My Miyazaki Ranking: Part Four – The Eternal Mystery

by Cláudio Alves

Exploring Hayao Miyazaki's filmography is to dive into a cinema that's often as moving as it is mysterious. Connections to the land abound, calling for ecological harmony in a place ravaged by modernity. Tradition dances with progress, teetering on the edge of oblivion, while dreams soar high above the clouds, for flight is the highest form of freedom. Even his most straightforward exercises tend to have an oneiric touch, some connection to the unknown within us and the world we inhabit. Because he taps into such (un)realities, Miyazaki's narrative work can move between genres and expectations, often complicating conflicts beyond the usual archetypes or doing away with them altogether. And through it all, animation allows the impossible to become possible, the screen a window to imagination unbound…

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Queering the Oscars: Best Original Screenplay "Far From Heaven"

by Patrick Ball

It certainly isn’t a stretch to consider any Todd Haynes filmography part of the Queer Oscar Canon. The filmmaker brought us La Blanchett in the all-timer Carol and as a gender-bent Bob Dylan in I’m Not There. He directed Laura Dern and Kate Winslet on the small screen in prestige HBO offerings Enlightened and Mildred Pierce (respectively). And I know I’m not alone in my extreme anticipation for his forthcoming May/December, his third collaboration with primary muse Julianne Moore. If the proverbial Dorothy is 'a great actress or queer icon of her generation' than the man is a *friend* of Dorothy. But my favorite, and an early example of how a queer perspective permeates through his style, enriching the work, is Far From Heaven. 

Far From Heaven, a juggernaut on the 2002 Critics Circuit, eventually was nominated for four Academy Awards- including one for Haynes’ himself for Best Original Screenplay. Though it didn’t take home any trophies that night (in an intensely competitive and notorious Oscar race), Far From Heaven was considered a breakthrough for Haynes as a filmmaker...

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Oscar Stat Fun - No Sweeps in the Modern Era but can "EEAAO" change that?

by Nathaniel R

That complete sweep at the Spirits and SAG has us wondering now whether or not Everything Everywhere All At Once will win Best Picture but how many statues in total can actually win. We haven't seen a sweeper at the Oscars in a long long time. Yes some films have won all their categories but they aren't true "sweepers" i.e. thoroughly dominant movies. It would be technically accurate, for example, to say that CODA performed a clean sweep last season. It did win all of its categories but it wasn't a sweeper in any meaningful sense since it was only up for 3 Oscars.

In fact, a big sweep hasn't yet happened in the expanded Best Picture era!  Can Everything Everywhere All At Once change that? Let's look at the history and stats after the jump...

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Almost There: Thandiwe Newton in "Crash"

by Cláudio Alves

Happy belated birthday to Thandiwe Newton, who turned 50 last Sunday. From Flirting (1991) to God's Country (2022), the British actress has impressed across a variety of genres and roles, be they prestige melodrama or pulpy sci-fi. There's a tremendous flexibility to her screen presence, a vast range showcased even in projects that never quite rise to her level. Such is the case of Crash, Paul Haggis' divisive Best Picture winner, where Newton is just one thread within a broad tapestry of tricky racial dynamics, each storyline intertwining with ten others. Hyperlink cinema was all the rage in the 00s, and this particular example surely propelled Newton closer to the Oscar race than she'd been before or since.

Though it's no fun to look back on Crash, we shouldn't let the picture's general awfulness bleed into the memory of Newton's work. She's a beacon of quality, shining brightly amid the offensive generalizations which crash into sanctimonious incompetence…

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Almost There: Emily Blunt in "The Devil Wears Prada"

by Cláudio Alves

After over 100 write-ups about performers that came close to Oscar glory but failed to secure a nomination, it's time to discuss Emily Blunt in the Almost There series. Perpetually snubbed, the English actress has been part of the awards conversation since the mid-00s, but the Academy refuses to pay her any attention to this day. Even when her projects are otherwise embraced, Blunt's name is never there on Oscar nomination morning. Though this is her first time in this series, it's certainly not her last. There were at least five other occasions when she was in serious contention for Hollywood's most coveted trophy– going as far as winning the SAG and nabbing nods for all the important precursors. Since there's no better place to start than the beginning, let's delve into Blunt's first brush with Oscar buzz.

Back in 2006, The Devil Wears Prada was a smash hit with audiences and critics alike. Playing a character with her first name, Emily Blunt proved herself a comedic scene-stealer. And just like that, a star was born…

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