TIFF 51: “A Long Winter” leads Andrew Haigh up the Rocky Mountains

by Cláudio Alves

The human figure against the grandeur of the natural world has obsessed visual artists for centuries, if not millennia. In A Long Winter, his latest film and follow-up to the highly popular All of Us Strangers, Andrew Haigh follows the footsteps of those that came before him and delivers what can only be described as an exercise in landscape cinema. It’s perhaps his work where shot composition and the blocking of actors have most to say. At the same time, the text barely raises its voice above a whisper, whether it is to flesh out character or spell out theme, to engage or entrance or alienate the viewer sitting before the coldness of a big screen overcome by frost. 

Depending on the sort of film lover you are, this will either make A Long Winter a slog as hard to go through as the unforgiveness of its titular season, or it’ll have you breathe a sigh of relief that the Andrew Haigh of Lean On Pete has, at last, made his return after nearly a decade in absentia…

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"45 Years," Ten Years Later...

by Cláudio Alves

The past is never gone. You think it is, fall into the comfort of believing it dormant, but one day, it awakens and rocks the foundations of the now. This is true of historical cycles, of political waves and culture and vales. It's true of love affairs, too. Of marriage and cinema. 45 Years is a rumination on such ideas, having premiered at the Berlinale a decade ago today, where it signaled the maturation of Andrew Haigh into one of Britain's most essential filmmakers after his promising beginnings in the realm of queer cinema - Greek Pete and Weekend. It also brought Charlotte Rampling out of the rarefied, vaguely alienated, auteurist plane she existed within for many decades, turning her into someone less adventurous cinephiles came to know and cherish.

She also became a first-time Oscar nominee thanks to Haigh's creation. 45 Years remains the crowning achievement of her career, and the same could be said of Tom Courtenay. The Berlinale Jury was right when it gave them both Silver Bears for their performances…

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Almost There: Barry Keoghan in "Saltburn" & Andrew Scott in "All of Us Strangers"

by Cláudio Alves

Earlier this week, the Almost There series returned with a look at Penélope Cruz's failed bid for the Best Supporting Actress Oscar. Now, it's time to move on to Lead Actor, where the season's most prominent contender without a nomination was Leonardo DiCaprio in Killers of the Flower Moon. But since you're probably tired of reading my defense of Scorsese's latest, I decided to focus on two others instead. The first victim is Barry Keoghan in Saltburn, for which he was nominated at the Golden Globes, BAFTAS, and Critics Choice Awards. Our second sacrifice is Andrew Scott, whose campaign for All of Us Strangers was full of passion but few actual plaudits. There were nominations at the Globes, Spirit and British Independent Film Awards, little else...

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Barbenheimmer and "Killers of the Flower Moon" are all over the BAFTA longlists

by Cláudio Alves

Even at the BAFTAs, these three are inescapable.

Since its 2020 overhaul, the British Academy has been changing its rules, aiming for more diversity within its ballot. So far, the effort's been relatively successful, though last year's choices were too Oscar-y for some people's tastes. I tend to prefer when BAFTA maintains a certain idiosyncratic identity, honoring less-seen national gems along the way. Judging by the just-released longlists, it seems we're heading down a similar path to last season's, with three Oscar frontrunners scoring in fifteen categories. That doesn't mean the Brits have lost their uniqueness. Look at the love for All of Us Strangers, including listings for all its principal cast…

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"Barbie" Gets Pushed to Adapted Screenplay

by Cláudio Alves

Shed a tear for Andrew Haigh's Oscar hopes.

What many believed was bound to happen finally did. Despite Warner Bros. campaigning Barbie's script as original, an Academy committee formed by members of the Writers branch - Howard A. Rodman and Dana Stevens took precedence as governors, while Eric Roth recused himself - and  chose to uphold the usual rules for IP-based material. That means Greta Gerwig and Noah Baumbach will have to compete in Best Adapted Screenplay, shaking up the race in a big way. The pink fantasy was the assumed frontrunner in the other category, facing off against The Holdovers as its biggest competition. Now, it's up against a veritable battalion of Best Picture contenders, including titles wrestling for the honor of nomination leader – Killers of the Flower Moon, Oppenheimer, and Poor Things…

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