96th Annual Academy Awards - Oscar Picks by Reviews by Matthew

The 96th Annual Academy Awards will be held on Sunday, March 10, 2024, and I’m seeing Dune: Part Two that morning. Seems my Sunday might be longer than this write-up. What do you say we read on find out?

Note: For those of you that are new to this write-up, there’s a section located on the very last page called, “Oscars At A Glance”. There, you can find a quick list of the winners that I’ve chosen for every category. So, now the both of us can play without all the distracting words getting in the way of the bottom line.

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-m-'s: Oscars At A Glance:	How many will I get correct ?	Totals - 18 out of 24 picked
Category	-m-'s Picks	The Oscar goes to:
Best Picture –	Oppenheimer	Oppenheimer
Best Director –	Oppenheimer (Christopher Nolan)	Oppenheimer (Christopher Nolan)
Best Actor –	Oppenheimer”(Cillian Murphy)	Oppenheimer”(Cillian Murphy)
Best Actress –	Killers of the Flower Moon”(Lily Gladstone)	Poor Things (Emma Stone)
Best Supporting Actor –	Oppenheimer”(Robert Downey Jr)	Oppenheimer”(Robert Downey Jr)
Best Supporting Actress –	The Holdovers (Da’Vine Joy Randolph)	The Holdovers (Da’Vine Joy Randolph)
Best Animated Picture -	Spider-Man: Across the Spider-Verse	The Boy and the Heron
Best Screenplany (Original) –	Anatomy of a Fall (Justine Triet and Arthur Harari)	Anatomy of a Fall (Justine Triet and Arthur Harari)
Best Screenplay (Adapted) –	American Fiction (Cord Jefferson)	American Fiction (Cord Jefferson)
Best Cinematography –	Oppenheimer	Oppenheimer Hoyte van Hoytema
Best Art Direction – Best Production Design	Poor Things	Poor Things
Best Costume Design –	Barbie	Poor Things (Holly Waddington)
Best Makeup –	Maestro	Poor Things
Best Film Editing –	Oppenheimer	Oppenheimer
Best Original Score –	Oppenheimer (Ludwig Goransson)	Oppenheimer (Ludwig Goransson)
Best Original Song –	What Was I Made For (Billie Eilish)	What Was I Made For (Billie Eilish)
Best Sound –	Oppenheimer	The Zone of Interest
Best Visual Effects –	Godzilla Minus One	Godzilla Minus One
Best International Feature -	The Zone of Interest	The Zone of Interest
Best Documentary (Feature) -	20 Days in Mariupol	20 Days in Mariupol
Best Documentary (Short Subject) –	The Last Repair Shop	The Last Repair Shop
Best Short Film (Animation) –	WAR IS OVER! Inspired by the Music of John & Yoko	WAR IS OVER! Inspired by the Music of John & Yoko
Best Short Film (Live Action) –	The Wonderful World of Henry Sugar	The Wonderful World of Henry Sugar

 

PICTURE –
“American Fiction” – The little film that could, can’t. Not here, at least.

“Anatomy of a Fall” – The courtroom drama is getting a lot of attention but only a little love. That little love will be publicly expressed on Oscar night, but it won’t be enough to reach this high.

“Barbie” – I’m one of those who tried but ultimately wasn’t a fan of this Grewig/Robbie vehicle, but that shouldn’t be a knock against its impact or chances. After garnering more Box-Office than Oppenheimer, I’m as curious about who loved this one and not-so-much Nolan’s opus and vice-versa. Regardless, when comparing nominations, Oscar history, and the Academy’s current standards and practices, Barbie’s fighting an uphill battle.

“The Holdovers” – The throwback film from Alexander Payne failed to garner a nomination for the director himself. While I expect it to go home with at least one, possibly two, acting awards, it’s not a likely bet that it scores Best Picture of the year.

“Killers of the Flower Moon” – I really wasn’t a fan of the film and I don’t think I’m alone in that. So much so that I feel Killers ranks right around the bottom of this year’s nominees. I expect this one to lose a lot on Oscar night. #Scorsese10OscarCurse (See also: Gangs of New York)

“Maestro” – One of my favorite films of the year is a “big winner” dark horse for a significant number of reasons. Bottom line is that it just won’t get enough votes here, maybe over in Makeup though.

“Oppenheimer” – The frontrunner and deserved winner. A three-hour, Rated R epic, that brought audiences out in droves and kept them riveted throughout. This is Oscar caliber filmmaking.

“Past Lives” – This South Korean/American hybrid was strangely missing from the Best International Feature category. And for as much as I enjoyed and appreciate the film, it would have been impossible to win that category too.

“Poor Things” – Funny, I heard someone on Gold Derby talking about this movie and they asked their chat partner if they knew anyone outside of the industry who saw this movie. The answer was, “no”, and I’m actually in the same two boats. I’m not only not in the industry but I didn’t see it either. Really wanted to but couldn’t work it out. Now, sight unseen, I have to work out exactly what else it could, or will, win. Cause it won’t win here, but it’s gonna win something.

