Who’s the best director for each Oscar race?

by Cláudio Alves

FRANKENSTEIN is the third Guillermo del Toro movie to win the Best Production Design Oscar.

At the 98th Academy Awards, James Cameron extended his record as the director who has helmed the most Visual Effects Oscar winners, with Avatar: Fire and Ash being his eighth film to do so. At the same ceremony, Guillermo del Toro saw his Frankenstein take the Best Production Design prize, inching ever closer to tying, perhaps one day breaking, Tim Burton’s record of directing four films to this particular trophy. These bits of trivia came up in e-mails with Nathaniel on our post-Oscar debriefing, and they got me thinking. Because every race must have one or two directorial filmographies, taking the title of AMPAS’ favorite. Some time ago, I looked for the Diane Warrens of every category. Now, let me tell you about the preferred auteurs of every feature film Oscar race where directors are not technically up for gold…

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Sleepy Hollow @ 25: Tim Burton's last great movie

by Cláudio Alves

When Beetlejuice Beetlejuice celebrated its world premiere at the Venice Film Festival, many critics rejoiced, eager to announce Tim Burton's return to form. But were such proclamations accurate? While the ghost story sequel had its merits, besting many of the director's more recent efforts, it still felt lacking compared to his early triumphs, that dream run from the mid-80s to the late-90s. I'd go so far as saying that Burton's last truly great movie arrived at the end of the last millennium, when he re-imagined the Legend of the Headless Horseman and delivered a spooky season classic that feels like Fall vibes distilled into filmic form. That very picture celebrates the quarter-century mark today, so it should be an excellent time to revisit it. Dear reader, pack up your things and join me on a journey to Sleepy Hollow…

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Venice Diary: Ghosts in Mostra

This year, Elisa is once again covering the Venice Film Festival for The Film Experience, writing a daily diary of her cinematic experiences from the Lido. The two opening films that inaugurated the 81st edition—one from the main competition and the other from the Orizzonti section—create a surprising and unexpected dialogue.

BEETLEJUICE BEETLEJUICE (2024). Credit: Warner Bros Entertainment Inc)

by Elisa Giudici

BEETLEJUICE BEETLEJUICE by Tim Burton
Gossip has revealed that much has changed recently in Tim Burton's personal life. He has a new woman by his side, both personally and professionally and a young muse who perfectly embodies his signature gothic aesthetic. Surprisingly, this shift has had a positive impact on Beetlejuice Beetlejuice, the sequel that, 36 years after the original, finds a legitimate reason to exist. It’s moderately entertaining, offers some successful sequences, and proves itself more than worthy of opening the 81st Venice Film Festival...

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Winona Ryder @ 50: "Beetlejuice. Beetlejuice. Beetlejuice"

Team Experience is celebrating Winona Ryder this week as she turns 50.

by Ginny O'Keefe

He’s the ghost with the most, babe. It’s Beetlejuice. The wacky, morbid and over the top 1988 Tim Burton joint  revolves around Adam and Barbara Maitland (Alec Baldwin and Geena Davis) a couple living in an idyllic Connecticut countryside. They are tragically killed after their car swerves off a bridge and into a river. The thing is the film keeps following them and their perspective. Tracing their steps all the way back home which is when they realize…they’re dead! Once home they discover a book titled "Handbook for the Recently Deceased". Soon enough their house is sold to the Deetz family. Charles, his wife Delia and their daughter Lydia all moving out into the country from New York City. They begin to tear apart the house and make it their own. Barbara and Adam want them gone so it’s time to start haunting. Eventually they turn to someone (or something in the form of Michael Keaton) they never should have for help: Betelgeuse (pronunciation: beetle juice). 

The greatness of this film is its supreme wackiness. Nothing is too out there for this movie. It’s got sandworms, moving sculptures, Harry Belafonte musical numbers, dead caseworkers, Catherine O’Hara wearing gloves as a headband, goofy production design, and a perfect balancing of message and escapism. My favorite character in the film is Lydia played by the great Winona Ryder...

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The beauty of Emmanuel Lubezki's cinema

by Cláudio Alves

Before saying goodbye to our celebration of 2005, we must finish our look back at that year's Best Cinematography nominees. First up, we talked about the chromatic madness of Dion Beebe. Then, there were Rodrigo Prieto's cinematic elegance, the steely coldness of Wally Pfister's movies, and Robert Elswit's wide-angled wonders. Finally, we arrive at Emmanuel Lubezki, one of the past decades' most influential directors of photography. His free-flying camera movements, the masterful of natural lighting, and control of color are beyond description, so great is their beauty. No wonder AMPAS has fallen in love with the cinema of Emmanuel Lubezki, giving him eight nominations overall and three consecutive wins…

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