We've been discussing each Oscar chart this past week or so so let's finish up the visuals with Production Design and Film Editing.
PRODUCTION DESIGN
Beyond Mank, which features Oscar nominees Donald Graham Burt and Jan Pascale recreating Classic Hollywood this field remains something of an 'anything is possible' mystery. Best Picture heat often helps in the 'below-the-line' categories. But, even acknowledging that fact, many of the hottest Best Picture contenders like Ma Rainey's Black Bottom, One Night in Miami, Minari, and Nomadland, have by their very intimate story natures, not a lot of visible art direction happening. It's not that they aren't beautifully designed but you know how at the Oscars it's pretty standard that "MOST = BEST"...
Of those four Ma Rainey feels most likely since it also has two concert sequences to help vary up the look despite most of the film taking place in a recording studio.
And speaking of "most" the Production Design of The Personal History of David Copperfield is pretty out there and memorable. But are voters watching it?
Relic's haunted house
Shirley's Haunted House
Swallow's gilded pristine cage
In short, it's Mank's to lose and it's wildcards all over the place for the other nominations. In Daniel's always incisive column The Furniture he's illuminated production design choices in films like Ammonite, The Nest, First Cow, and Shirley... but they all feel "small" for Oscar's tastes in that category.
Other films with very interesting production design like Relic, Swallow, and The True History of the Kelly Gang are probably way too outré for voters. But we'll see.
Midnight Sky
Perhaps the Design branch will go with Tenet and Midnight Sky since they like Nolan films and astronaut films in this category. Mulan was pretty tepidly received all told but Grant Major is a four time nominee and previous winner so Mulan might have some luck here as Disney live-action remakes can sometimes score craft nods.
News of the World has everything Oscar normally loves in this category -- ambition, memorable sets, prestige feeling -- but reaction feels muted there too (thus far).
In other words we're feeling confident but not at all confident in our predictions at the same time.
FILM EDITING
Editing is a fascinating but "invisible" artform. Therefore it's not fascinating at all when it comes to the Oscar race each year which is a pity. Again and again it feels like the only thing that matters in this category is whether or not you have Best Picture heat and whether or not they feel enormous affection for your movie. Editing is so much more than that. It can escalate or diffusion tension, create beautiful rhythms or destroy the vibe. It helps shape performances and sharpens storytelling choices. It can make slow burn plots feel intense and lively if it's strong but busy movies feel dull if it's not careful. What film editing did you respond to this year?
CHECK OUT THE CHARTS AND REPORT BACK... Do you think we're close to the truth of the eventual nominations or way off?