"Conclave" leads the BAFTA nominations

by Cláudio Alves

Isabella Rossellini and Ralph Fiennes are both nominated for CONCLAVE. | © Focus Features

The BAFTAs are upon us, and this year's nominations are a return to the institution's 2000s penchant for precursor-ism. By that I mean that its choices are keeping in tune with the Oscar favorites in most races. That's unsurprising considering that, for the first time since 2020, the British Academy did away with juries and committees in the acting and directing categories. Many may rejoice at this populist comeback, but I miss the more unexpected choices we enjoyed during those years. In any case, Conclave leads the nomination tally with 12 mentions, while Emilia Pérez is a close runner-up with 11, including a Supporting Actress double dip. Next comes The Brutalist with nine nods, Dune: Part Two, Wicked and Anora have seven, A Complete Unknown six, while The Substance and Nosferatu each nab five…

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A Few Thoughts on the Golden Globes

by Nathaniel R

Screenshot from the Golden Globes 

Did you watch the Golden Globes Sunday night? The show was (mostly) bereft of the kind of shocks we got in the pre-reform era but in a year where crystal Oscar balls are still foggy with possibility -- seriously, which film is going to win Best Picture? -- there was still inherent drama in the opening of envelopes. At least on the film side; the TV prizes were a complete snooze fest, merely rubber-stamping September's Emmy wins! Spreading the wealth should not be such a difficult concept for awards voters but we live in an age of monopolies and oligarchs so maybe abundance it's just not a vibe for the entertainment industry these days. 

Emilia Perez (4 wins) and The Brutalist (3 wins) were all the rage with Globes voters. But did anyone else get a boost heading toward Oscar nominations?

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Oscar Volleys: Best Picture is all about Narratives

Here’s Cláudio Alves and Ben Miller on the Best Picture race...

THE BRUTALIST, Brady Corbet | © A24

CLÁUDIO: Hello Ben, it's time to discuss the biggest category of them all - Best Picture.

This year, I'm sad to say I'm not especially passionate about the top contenders. Indeed, taking a glance at my rankings, it's likely that not a single nominee even cracks my top 25. Then again, miracles do happen once in a while, even when all seems said and done. Even so, imagining an AMPAS lineup without Anora, The Brutalist, Conclave, Emilia Pérez, or Wicked seems increasingly difficult. In those times before the category's re-expansion to ten nominees, these would be the five I figure most folks would be predicting. Do you concur? 

BEN: I am really enjoying the variance in this year's race…

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Weekend Awards Wrap-Up: Opening Pandora's Box

by Cláudio Alves

The FFI's treatment of ALL WE IMAGINE AS LIGHT will go down as THE awards season fumble.

The awards season continues to heat up, though we're about to hit a bit of a pause or a slump as the holidays tend to mark a decrease in such activity. As if to make up for that incoming quieting, the outpour of film honors only grew stronger the past week. This included the Pandora International Film Critics, an unofficial initiative spearheaded by the Filmotomy site – they also organize the Femme Filmmakers Festival every year – that gathers writers and film buffs from all over the world. This year, they invited me to be part of the voting body, and I am delighted to share the results, even if I don't necessarily agree with all of them…

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Oscar Volley: Best Original Screenplay is the Battle of the Auteurs

In this Oscar Volley, Eric Blume and Cláudio Alves discuss the Best Original Screenplay race…

HARD TRUTHS, Mike Leigh

ERIC BLUME: Hi Cláudio, I put us together on this one because I love arguing with you.  Hope that's okay.  Plus, I am curious to get your takes on some of these films and scripts.

Best Original Screenplay has a lot of strong contenders this year.  What I find particularly interesting is that eight of these feature scripts written by their directors - Seed of the Sacred Fig, A Real Pain, The Substance, September 5, Anora, The Brutalist, All We Imagine as Light, and Hard Truths.  That has to be some kind of record? 

CLÁUDIO ALVES: With the growing connection between the big European film festivals and the awards season, auteur cinema is on the rise as an Oscar gold magnet. And many of those selections favor director-forward productions, often where the folks in the director's chair also penned the script. Indeed, from the octet you mention, only A Real Pain and Hard Truths premiered outside Cannes or Venice. And with Mike Leigh's latest, it wasn't for a lack of trying on his part…

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