Under the Skin @10: A Perfect Opening

by Cláudio Alves

Jonathan Glazer has scarcely left the news cycle since Oscar night. His speech against genocide caused much furor in Hollywood, where accusations of anti-semitism were promptly lobbied against the filmmaker. That said, today's topic isn't that media storm or the director's recent contributions to the Cinema for Gaza campaign. Instead, it's time to honor Glazer's third feature, which celebrates ten years since its US release. Loosely adapted from a Michel Farber novel, Under the Skin follows Scarlett Johansson as she roams the Scottish landscape in search of men. She's an alien creature whose conquests meet a nightmarish demise, and her film is one of last decade's most tremendous cinematic achievements. 

I'd go so far as saying that any "best of the 2010s" list that doesn't include it is highly suspect. Indeed, Under the Skin secured its masterpiece status rather instantly in my eyes, its opening like the protagonist's seduction – impossible to resist even as it plunges you into oblivion…

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TIFF '23: Take a trip down to hell with "The Zone of Interest"

by Cláudio Alves

Jonathan Glazer's "The Zone of Interest"

For my first day at TIFF, I planned on starting things off with a Sandra Hüller double feature, the Palme d'Or-winning Anatomy of a Fall followed by The Zone of Interest. The first half of that plan went kaput soon enough, so instead I caught Warwick Thornton's The New Boy. Expect more thoughts on that title next week – for now, it's Glazer time. In any case, what started as a morning predicated on Croisette honors and a German superstar morphed into an extended exercise in how cinema confronts historical atrocities, how parallel realities can coexist within the same landscape, and how sound can force you to see what your eyes do not… 

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April Foolish Predictions #2: Music and Sound Categories

[drumroll] It's Time! Our annual April Foolish Oscar Predictions have begun.

Ad Astra was supposed to be out next month but rumors are that it's not finished yet

First we looked at Animated Features and now we turn our attention to the Sound categories. It's rather perverse to do them second and here's why: Original Songs and Original Scores are among the last things we have confirmed each year. Technically speaking you can wait until your whole film is nearly complete before adding a score or commissioning an original song. It's not always wise to wait of course since songs, especially, can be more effective if they're woven in and some directors prefer to work with some idea of what the score will be like while they're editing. Nevertheless there is much that's completely unknown about this film year in terms of its music...

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Happy Thoughts from Oscar Nominations!

We've delivered the hot takeaways, mourned the snubs, but now let's get positive. I polled Team Experience about what made them happiest this morning and which category is the best overall. I hope you'll chime in. An unexpected consensus emerged straightaway in their answers. More after the jump...

Which nomination made you happiest?

Tim: Kubo and the Two Strings for Best Visual Effects. It's a great movie that deserves as much as it can possibly get, and also a good reminder to keep our conceptions about what "counts" as film craft as broad as possible

Laurence: Kubo and the Two Strings for Visual Effects. After the Ex Machina win I got the sense that branch was becoming more interested in awarding outside the box effects, so I bet on this nomination happening early. It's stunning work even by Laika standards...

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FYC: Jackie's Original Score by Mica Levi

by Sean Donovan

You sit down in a movie theater to see the latest biopic that has earned a superstar Oscar heat, and after the series of trailers for undoubtedly happier movies you could be seeing, you stare at a black screen. Gradually you hear something, a strong string note that quickly careens down the scale into dissonant whine. It’s immediately upsetting, destabilizing: flat and lacking grace when you were promised a classy portrait of one of America’s most iconic first ladies. So disjunctive it possesses a strange, ethereal beauty. It reminds me of the sound of an airplane flying overhead, fitting for a film where some of the most dramatic scenes occur onboard Air Force One. 

Music is the standard-bearer for everything that makes Jackie an unusual Oscar contender...

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