By Felix Glanville, History, Second Year.
The holy grail of awards season is firmly upon us, and if the Golden Globes were anything to go by, this years Oscars should be an enigmatic, diverse, and all-out nail-biting display of entertainment competition.
Thursday's nominations truly confirmed Emilia Pérez's place as an Oscar frontrunner, particularly in the major categories. It is nominated for an impressive 13 awards- the same as Nolan's historical epic Oppenheimer. The musical centred around the story of Mexican drug lord Manitas (Karla Sofìa Gascòn) who is helped by Rita (Zoe Saldaña) a lawyer, to transition into a woman as Emilia Pèrez, reunite with her previous family and founds a charity dedicated on helping Mexicans murdered by drug cartels. Pérez ultimately becomes a redeemed figure in the eyes of the public. However, the film is far from public approval- just look at the mammoth of videos about its transgender song, La Vaginoplastia, riddled with comments about AI use, the hinderance of trans-representation and comparing it musically to its clear Oscar rival, Wicked. The film's criticism has particularly come from Mexican viewers who criticise the film for its regressed depiction of their nation as one only surrounded by drugs and violence. The Academy and indeed many other award associations are singing the film's praises, for it seems that Pèrez's unusualness is what has made the film a compelling standout for voters, emulating the similar buzz that surrounded 2022's Everything Everywhere All at Once. Peter Bradshaw's review in The Guardian understands how Oscar voters 'intend to hit back with its Emilia Perez love' against Trump's recent threatening remarks of Mexican and LGBTQ+ people, so a victory and Oscar sweep for Emilia Pèrez could always be on the cards.
As for the other best picture nominees, the category is just so competitive this year, it really could be anyone's game. The Academy voters may feel a traditional appreciation of awarding the dramas of The Brutalist, Conclave and Nickel boys (a surprising inclusion that went under the radar) or feeling the musical character and charm of film's Anora, A Complete Unknown and even Wicked. A hugely welcoming surprise was the best picture and further two nominations for Brazilian drama, I'm Still Here. Based on the true events surrounding Brazil's dictatorship struggle in the 1970s, the film's recognition has been celebrated joyously by Brazilians and all those from the non-English speaking world. It could absolutely experience similar success that 2020's standout Parasite achieved, and would be richly deserved.
However, I really would not discredit the box-office power of Wicked. It may not have the traditional complexities and dramatic colouring that other nominees such as The Brutalist or Conclave have, but it is a remarkable film of such Broadway grandeur. It is also a powerful display of huge female performances. The Broadway adapted musical welcomed Ariana Grande into the heights of film, as her on screen presence as Glinda was addictive to watch, and rightfully credited with a supporting actress nomination. Wicked's best picture hopes can be further helped by Cynthia Erivo's appearance in the leading actress category. Her powerful on screen presence took you right to the front row of any theatre, and for me, completely revamped and revived some of Wicked's lacklustre character and song deliveries that can be jarring when on stage. The world of Wicked was crafted so powerfully and was appreciated by both Letterboxd fanatics and critic voters.
Dune 2 rightfully belonged in the best picture category, despite fears it would just miss out, and could easily be a deserving winner. It experienced the same cinematic achievement as Wicked, but in many ways is the more fully-fleshed 'movie', where all artistic parts are of such profound detail. The striking performances, sets, costumes, visuals and sounds, it has the same movie weight as juggernauts Titanic and Avatar.
So for me, the absolute shock of the nominations came with the directing category. Denis Villeneuve was snubbed a nomination for his sci-fi blockbuster Dune 2, another crushing repeat of 2022, where he failed to receive recognition for the franchise' first instalment. For a film of such scale, with the transformative task of adapting Frank Herbert's novel into a cinematically beautiful world, with a landscape that captures the plot's constant switch between awe and terror. It really is surprising to see his achievements remain unfairly unrecognised, particularly as the film's all too prevalent themes are ones that worryingly find resonance in the current political climate. This poorly put together, all-male, directors line-up does appear to work best for James Mangold's and his Bob Dylan biopic A Complete Unknown. As we have seen in the past, directors with clear historical narratives tend to succeed: Hooper's 2012 The King's Speech and of course, Nolan's Oppenheimer. However, once again, it would be wrong to discount Jacques Audiard for–well you guessed it- Emilia Pérez. It's surprise appearance in this category suggests a desire from the academy to give Pérez it's big sweeping moment in every category it can possibly get, albeit, undeserved.
