academy award nominations

Oscar Season Diary #10: Frontrunning to Instant Death

gravity-bullockAt the heart of divisiveness is passion.

You’re either for something or against it, and dividing love and hate into two binary categories with regards to the appeal of a film is often necessary when talking about it within the context of a race where only one can win. It’s natural to love what you love, push it forward, and let your next-best choice fall off the wagon to the side of the road.

I guess it’s unfair to say that, if you’re an Oscar voter, your #2 choice for Best Picture is one you don’t favor in general. It’s simply one that you don’t favor to win, and is automatically othered as a result. On a preferential ballot, #2 is essentially #9485 on the same scale.

Alas, only Oscar voters have to worry about that. Everyone knows the Academy has a huge task ahead of them after such a magnificent year jam-packed with quality cinema from around the world.

One one hand, the Academy could award the first ever black-made, black-themed film with a Best Picture win; on the other, they could break a 17-year pattern of awarding male-driven films their top honor. The latter seems likely since Alfonso Cuaron–director of Gravity–took home the top prize at the Directors Guild of America Awards last week. 90% of the time, those who win the DGA’s top prize go on to have their film recognized by the Academy as Best Picture of the year. In fact, it has happened a staggering 11 times since 2000. Only Crouching Tiger, Hidden Dragon and Brokeback Mountain have the unfortunate honor of being awarded the DGA’s top prize without a follow-up Best Picture win (both films were directed by Ang Lee, funny enough).

Gravity is also poised to win key technical awards, including Best Film Editing (essentially the third-tier Best Picture Oscar).

Still, these statistics are displeasing and unconvincing to some. Pundits are overwhelmingly in favor of a 12 Years a Slave win, as a staggering 18 out of 23 of those surveyed on GoldDerby have it predicted in their #1 slot. If 12 Years a Slave wins, it would be a nearly unprecedented feat, as not only would the Academy defy statistical expectations, but 12 Years a Slave would rank amongst the least-decorated Best Picture winners in Oscar history, as the only other category it has a shot at winning is Best Supporting Actress.

What about the brewing tide making Gravity the statistical frontrunner doesn’t resonate? How can so many look so deeply into the face of such certainty and pick the opposite course? There’s little to no basis for predicting 12 Years a Slave to win other than hope, which is never a bad thing. It would be momentous if Steve McQueen’s film could pull off an upset in the face of Gravity‘s late-game dominance.

The fact remains, however, that we have two fantastic films on our hands, and one cannot be appropriately valued over the other.

As we saw the guilds, critics, and audiences file into their respective, individualized tributaries flowing into the Oscar picture (American Hustle, 12 Years a Slave, and Gravity have each shared the spotlight as frontrunner), certainty seemed to be something each of us lacked as we hunted for a singular film to throw our weight behind.

Once Gravity won the DGA and PGA, the ball finally started rolling in one direction, and the tides turned. From its premiere at Venice to its near unanimous praise from critics, Gravity became one of the most prominent, highly-regarded films of the year. It was praised as a technical revolution, as well as a monumental achievement for actresses, as it is largely a one-woman show that went on to gross nearly $700 million worldwide.

It’s funny, then, that we’re currently witnessing the same things that happened to 12 Years a Slave after the fall festivals and to American Hustle after the critics circles prematurely ejaculated all over it; people are turning against Gravity because its footing is firmly planted at the front of the pack. With Oscar voting beginning in a matter of days, Gravity‘s late-entry status as the Best Picture frontrunner carries a stigma few films escape. When you’re perceived as the best, you’re no longer the sexy choice, even after you win Best Picture. The film will become predicated by what so many will harp on as an unjust triumph over a more “socially important” film like 12 Years a Slave.

It’s also around this time of year that the awards season narrative has an end in sight after bloggers, journalists, and audience wallets started writing it nearly 5 months ago. Early in the season, pundits championed 12 Years a Slave not only as a powerhouse film in itself, but as a beacon for the minority voice to finally reign supreme at the Oscar ceremony.

Generally, black-themed films are either ignored or shoved to the side as honorees in minor categories (Supporting Actor, Supporting Actress, very rarely in other categories)but 12 Years a Slave entered the season strong, and will likely finish along those lines as well. It’s a film that recalls an ugly part of American history, but an important one–ever more so during times when the first black President leads our country, modern racial issues pervade our society, and when a societal surge for minority equality across all fronts should be represented and recognized in our art.

