Where are the docs in the technical categories?

by Juan Carlos Ojano

Almost two weeks after the Oscar nominations and one snub still stings: Welcome to Chechnya in Visual Effects. After making it in the shortlist, hopes were high that its life-saving use of facial replacements could catapult it to Oscar history as the first documentary to be nominated in this category, one largely dominated by Hollywood blockbusters (which were mostly missing last year) Only a year like 2020 could have brought a documentary film close to this category and it still did not happen. 

This begs the question: why are documentaries routinely ignored in categories outside of Documentary Feature? 

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Interview: BAFTA nominee Mikkel E.G. Nielsen on finding the balance and structure of "Sound of Metal"

by Nathaniel R

Talking to film editor Mikkel E.G. Nielsen (A Royal Affair, Beasts of No Nation), is a bit dizzying. His conversation moves around our subject, Sound of Metal, in circular fashion regularly bringing up both the films beginning, a raucous noisy concert where we first experience Ruben (Riz Ahmed's) hearing loss with him, and the films very quiet yet symmetrical ending. It doesn't surprise us then when he describes his job holistically. "My job is to try and create a whole from start to finish where you feel that you've been on this journey. Either it's revealing or it's fulfilling or emotional."

Nielsen divides his time between movies, music videos, and commercial work and though he loves the immersive challenge of cinema, he appreciates the mix. "Molding a movie" for months, he explains, becomes all encompassing. Working on a spot for three weeks, though, "Wow, that was almost like a vacation!'"

Another 'vacation' will have to wait. We're deep in awards season and Nielsen's fine work, honing the film's structure, and finessing the movies internal and external rhythms alongside its much praised sound design, has been honored with a Critics Choice Award for Best Editing and, this morning, a BAFTA nomination as well. We recently spoke to him about his work and international career...

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Nathaniel's Ballot: Editing, Makeup, Visual Effects, Production Design

by Nathaniel Rogers

Rooting for LOVE AND MONSTERS to get a visual fx Oscar nomination. Such a pleasantly fun surprise as mainstream movies go! It would have been a big sleeper hit in a normal theatrical year

Oscar balloting begins in 11 days so we'd like to finish our own Film Bitch Awards by then. Or at least the Oscar parallel portion. So in an effort to speed that up here are four categories. My take on the best in film editing, makeup & hairstyling, visual effects, and production design. Within these four categories there are surprisingly no repeat nominees. 

Fascinating read --The Root on Ma Rainey's Hair and Makeup20 slots = 20 different films with honors for And Then We Danced, Borat Subsequent Moviefilm, Emma, The Father, First Cow, Hillbilly Elegy, I Carry You With Me, Love and Monsters, Ma Rainey's Black Bottom, Mank, The Midnight Sky, Mulan, News of the World, Nomadland, Palm Springs, Personal History of David Copperfield, Possessor, Promising Young Woman, Tenet, and Welcome to Chechnya.

This was not intentional. I didn't notice till after hitting "publish". But it's as good an example of any of how I approach awards each year. Though I do believe in "spreading the wealth" it happens organically, since I genuinely only try to think about that specific category when I "vote". Do you also agonize over your own "best of" choices? It's a niche affliction but I've met many other film fans who do!  

Thoughts on "The Father"...

by Eric Blume

It's difficult to write reviews these days, because it feels like no film is ever actually "released", and all of us are scrambling to find what movies are even available, how they're available, if they're VOD, or on a streaming service, etc.  Sony Pictures Classics might have made a fumble mostly holding back from view director Florian Zeller's The Father, taken from his own play, starring Anthony Hopkins and Olivia Colman:  if more people could see it, everyone would be talking about it.

The Father is one of those Movies They Don't Make Anymore, i.e., a damn adult drama that challenges your mind and heart.  This is a film where the entire creative team treats the audience with dignity and respect, trusting that you're listening and paying attention, and they will reward you with literate ideas, high drama, and an emotional experience.  But The Father is more than just that:  the storytelling and the visual conceit of the film are surprising and demanding, and it is not a passive undertaking for the viewer...

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Oscar Chart Updates: Production Design and Film Editing

We've been discussing each Oscar chart this past week or so so let's finish up the visuals with Production Design and Film Editing.

PRODUCTION DESIGN
Beyond Mank, which features Oscar nominees Donald Graham Burt and Jan Pascale recreating Classic Hollywood this field remains something of an 'anything is possible' mystery. Best Picture heat often helps in the 'below-the-line' categories. But, even acknowledging that fact, many of the hottest Best Picture contenders like Ma Rainey's Black Bottom, One Night in Miami, Minari, and Nomadland, have by their very intimate story natures, not a lot of visible art direction happening. It's not that they aren't beautifully designed but you know how at the Oscars it's pretty standard that "MOST = BEST"...

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