ADG, AMPS, and the BSC close the 'Guilds Week'

by Cláudio Alves

The guilds are coming together in support for CONCLAVE.

To talk about awards in the face of such a catastrophe as the LA fires feels fundamentally wrong. And yet, we need to acknowledge them to explain why this past week has been so odd for those following the Oscar race. Amid the ongoing calamity, various Hollywood guilds have delayed their announcements and extended voting periods. This includes the Academy, but for this post's purpose, the PGA, WGA, and ASC are the organizations we're specifically referring to. Not all guilds followed suit, of course. The Art Directors Guild and the Association of Motion Picture Sound have shared their slate of honorees for the season. Also, since they're not based in California, the British Society of Cinematographers was unaffected. Let's consider their nominees…

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The 'Guild Week' starts with the Cinema Audio Society

by Cláudio Alves

The Cinema Audio Society sure loves themselves some Timothée Chalamet.

This week will be all about the Hollywood guilds having their say, giving us awards obsessives a better picture of the industry's reaction to the season's top contenders. Today, the Cinema Audio Society shared their film and TV nominations, with various of the Academy's shortlisted picks making the cut. But pundits beware, for the CAS can fail to be in perfect synchronicity with AMPAS. The TV nominees are much of the same as we've seen so far in the season, Emmy and Golden Globe favorites on repeat. That being said, there's a sense of individuality to the organization's taste. The voters love music-heavy projects, war, and racing cars…

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Split Decision: "The Zone of Interest"

No two people feels the exact same way about any film. Thus, Team Experience is pairing up to debate the merits of this year’s Oscar movies. Here's Ben Miller and Nick Taylor on The Zone of Interest...

BEN: Hey Nick!  I will freely admit that The Zone of Interest haunted me in a way that I won't soon forget.  I consider it among the absolute best of the year and one of the most impactful Holocaust films to come out in some time.  The praise for the film is near universal, so I know that you thought it was just as exceptional as I did. We can be in agreement, and then call it a day.  Quick and painless...you thoughts?

NICK: I am definitely haunted by it! There’s plenty to admire in Jonathan Glazer’s direction, and I can’t deny I was taken aback by its provocations when I watched it. But even without the comparison to Glazer’s previous stone-cold masterpieces, I felt myself disengaging from the movie’s rhythms as it went on. Intellectually, I get why we’re kept at such a remove from the Höss family, and what the oppressive sound design and spycam cinematography are meant to convey about these people. I swear I do. But this did not connect with me the way it clearly has with you, and I would love to hear more about why this is one of the best movies of the year for you . . . .

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The Oscar Shortlists are Here!

by Cláudio Alves

Like Scorsese's film, SOCIETY OF THE SNOW got into four different shortlists.

AMPAS has announced shortlists for ten categories, from International Feature to Makeup and Hairstyling. One can deduce plenty from the results, seeing what films overperform and which titles don't meet expectations. Well, at least that's true for the more general races. In something like International Feature, one can surmise other things, like the Academy's European bias, or how some titles are popular enough to make it there and Best Documentary. All in all, this should shake up predictions beyond these ten prizes, so there's much to analyze. After the jump, discover the complete lists and some additional commentary…

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Year in Review: Best Music and Soundscapes

by Nathaniel R

Are all cinephiles "visual" people or are some more sonically attuned? I ask this because in order to draw up my own lists of "bests" in the aural categories, I have to really focus to note the soundscapes. In some cases, as with the sinuous alien creepiness of Nope and the haunted bold swings of TAR, the genius is hard to miss even for those of us who are more visually oriented. If any of you have theories as to how Oscar's sound branch didn't include either in even their finalist lists, I'm all ears... no pun intended.

For the most part it's the images I remember which may explain why I am so allergic to end credit songs over a dark screen being hailed the "Best" of any given season in Original Song. Marry the images and sound and it's far more memorable and valuable to the overall film experience...

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