So, then, which social cause do you chose? Gender or race? Should it even be based on such factors?

Pundits on both sides of the Gravity/12 Years a Slave debate have essentially turned on each other, digging into their respective opponent because it doesn’t fit the awards narrative they desire. According to them, Gravity would undermine the doors that 12 Years a Slave would open for minority filmmakers, and to others 12 Years a Slave would only win because it’s the black movie that rides to victory on white guilt.

They seem to be forgetting one key fact: a film does not change once it wins Best Picture. It does not become any better or any worse. It merely becomes the permanent frontrunner, and this passionate discourse that’s tearing apart two camps representing two of the best films from a monumental cinematic year proves that once you’re first, you’re automatically dead.

Weighing which social narrative you’d like to triumph is poison. If 12 Years a Slave wins, then it makes it a hell of a lot easier for the Black New Wave to begin in full-force. If Gravity wins, it represents the first plot that’s female-driven to win Best Picture since 1997, and the first film driven solely by a female character to ever win.

The Gravity detractors nearly always fall back on the argument that it’s a film about a woman that’s been directed and written by men, and therefore crippled as a vehicle to advance the position of women in the industry. But, these people forget that we’re talking about a visual medium. When discussing any film, you must begin on the most fundamental level, and that’s what’s in front of us. On the basis of familiarity, general audiences often identify with a movie through its actors and what they’re able to see. That’s largely what makes Gravity so wondrous; its visual effects, and its charismatic lead (Sandra Bullock), who proved herself as a box-office pull in the age of fading individual bankability. She transcends the film’s visuals and becomes the one thing–aside from the visual effects–that people associate with the film. The only people arguing about Alfonso Cuaron vs. Steve McQueen are the film nerds who make a living off of fueling the debate.

Gravity’s plot is also a beautifully sustained metaphor throughout, and a Best Picture win for it would be a fitting cap on a year when a female-driven film topped the US box-office for the first time in 17 years (The Hunger Games: Catching Fire). Things are changing for women, but pundits would rather pick and choose their social narratives in the hopes that they actually might have a hand in shaping them.

Chiwetel EjioforOne of the most prominent Oscar pundits out there, Sasha Stone, recently downplayed Alfonso Cuaron’s position, implying that he would only be significant as a Mexican director in this year’s Oscar race if he directed something about the Mexican experience, which is absurd and reinforcing of the dominant majority. So, by that logic, the minority is only worth something when he’s talking about the “other” to the white man and playing into the white man’s tastes?

While I tend to agree with the generally fantastic pundits over at Awards Daily, their most recent podcast irked me. Ryan Adams, an Oscar blogger I’ve come to respect, states that white voters and critics were “with” 12 Years a Slave until something more “white” and acceptable came along that they could latch on to, and that a viable “white” option was validated by the New York Film Critics Circle (American Hustle) early enough in the race that white voters were able to default onto it because it is more acceptable to them as a predominantly-white voting base. That makes absolutely no sense. The love for 12 Years a Slave came from a predominantly white voice in the first place. The overwhelmingly white pool of film critics across the country made it the best-reviewed film of the year, and I’m not sure Academy voters think with the same sort of racial bias many pundits have been spouting about all year. I don’t think it’s a conscious decision to switch from a “black” movie to a “white” movie that easily.

It seems that the mere existence of 12 Years a Slave is victory in itself. In a year with black filmmakers taking huge strides into the industry as a whole (in addition to McQueen’s success, Lee Daniels directed a “black” film to over $150 million in world box-office, and Ryan Coogler generated significant critical acclaim and impressive box-office for Fruitvale Station), it would be a fitting Best Picture winner after three prominent black men helmed films that began this important dialogue about race in the industry.

While a Best Picture win for 12 Years a Slave would certainly validate the minority voice in a white-dominated industry, the long-term success of the Black New Wave movement has largely already been determined by audiences and their wallets. There’s often a vitriolic backlash against studios for their overarching control of societal norms–that they reenforce unfair standards of beauty for women by casting thin actresses, that they avoid “black” or “minority” subject matter, etc. While studios and executives shape what’s presented to the public, it’s audience preference that dictates where the money goes, and that dictates what the executives put out. If we don’t want to see it, we shouldn’t take ourselves to indulge in the fantasy of what is largely unattainable for so many.

It’s disappointing that most successful films star men, are directed by men, and are marketed to men, but moviegoers are capable of changing that. Perhaps the smartest thing moviegoers did this year was drive box-office sales for female-driven films like Gravity, Frozen, Identity Thief, The Heat, and The Hunger Games: Catching Fire.

