances or beloved actors have the most passion behind them? This is why I still think Michael B Jordan or even Sir Ian could surprise despite the lack of SAG or Globe love; it's always important to remember that those voting bodies are quite dissimilar to Oscar's acting branch.

SUPPORTING ACTOR Precursors have coalesced around Michael Shannon, Idris Elba, and Mark Rylance but because the former two weren't what people widely expected, CHAOS REIGNS. Sly Stallone still feels like a potential winner IF he's nominated. And will Oscar really deprive anyone from Spotlight of an acting nomination? That would be so weird for such an actor's friendly Best Picture frontrunner.

but who will be on CHARLOTTE's ballot? ACTRESS & SUPPORTING ACTRESS We'll have to list these two together because of the ongoing controversy surrounding Rooney Mara (one half of Carol's brilliant romantic coupling) and Alicia Vikander (who has two films splitting supporting honors Ex Machina and The Danish Girl, even though she's the leading lady of both). The discussions around these two have sucked so much oxygen out of the room for other women (in both the leading and supporting races) that I imagine they're both still getting nominated for Supporting DAMNIT since voters likely haven't thought through their other options . The solution: quality longshots should be working their asses off for the next two weeks to remind people of their existence (We're talking to you: Kristen Stewart, Elizabeth Banks, Julie Walters, and Cynthia Nixon)  since Academy voters don't get their ballots until the end of the year. Over in lead actress only four women feel secure (yes, that includes Charlotte Rampling. Come at me!) which means it's a true free for all for the fifth-slot. This week I chose Lily Tomlin as the lucky lady but it could be anyone from the second tier of the chart (or Mara or Vikander).

The other category charts will be updated this weekend -- SAG & Globe choices tell us virtually nothing about Oscar tastes when it comes to the other categories so we can think awhile longer on it.

Investigate the new charts and report back. What does your crystal ball say?

The Animated Feature contenders: Boy and the World

Tim here, to spread the Good News about the best animated feature of 2015. Though for everybody in the U.S. outside of New York and Los Angeles, it's not coming until 2016, and anyway it first premiered in 2013. The point being, this weekend marks the Oscar-qualifying release of Boy and the World, an astonishing, crazily inventive, unnervingly thoughtful fable from Brazil and the hands of director/animator Alê Abreu.

It's a wholly idiosyncratic vision of childhood and globalization, and a film with no clear target audience - there's nothing kid-unfriendly here, but I also can't imagine a kid understanding any of what's going on. Nevertheless the self-selecting population of adults willing to watch a cartoon that looks for all the world like a video for pre-schoolers is in for a rare treat.

more after the jump...

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Women's Pictures - Dee Rees's Bessie

Considering how often Pariah is called "a critical darling," it's disappointingly shocking that it took another 4 years for Dee Rees's next movie. Bessie is an HBO biopic of singer Bessie Smith, the Empress of the Blues, who rose to prominence in the 1920s and died in a car accident in the mid-1930s. When the movie premiered earlier this year, Angelica Jade Bastién wrote a fabulous personal review of it which I highly suggest you read. As Angelica points out, Rees's sophomore effort is a well-directed film that gets a lot right, even though it falls into a lot of the typical biopic pitfalls.

While the plotline of Bessie's meteoric rise, humbling fall, and return to semi-greatness followed a predictable biopic path, what really struck me about this collaboration between Dee Rees and Queen Latifah was how unapologetically individual it was. Unfortunately, fact-based films about black characters, if they are expected to attract a wider (whiter) audience, incorporate white characters to a large degree. Selma and 12 Years A Slave both have white antagonists who gain a lot of screentime - in the case of 12 Years A Slave, it was enough screentime to net Michael Fassbender an Academy Award Nominations.

In Bessie, blackness and queerness dominate...

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Interview: Valerio Mastandrea on Completing Italy's Oscar Submission After the Untimely Death of Its Director

Jose here. One could argue that most films go through an interesting trajectory, since it’s never easy to turn the initial pages on a script into moving images projected on a screen. However, few films in recent years have gone through the journey of Claudio Caligari’s Don’t Be Bad, which not only was the director’s third film in thirty years (take that Terrence Malick), but sadly turned out to be his last. Caligari, who had been diagnosed with terminal cancer, shot the film and had completed most of its editing, when he died at the age of 67 never seeing the final product. What followed was a true labor of love, as Caligari’s colleagues, led by actor Valerio Mastandrea who had starred in his second film, The Scent of the Night, completed the project and made sure it became available to audiences.

Don’t Be Bad made its debut at the 2015 Venice Film Festival and was subsequently selected as Italy’s submission for the Best Foreign Film Oscar. With a plot that seems inspired by Pasolini and Steinbeck, Don’t Be Bad, is a heartbreaking reminder that we won’t see any more films by Caligari, but it’s also a testament to his unique brand of sociopolitical filmmaking. I had the chance to attend a screening of the film in New York and listening to Mastandrea’s sincere admiration and love for Caligari and the film were awe-inspiring.

Read the interview after the jump...

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