The Academy of Motion Picture Arts and Sciences just announced that late-night talk show host Jimmy Kimmel will be back to present the Oscars for the second year in a row. I truly love Jimmy Kimmel, I really do, but I feel forced to share my very unpopular opinion with the world: I think this is a huge mistake and I simply can’t understand this decision. These are my reasons (personal AND factual).
It’s finally Oscars Day, my favorite day of the year (just so that you get my excitement, it’s like my birthday and Christmas combined). Tonight all the questions we’ve been making during the awards season will be answered: how many Oscars will La La Land win? Will it break a record like at the Golden Globes? Will Barry Jenkins’ poetic masterpiece Moonlight spoil La La Land’s big night? In a previous entry, I predicted the winners of the main categories, based on articles by some of the main film outlets in the Internet, today I’m giving my final predictions in all 24 categories.
Short films are the most underrated art form there is: people don’t usually watch them (let it be live action, animation or documentary) and when they are interested in a particular one, it can be extremely difficult to find it on the Internet. As a matter of fact, since I’ve been a film student, the only people I’ve met who are interested in shorts are scholars, cinephiles and students, and even they are turning their backs on this format and try to make feature films in college (as undergraduates, can you believe it??!!). Why is that? I believe it is because short films never get the attention and appreciation they deserve, people don’t want to pay to watch them and it is very unlikely to recover the investment made to produce it. They are seen as a “lesser” production, as something reserved for festivals, but not for the mainstream public. It is like something that students made to learn their craft while hoping to eventually make movies, “real” movies. Well, I disagree: short films are made with extreme precision and craft to make you understand a story, empathize with the characters and, most importantly, make you feel something, in just a few minutes, with a limited number of scenes, characters and means. It’s all about getting to the point in a simple yet complex way, telling a story in the best way possible, without the fare and unnecessary decoration. I’m not saying in any way that making a feature film is easy, not at all, but a longer format gives storytellers more time and more scenes to make you feel everything a short film does in just a few minutes. Timecode, the winner of the Palme d’Or for Best Short Film and Oscar nominee, is the perfect example.
If the predictions are correct and La La Land wins Best Picture Oscar tomorrow, Damien Chazelle’s movie will be the 11th musical in Academy Awards history to take home the highest honor of the year. With this in mind, here are the 10 musicals that have won the Best Picture Oscar.
2016 has been a year of exceptionally great films from a wide rage of genres and origins, with completely different plots, characters and actors, in a year when diversity has been acknowledged by Academy voters. Now that the voting deadline has been reached the fate of the nine Best Picture nominees is in the hands of the accountants, and although La La Land is expected to win Best Picture by a landslide (or should I say a La La Landslide? Sorry for the pun), most of the films nominated could taken the award home any other year. So, let’s look at the 2017 nominees’ figures, from budget to Academy Award nominations, box office results and ratings.
With the Oscars just a few days away, Barry Jenkins’ Moonlight has garnered unanimous critical acclaim and 8 Academy Award nominations, and though predicted to lose Best Picture Oscar to La La Land (an Academy’s favorite), it is nonetheless a must-see that would have easily won the major award any other year. Jenkins’ exquisite triptych on masculinity, sexuality, love and family is quite the perfect movie.
As you may well know by now, Damien Chazelle’s La La Land is filled with movie references and most importantly, classic musical references, which is basically one of the reasons the film has been critically acclaimed. In fact, it takes a cinephile to compile such amazing yet eclectic musicals from both Hollywood and France, and turn it into a modern tribute to movie magic. But what movies are referenced? In this article my aim is to not only list them but give a brief synopsis about each of them, and as a musical enthusiast add my unsolicited opinion and some interesting trivia.
Después de muchas horas de deliberación sobre si escribir o no una entrada sobre los Premios Goya 2017 (dada mi conocida aprensión hacia el cine español), parecía ridículo hablar de todas las galas del circuito de premios (“awards season”) de este año y dejar de lado la gala que celebra el cine del país en el que me ha tocado nacer. Ahora bien, ¿cómo hacer un artículo que no repita lo que ya se ha dicho durante años en medios mucho mejores que el mío, si se puede considerar mi pequeño blog un medio? Y sobretodo, ¿cómo hacer un artículo que no sea únicamente una crítica destructiva de 800 palabras, que podéis encontrar ya en forma de tweets de 140 caracteres en mi cuenta de Twitter? El éxito de Un monstruo viene a verme (nueve premios Goya) me ha llevado a rescatar de mi memoria una reflexión que lleva des de la gala de los Premis Gaudí dando vueltas en mi cabeza: ¿hasta qué punto son las películas como la de J.A Bayona cine español? ¿Podemos considerarlas cine español? ¿En qué medida?
Des de su creación en 1995 el Screen Actors Guild Award (Premio del Sindicato de Actores), que galardona las mejores interpretaciones en cine y televisión, ha sido considerado una antesala de los Oscars y una ceremonia de primer orden que ya forma parte de los premios obligatorios del año. Los SAG son una fiesta del cine y la televisión, una gala fresca y dinámica (pocos anuncios, dos horas de duración), que personalmente recomiendo a cualquier persona que no la haya visto.
Academy Members joined Academy President Cheryl Boone Isaacs in the announcement of this year’s Academy Awards nominations. Breaking with tradition, the presentation did not follow the typical press conference format, with invited journalists, but instead was broadcasted live worldwide via different outlets, including Oscars.org: a new format for a new generation. Actors and other industry professionals were invited to talk about their experiences as Oscar nominees and winner, a format I consider way better than two actors on a stage reading names in front of journalist. The Academy is doing is best to be fresh and young, and leaving behind its image of traditional institution out of touch with younger generations of viewers.