It’s undeniable: while the industry isn’t an equal place for women just yet, 2013 was a turning point, and Gravity‘s impending Best Picture win will represent it well.

The divisive bickering, valuing one great film over the other on the basis of a single award, however, is unfair, and puts us right back at the beginning with no end in sight: squabbling about injustices and forgetting to feed our empty stomachs when a full-course meal sits mere inches below on the table.

Russell’s Race to Lose: The Oscar Nominations Are In

1-16-2014 8-40-12 AMShow me someone who earned at least 90% accuracy predicting this year’s nominees.

You can’t? Of course you can’t. The Academy puts the finishing touches on a monumental year for cinema, stirring the pot with major snubs and surprises, icing the cake on an unpredictable year with a crop of exciting nominees that defy expectations in typical Academy fashion.

When the snaps of encouragement for Cheryl Boone Isaacs died down as she took the stage (maybe that was just me), she summoned Chris Hemsworth to help her announce the nominees for the 86th Annual Academy Awards.

The one thing the Academy seems not to be—at least this year—is on the same page as history. 20 years from now, as we look back at the Oscar calendar year, 12 Years a Slave will be the one of the films that defines the era. It’s a film with powerful resonance at a time when even the Academy attempted to diversify its ranks and leadership, though it falls to a statistical third place with 9 nominations, trailing both American Hustle and Gravity with 10 nominations each.

Of its respective nominations, 12 Years a Slave seems poised only to take Adapted Screenplay. Declared an end-all champion early on during the festival circuit, the urgent support for the film died out, as the NYFCC shifted the tide, awarding American Hustle its top prize first out of the gate in December. When will pundits and bloggers alike learn to stop throwing titanic support behind early favorites? It does far more harm than it does good, and often allows other films circling the race to swoop in unexpectedly.

The momentum for Hustle surges because of this, as David O. Russell once again directs four of his cast members into each of the four acting categories. Though Russell has yet to win an Oscar (he came very close last year), having mastered this four-category feat two years in a row (as well as having directed 3 other Oscar-winning performances) cements a positive answer to the question the Academy has only toyed with until this point: Is Russell worthy of an Oscar? If you can direct that many performances to Oscar glory in such a short amount of time, something is working.

Gravity takes a firm hold on second place, here, missing out only on the all-important Screenplay category. While Russell now threatens the once-unstoppable Alfonso Cuaron’s position with the directors, we’ll have to wait for the DGA to settle this one (I can see them going for either).

Dallas Buyers Club powerfully emerges, playing 4th-fiddle to the aforementioned, but roaring into the race with key nominations in major categories (including two traditionally reserved for serious Best Picture contenders—Screenplay and Film Editing). Captain Phillips loses its momentum, missing out on Best Director and Best Actor, and Emma Thompson misses out on another nomination for Saving Mr. Banks (which, surprisingly, only received a single nomination).

Thompson was one of the many casualties in an overcrowded year, and snubbing was statistically inevitable. The fact that Amy Adams and the rest of the Hustle cast were able to squeak into the major acting categories (replacing expected nominees Thompson, Winfrey, Hanks, and Bruhl, respectively) without any help from the Globes (ballots were due prior to the Globes announcement) speaks volumes about the steamrolling power of American Hustle that’s only now becoming crystal clear. If the film had played the festivals (if it wins Best Picture, it’ll be the first film since The Departed to win without a festival showing), we likely wouldn’t be having this discussion. Silver Linings Playbook was destroyed by early festival reaction—not because people didn’t like it, but because the hype machine bludgeoned it to a premature death, just as it did to 12 Years a Slave this year.

Rounding out the major nominees is Alexander Payne’s Nebraska, scoring huge nominations for Best Director and Best Actor, Philomena mustering recognition in the Best Picture and Best Adapted Screenplay categories, Her garnering four huge nominations, and Blue Jasmine rightfully snagging nominations for Cate Blanchett, Sally Hawkins (shockingly snubbed in 2008 for her wonderful performance in Happy-Go-Lucky), and Woody Allen’s screenplay.

Left out of the Oscar race was everyone involved with Lee Daniels’ The Butler, a film which exceeded expectations as a “black” film, directed by a black man, focusing on a black cast at its core, that went on to gross nearly $150 million worldwide. How a film that defies so many expectations and proves the minority voice is not only acceptable to mainstream audiences, but profitable, is left out of the Oscar race is entirely baffling.

