FYC: "So May We Start" for Best Original Song

by Cláudio Alves

On December 21st, the Academy will announce their shortlists in several categories, including Best Original Song. As usual, some mainstream triumphs feel like locks already, maybe not for the final lineup but certainly the roster of 15 finalists. Even before the movie was released, Billie Eilish had already won a Grammy for her Bond theme, "No Time to Die." Beyoncé seems like an inevitable nominee thanks to King Richard's "Be Alive." As for Lin-Manuel Miranda's work for Encanto, it's never a good idea to bet against Disney. In the midst of it all, the weird glory of Leos Carax's Annette may be forgotten, despite its vast score of original songs by the Sparks (Ron Mael and Russell Mael). Please, dear reader, allow me to make the case for that musical's first and best tune…

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Cannes Review: The unsteady but miraculous "Annette"

by Cláudio Alves

It all starts in the recording studio, as Leos Carax and his daughter - to whom this achingly personal film is dedicated - observe the Sparks working their magic. The reference to supernatural powers when writing on artistic marvel is overused, but it does seem fitting for Annette. Here, performance can invoke a new reality, singing it into existence. That's what the film's team does in this metatextual prologue. As the Sparks exit the recording booth, the camera and the Carax duo follow, with the movie stars joining along for good measure. As they ask "May We Start," they also admonish the audience, heed them, warn them, and set the stage for what's to come. Adam Driver and Marion Cotillard depart in separate vehicles at the end of the song, no longer themselves. The ritual of performance has begun – they're now Henry and Ann…

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