Where is the buzz for "My Father's Dragon"?

by Nathaniel R

"Too much of a good thing" sounds like an oxymoron but it's something that can happen. It's difficult to look at this year's Best Animated Feature Race for instance and not wonder whether Netflix's endless supply of movies is not totally working. This year alone they have enough contenders to fill up literally that entire Oscar category all by themselves and all of them come from previous Oscar nominees: Richard Linklater's nostalgia piece Apollo 10 1/2: A Space Age Childhood, Chris Williams' animated adventure The Sea Beast, Henry Selick's horror-comedy Wendell & Wild and Guillermo Del Toro's Pinocchio next month.

Somehow Netflix's fifth contender, Cartoon Saloon's My Father's Dragon (which began streaming this month) has generated little press despite being quite charming, beautiful to look at, and also arriving with a ready made Oscar pedigree...

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The glorious Danielle Deadwyler in "Till"

by Nathaniel R

Danielle Deadwyler in "Till"

Often times Oscar buzz arrives before a performance seen on the basis that the role will be a) meaty b) important-feeling and c) feature typically awards-friendly elements. There's a reason this happens frequently. Voters of all awards bodies, not just the Academy, are sometimes guilty of awarding the role in question rather than thinking about what the actor actually did with their big opportunity. The unfortunate byproduct of this is that sometimes, no matter how much an actor elevates it, people might assume "well, it was the role". In these scenarios even the enthusiasm around the performance can feel a little rote because it's expected. It arguably happens with most biopic roles now. The role of Mamie Till-Mobely, the mother of Emmett Till who channeled her grief at her son's murder into Civil Rights activism, meets all those pre-release requirements for buzz and a likely nomination even if Danielle Deadwyler hadn't been incredible. The very good news is that she most definitely is...

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Golden Horse Awards for 2022 go to "Coo-Coo 043" and "Limbo"

by Nathaniel R

Sylvia Chang wins her fourth Golden Horse. img via Golden Horse instagram

Whoops this year's 59th Golden Horse Awards slipped right by us. They were held on November 19th in Taipei. The annual event covers the best in Chinese-language cinema and are juried awards. Director Ann Hui was Jury President this year and actor Chang Chen was also on the jury. The cinematographer Mark Lee Ping-bing (In the Mood for Love) took over the awards executive committee lead role from Ang Lee. Though the Hong Kong thriller Limbo had led the nominations with 14 and won the most awards, the big winner was a film called Coo-Coo 043. Nominees, photos, winners, and a few comments about the films are after the jump... 

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Happy Thanksgiving!

Dear readers, I have COVID for the second time which has spoiled my holiday (great timing!) but hopefully yours is going great! Thank you for your patience of late -- so grateful for any of you still with us or rooting for us. Coverage will be revving back up for the final festive month of the year. We'll have several "Oscar Volleys" (we started with editing), more reviews (here's everything for this year), plus interviews with a few directors and actors for you very soon. Also here are all the updated Oscar charts... and of course those updates won't last long before the winds shift. 'Tis the season'. 

xo, Nathaniel 

Doc Corner: Laura Poitras with 'All The Beauty and the Bloodshed'

By Glenn Dunks

There is a line early in All the Beauty and the Bloodshed where somebody describes the film’s subject, photographer and activist Nan Goldin, as somebody who “knew how to use her power.” I found it appropriate that the director of this movie is Laura Poitras, somebody to whom you could also say knows how to use their power. Poitras is, after all, the filmmaker who has been at the centre of multiple political stories—I mean, it’s rare for a documentarian to be a character in a dramatization of a major news story (she was portrayed by Melissa Leo in Oliver Stone’s Snowden). And to watch a Poitras film is often to be swept up in a swirl of chaos and pain.

Unlike Risk (about Julian Assange) or her Oscar-winning Citizenfour (about Edward Snowden), Poitras herself is not a part of the story here. Nevertheless, her latest is the thrilling and involving work of a filmmaker whose skills feel almost unparalleled. There’s a quiet, almost sneaking, grandeur to her work here as a filmmaker, directing the viewer down the many paths of Goldin’s story with grace, humility and intrigue, and with a technical finesse that is subtle yet entirely specific from one cut to the next.

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