The biggest disappointment, however, comes as Sarah Polley’s Stories We Tell misses out on a Best Documentary Feature nomination. The film seemed to sweep the critics’ awards in the same category. It’s funny that two strong documentary films (the other being Gabriela Cowperthwaite’s Blackfish) directed by women missed out in the category. Again, in a year where the Academy attempted to diversify its ranks and leadership, the lack of support for female filmmakers who made real waves within the industry (Blackfish’s reach extends far into the real world, as protests and an outpouring of criticism against SeaWorld is ongoing) is disappointing, hurtful, and altogether perplexing.

Though they might not be on the “right” side of history, or concerned with recognizing the films that will define our society for years to come, the Academy has been on a mission to re-establish itself as an independent entity, free from the influence of traditional precursors such as the Golden Globes, DGA, and PGA. It’s clear that they’re still the biggest diva in the room, and they’re going to do their thing as they see fit. That’s mucks up the windshield for those of us who enjoy predicting their taste, but it’s refreshing to be wrong when the crop of films to choose from is so delectable.

Through murkiness comes clarity, and it’s obvious that the race is now Russell and co.’s to lose.

Best Picture:

American Hustle
Captain Phillips
Dallas Buyers Club
Gravity
Her
Nebraska
Philomena
12 Years a Slave
The Wolf of Wall Street

Actor:

Christian Bale – American Hustle
Bruce Dern – Nebraska
Leonardo DiCaprio – The Wolf of Wall Street
Chiwetel Ejiofor – 12 Years a Slave
Matthew McConaughey – Dallas Buyers Club

Actress:

Amy Adams – American Hustle
Cate Blanchett – Blue Jasmine
Sandra Bullock – Gravity
Judi Dench – Philomena
Meryl Streep – August: Osage County

Director:

David O. Russell – American Hustle
Alfonso Cuaron – Gravity
Alexander Payne – Nebraska
Steve McQueen – 12 Years a Slave
Martin Scorsese – The Wolf of Wall Street

Supporting Actor:

Barkhad Abdi – Captain Phillips
Bradley Cooper – American Hustle
Michael Fassbender – 12 Years a Slave
Jonah Hill – The Wolf of Wall Street
Jared Leto – Dallas Buyers Club

Supporting Actress:

Sally Hawkins – Blue Jasmine
Jennifer Lawrence – American Hustle
Lupita Nyong’o – 12 Years a Slave
Julia Roberts – August: Osage County
June Squibb – Nebraska

Original Song:

Alone, Yet Not Alone 
Despicable Me 2
Frozen
The Moon Song
Mandela: Long Walk to Freedom

Adapted Screenplay:

Before Midnight
Captain Phillips
Philomena
12 Years a Slave
The Wolf of Wall Street

Original Screenplay:

American Hustle
Blue Jasmine
Dallas Buyers Club
Her
Nebraska

Animated Feature:

The Croods
Despicable Me 2
Ernest & Celestine
Frozen
The Wind Rises

Documentary Feature:

The Act of Killing
Cutie and the Boxer
Dirty Wars
The Square
20 Feet From Stardom

Foreign Language Film:

The Broken Circle Breakdown
The Great Beauty
The Hunt
The Missing Picture
Omar

Cinematography: 

The Grandmaster
Gravity
Inside Llewyn Davis
Nebraska
Prisoners

Costume Design:

American Hustle
The Grandmaster
The Great Gatsby
The Invisible Woman
12 Years a Slave

Film Editing: 

American Hustle
Captain Phillips
Dallas Buyers Club
Gravity
12 Years a Slave

Makeup and Hairstyling: 

Dallas Buyers Club
Jackass Presents: Bad Grandpa
The Lone Ranger

Original Score: 

The Book Thief
Gravity
Her
Philomena
Saving Mr. Banks

Production Design:

American Hustle
Gravity
Her
The Great Gatsby
12 Years a Slave

Sound Editing:

All Is Lost
Captain Phillips
Gravity
The Hobbit: The Desolation of Smaug
Lone Survivor

Sound Mixing: 

Captain Phillips
Gravity
The Hobbit: The Desolation of Smaug
Inside Llewyn Davis
Lone Survivor

Visual Effects:

Gravity
The Hobbit: The Desolation of Smaug
Iron Man 3
The Lone Ranger
Star Trek: Into Darkness