Oscar Volley: Best International Film is a pundit's nightmare

With less than a week until nominations, Cláudio Alves and Elisa Giudici discuss Best International Feature…

Italy's THE HAND OF GOD

Cláudio Alves: Before we delve into the finalists for Oscar's Best International Feature Film competition, I must comment on the fact that we each come from a record-holding country in this category's history, albeit opposite ends of the success spectrum. As far as victories, Italy (your home) is the all-time champion, having won this prize 14 times. On the other hand, Portugal (mine) is still waiting for its first nomination, being the unnominated country with the most submissions. In fact, we've never even gotten as far as the shortlist stage (cries inconsolably)!

Anyway, since we're on the topic of our countries, I'm interested in knowing whether you think it's safe to predict Paolo Sorrentino's return to the Academy's favour with The Hand of God. I can't say I'm entirely convinced about the picture's merits...

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Oscar Volley: Who knew that Best Original Screenplay would so divide us?

Our Oscar Volleys continue with  Eric Blume, Baby Clyde, and Gabriel Mayora with surprising confessions, hot takes, and unexpected sentiment.

Eric Blume:  I suspect we have three locks for nominations in this category: Paul Thomas Anderson for Licorice Pizza, Kenneth Branagh for Belfast, and Adam McKay for Don't Look Up!  I am a colossal fan of PTA, but it makes me sad to think he could finally win his Oscar for one of his weaker pictures.  I am mystified by the rave reaction to Licorice Pizza, which is wonderful in patches, but the screenplay is so meandering and fails to culminate in anything dramatically. Plus, it's a genre we've seen hundreds of times. PTA is able to bring his directorial dazzle to it, but as a script, it's severely undercooked.  I do think Don't Look Up! has a magnificent setup for a comedy, but the jokes are flabby and tepid, and it's not exactly razor sharp in terms of structure or dialogue.  The script just kind of lays there.  Of the three, I think Branagh's script is the strongest: it indeed does culminate in something dramatically, plus it's tight and contained, and captures the Irish humor dead-on. 

Belfast is no masterpiece, but it feels true, has some vivid characterizations, and Branagh finds a good balance between how the personal and political flow over each other.  What are your feelings on these three contenders?

Baby Clyde: I disliked Licorice Pizza immensely...

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A closer look at the Oscar finalists for Best Live Action Short

By Abe Friedtanzer

This year, the Best Live Action Short category has fifteen films on its shortlist, up from ten. I was able to screen all of them and interview each film’s director, which helps to give some context and depth to what may end up being a very brief and otherwise fleeting experience. I’m happy to report that, even though the themes are mostly not uplifting, this is a very solid and strong category. Some brief descriptions and thoughts on the films below, where to watch the ones that are available online, and my predictions for which five will be nominated.

ALA KACHUU – TAKE AND RUN  (38 minutes, Kyrgyzstan)
A woman who is planning to continue her studies becomes the victim of bride kidnapping, a real phenomenon where shame is put upon any woman who tries to escape that fate...

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Oscar Volley: Supporting Actor. Who is in third, fourth, and fifth?

Oscar Volleys continue with Eric Blume and Ben Miller discussing Best Supporting Actor.

Eric Blume:  Happy to reteaming with you, Ben, to discuss that woebegone category of Best Supporting Actor. Nobody in the running  can touch what Kodi Smit-McPhee accomplishes in The Power of the Dog, a bravura combination of sleight-of-hand and lived-in work. The movie feels like an instant classic.  Kodi delivers the gift of making you want to re-watch his performances instantly to see his choices in a new context when he unfurls the full characterization.  There's depth and artistry to this performance, while appearing effortless:  it's a stunning piece of acting. But he's not the only lock...

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Oscar Volley: ‘Cruella’ is the one to beat in Best Costume Design

Continuing our Oscar Volley series at The Film Experience.  Cláudio Alves and Glenn Dunks discuss Best Costume Design

Cláudio Alves: This is my favorite Oscar race! I studied Costume Design in college and still design for theater. However, that doesn't necessarily correlate to my appreciation of the Oscar category. That admiration stems instead from this branch's propensity for lone nominees, the recognition of films with little to no hope of breaking into other races. Sometimes, that lonely contender even wins, though it's been over a decade since that last happened – 2006's Marie Antoinette with costumes by Milena Canonero.

Truthfully, I could envision that occurring this year with Cruella. Beyond that Disney fashion show, one wonders if there'll be any surprise single-category nominees. Honestly, I'm having trouble coming up with a potential candidate unless it's Cyrano or House of Gucci drastically underperforms. What about you, Glenn? 

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