Oscar Volley: Is ‘Best International Film’ a done deal?

Team Experience is discussing the various Oscar categories. Here's Cláudio Alves and Nick Taylor discussing the Best International Feature Film race.

CLÁUDIO: Since the last batch of Oscar volleys in a pre-nomination world, few categories have been as shaken up as Best International Film. Back then, you could still wonder if All Quiet on the Western Front had been seen by enough people in the industry. Now, after its slew of Oscar nods and smashing BAFTA performance, it's competitive in multiple categories and expected to nab an easy victory in this one. I've already elaborated on my distaste for Edward Berger's war picture and find myself rather delighted to have been paired up with you, dear Nick, for this volley. You see, dear reader, here's someone who might dislike the movie even more than my nitpicky ass.

NICK: But I’ve softened on All Quiet a bit…

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Oscar Volley: "Avatar" versus what in Best Visual Effects?

Team Experience is discussing each Oscar category in the lead up to the ceremony. Here's Abe Fried-Tanzer and Nick Taylor to discuss Visual Effects.

Black Panther Wakanda Forever

ABE FRIED-TANZER: Hey Nick! Here we are discussing the category with the most stages of finalists, giving us a window into what could have been. I appreciated the inclusion of interesting choices like Bardo, Good Night Oppy, and RRR on the initial twenty-wide list, and was pulling for Nope and Thirteen Lives to move on from the next stage of ten. But none of that happened, and we’re left instead with five very different choices, none of which are based on original material.

There are some intriguing stats to share about these nominees, like that Black Panther: Wakanda Forever placed, but its predecessor (which scored a Best Picture mention) didn't in the same race...

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BAFTA goes its own way and shakes up the race

by Cláudio Alves

After it earned 14 out of 15 possible nominations, we should have known that All Quiet on the Western Front was a major threat as far as the BAFTAs were concerned. And yet, this seemed like The Banshees of Inisherin's time to shine. Well, the British Academy has announced their victors, and though they loved Martin McDonagh's latest, it couldn't defeat Edward Berger's Netflix juggernaut. The German Oscar submission won seven awards, including Best Film and Director. Banshees had to settle for four prizes, the same number of wins Elvis amassed. Beyond those three, no other title managed to take home more than one statuette, not even the the Oscar frontrunner Everything Everywhere All At Once.

But what does it all mean? Let's assess after the jump…

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The BAFTA nominations are here!

by Cláudio Alves

Despite four nominations, this was a sad day for "Aftersun" | © A24

In the last two years, BAFTA managed to distance itself from the precursor norm, asserting an individual identity separated from the affairs of predicting the Oscars. Well, it seems such idiosyncrasies were a short-lived fad if this year's nominations are to be trusted. The weirdest thing about their latest slew of nominees is how much they align with expectations and repudiate the very possibility of weirdness. All Quiet on the Western Front leads the pack with 14 nominations, having been recognized in all possible categories apart from Best Actor. Next, we find The Banshees of Inisherin and Everything Everywhere All At Once, with ten each. Those are the only titles whose bounty amounts to double-digit nods.

Come discover the complete list of nominees, after the jump…

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Split Decision: "All Quiet on the Western Front"

No two people feel the exact same way about any film. Thus, Team Experience is pairing up to debate the merits of each of the awards movies this year. Here’s Eric Blume and Cláudio Alves on Germany's Oscar contender.

ERIC:  Claudio, let's get down and dirty on Edward Berger's All Quiet on the Western Front.  I'm in camp "love" and I think you're in camp "don't love"?  The only real dissent I've heard from folks is that "it says nothing new about war" (which I look forward to addressing).  But let's start with overall impressions of the film.

CLÁUDIO:  Well, it's adapting a seminal anti-war novel – maybe THE anti-war novel pre-WWII – already made into a Best Picture Oscar winner before. So it's not like it had much hope of saying something new about its subject. Nevertheless, Edward Berger and company bring plenty of "new things" to the narrative presented in the literary work and its previous adaptations, so there's that...

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