Further Oscar snubs are apparent as neither Luca Guadagnino's Challengers nor Queer were nominated, despite their lavish visuals and emotionally raw tones. With such a career-challenging role Daniel Craig took on in Queer, it is frankly embarrassing that his name did not appear on the list for Lead Actor, yet it seems there really was a tight toss up between Craig for Queer and Sebastian Stan for The Apprentice. Stan edging it to that fifth nomination spot again suggests the Academy's desire to further hit back at the 47th president. Ralph Fiennes (Conclave), Timothée Chalamet (A Complete Unknown), Colman Domingo (Sing Sing) and Adrien Brody (The Brutalist) were all entirely expected to appear in this category, and all four have as equal claim to the award as each other. But, I can see it being a contest between Brody and Chalamet- the current record holder for the youngest actor to win lead actor (for 2002's The Pianist at age 29) up against what could be the newest successor of the record. For Chalamet, he is rightfully claiming back his 2017 nomination loss for his breakout performance in Call Me By Your Name.
As with the battle for best picture, the leading actress category is too hard to tell, and one to watch on Oscars night. Mikey Madison (Anora) seems to be the front runner for the race but this could all be flipped by the likes of Demi Moore (The Substance) as her recent Golden Globe victory suggests critical acceptance, and indeed Cynthia Erivo (Wicked). Erivo has already achieved an Oscar nomination in 2020, but the Academy may be backing her to to win an EGOT, for which she only needs an Oscar to fulfil, as her performance in The Colour Purple garnered critical appraise with an Emmy, Grammy and Tony. Karla Sofìa Gascòn's breakthrough role in Emilia Pèrez is one that has made history, as the first openly trans actress to receive Oscar acknowledgement. Yet, as much as the academy will wish to celebrate Gascòn's historic and heavy-hitting performance, the backlash at the award nomination and the film itself may hinder voters, and in turn may encourage voters to move towards Fernanda Torres for her role in the Brazilian political drama, I'm Still Here. Torres is a criminally underrated actress, and the Oscars may turn in her favour as a politicised effort to enhance the award's internationalism.
The majority of the other categories were all expected, Nosferatu, a clear stand out, receiving four nominations, the most for a film by Robert Eggers, and a sign of further career success heading his way. Another standout, in all the bad ways, was Joker: Folie à Deux, which did not achieve a single nomination despite its 2020 counterpart receiving a mass 11 nominations, taking home best actor and best original score. The second instalment of the franchise was a complete critical and box office mare, and at least the academy too wanted to punish it into the grave.
Finally, there was insult for one of my favourite categories- best original score, where legendary Hans Zimmer's Dune 2 soundtrack was labelled ineligible for consideration as it contained similar musical themes and elements from the first film, hence not marked as 'original'. However, the Wicked soundtrack was approved and nominated, despite using existing music from the stage play. Different rules for different art mediums, I guess. Again, it is ridiculous that Challengers did not get nominated, Trent Reznor and Atticus Ross' dynamic electronic-pop score was received so well, it literally got people psyched up to play tennis, admittedly myself included.
The big storyline to watch is the Emilia Pérez nomination domination, and how already appalled communities and cinephiles will react if it is able to convert this nomination success into victory. The 97th Academy Awards will certainly be an enthralling watch, and assured, one that will be full of awkward hugs, garish outfits, and littered with the occasional Trump 'joke' that fails to land.
What films are you rooting for in the 97th Academy Awards?