"Ode to a Snub". Plus nominations that had us reeling on Tuesday

While Oscar nomination morning (this past Tuesday) brought its share of happiness -- which we'll get to soon. It also brings small shockwaves (never large, really) at unexpected nominations and sadness in the form of beloved favourites missing from the "Best" conversation, however unthinkable that may be in the moment. So we polled Team Experience asking them for their saddest snub* and nominations that had them reeling for various reasons.

"Past Lives"

Their answers are after the jump and we hope yours are in the comments shortly...

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Hello, Gorgeous: Best Actress of 2017

A new series by Juan Carlos Ojano

This year’s slate of nominees showcase five performers strategically placed within the vision of their respective films right from their introductions. Whether introduced in a scene with actual spatial detail that immediately relates to the core of their characters or configured within the film’s style and tone in a more general sense, none of our first glimpses of them are deficient in meaning and purpose. It is probably not a coincidence that most of these performances appear in Best Picture nominees (and the one that didn’t probably came close too), a rarity in the Best Actress category.

Are you ready? The year is 2017...

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Oscar Volley: Who's Really Safe in Best Actress?

Team Experience is discussing each Oscar category as we head into the precursors. Here's Eurocheese and Nick Taylor to talk Best Actress . . . .

Lily Gladstone is coming on strong for KILLERS OF THE FLOWER MOON . . . .

EUROCHEESE: Hi Nick! So excited to discuss the award we all care about most here at The Film Experience - Best Actress. This year has given us a deep bench of competitors, making this feel like a category where we could see a curve ball or two.

Maybe it's best to get the obvious out of the way first - Lily Gladstone's subtle, moving work in Killers of the Flower Moon steals the film from her veteran costars, and Emma Stone's risky, inventive performance is the heart of Poor Things. I don't see the Actress field without them, and I expect one of them will most likely run away with the Oscar. Which one of them takes it? I don't think that's clear yet. I don't put any stock in LA Critics' Supporting mention for Gladstone though - these are our sure things.

NICK: Hi Euro! I’m so excited to discuss this category with you again. I remember we did the pre-nomination volley for last year’s Best Actress contenders. There were so many fun performances to talk about, and in the end I got maybe 3/5 of my predicted lineup right. This year looks similarly crowded, though who knows if another To Leslie is lying in wait . . . .

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Best Actress Predictions - First Round

by Nathaniel R

Annette Bening as "NYAD" (Netflix, 2023)

If I had any hair, I would be tearing it out every time Best Actress predictions must be made. There are so many ways it could go. It's always fun to fantasize about but also agonizing to worry about. Oscar history is wildly hit and miss with Best Actress lineups. Sometimes it's electric quintets and other times they ignore most of the best work for a set of solid but unthrilling performances. 

The contender we're most excited / anxious about is the one and only Annette Bening in Nyad...

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Review: Come on, "Barbie," let's go party!

by Cláudio Alves

What does it mean to sell out? Some would decry Greta Gerwig's move from mid-budget indies to big studio fare as a modern example. This line of thought posits the director's fourth film, Barbie, as capitulation to the tyranny of big bucks, no more than a glorified toy commercial for "vacuous, hypersexualized dolls." But when you're actually watching Gerwig's movie, it's difficult to take the pink oddity as proof evident of any sacrifice of vision or integrity for the sake of profit. Barbie's too ambitious a creation - in terms of text, tone, performance, audiovisual stylings galore - to support such dismissive readings.

From beginning to end, the summer's biggest comedy bursts at the seams with ideas, saturated with the clear intent of a creative mind given free rein. It glows with the kind of resources seldomly bestowed upon women directors. That doesn't mean the picture's perfect, exempt from criticism, or its enthusiasm is without drawbacks. But, even if Gerwig can't quite have her cake and eat it too, she manages to share a personal, goofy, deeply idiosyncratic proto-existentialist dream with her audience. Better yet, she does it with the attitude of a kid, their favorite toy in hand, eyes widening at the playtime possibilities before them…

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