“The Zone of Interest” – The international feature winner faces competition so stiff here that I can’t see it winning both Best Picture categories.

DIRECTOR –
“Anatomy of a Fall” – Justine Triet (2019’s Sybil), gets the double dip of original screenplay writer and director nods this year. Doing so, she’s earned the right to upset both Nolan (Oppenheimer) and Glazer (The Zone of Interest), even if it seems less likely.

“Killers of the Flower Moon” – Martin Scorsese garners his tenth nomination for directing, surpassing Steven Spielberg (Schindler’s List) at nine, and behind only William Wyler (Ben-Hur) who has twelve. Kudos, but no awards, to Marty.

“Oppenheimer” – Christopher Nolan is the odds-on winner here. He should be a lock, but Justine Triet (Anatomy of a Fall) and Jonathan Glazer (The Zone of Interest) both have had exceptionally strong showings for their respective films, and I wouldn’t put it past the Academy to shun Nolan again in favor of one or the other, but he won the Golden Globe, Director’s Guild (DGA), and BAFTA awards, so expect the Academy to pony up.

“Poor Things” – Yorgos Lanthimos is fighting an uphill battle in this race that is completely beyond his control. Yes, his film has 11 nominations but there’s something to be said about the favor placed on foreign films; of which he faces two directors here. With fewer nominations they can wreck a ton of unexpected havoc to any kind of perceived status-quo. With that in mind, I’m thinking Yorgos is third, at best, in the voting; undeservedly or not.

“The Zone of Interest” - Jonathan Glazer (Sexy Beast), also gets the double dip of adapted screenplay writer and director. What gives him the edge here over Triet, is that his film will win Foreign Language Feature, while Triet will only win a writing award. Or Glazer could lose his writing category and be alternately awarded here. Not so easy-peasy but…

ACTOR –
“Maestro” – Bradley Cooper’s acting is as good as expected in the film, but I think it’s a challenge to try and pick him over the others here tonight. Complaints about the film, that I still haven’t dived into, seemed to have made him the “villain” of Awards Season.

“Rustin” – Colman Domingo has been on the rise ever since I first saw him on Fear the Walking Dead. That incline continues and I hope, soon, that he will prove himself an actor undeniable of this award. Tonight, he’s got more competition than I believe he can currently overcome.

“The Holdovers” – Paul Giamatti won the Golden Globe for a performance that was as good as it was traditional for him. Could her win here? Sure. But I’m feeling the work is ultimately less undeniable and therefore farther from a safe bet.

“Oppenheimer” – Cillian Murphy wins at BAFTA and SAG, look for Oscar to go with this traditional biopic performance.

“American Fiction” – Jeffrey Wright has long been a character actor of note. Tonight, he’s in a film that’s finding itself beloved late in the Oscar season. If voters split between Paul Giamatti and Cillian Murphy, he’s got a clear lane to gold. I don’t expect it, but he could be close…right?

ACTRESS –
“Nyad” – Annette Bening was perfect as Diana Nyad and is, almost, reason enough to see the film, but I can’t see her getting into the top half of this category.

“Killers of the Flower Moon” – Lily Gladstone wins the SAG and has a welcoming narrative to boot. It’s far from my favorite performance of the year, and she can still get undercut. Though it’s a solid-er bet, honoring against Scorsese’s typical brood, then any other.

“Anatomy of a Fall” – Sandra Huller has been part of two critically acclaimed films this year. Yet, she’s won only the Cesar (French Academy Award), so there’s really no counting on her Award Season race strength carrying her across this finish line.

“Maestro” – Carey Mulligan, I think, is running into the same issue as Bradley Cooper. That’s too bad because she and the film are both fantastic.

“Poor Things” – Emma Stone lost at SAG, and even before that I was hard pressed to believe the Academy was ready to give her a second Oscar when they can award Lily Gladstone and her narrative instead.

SUPPORTING ACTOR –
“American Fiction” – I haven’t seen the film yet, so I can’t speak to Sterling K. Brown’s performance with any whim or wit. I’m a fan of the actor, for sure, but I haven’t heard any indication that his can top the performance or career of RDJ.

“Killers of the Flower Moon” – Robert DeNiro earns his eighth acting nomination (5 for Actor, 3 for Supporting Actor) but doesn’t stand a chance of garnering his first win since 1980.

“Oppenheimer” – This is Robert Downey Jr’s award, hook, line, and sinker. He was absolutely Stellar!

“Barbie” – I don’t see the Academy attempting to make up for the perceived snubs of Margot Robbie and Greta Gerwig by giving an award to Ryan Gosling. I also don’t see his wryly effective performance outshining RDJ; love it though we can.

“Poor Things” – Mark Ruffalo moves outside his comfort zone and is rewarded with a nomination. Kudos, Yo!

SUPPORTING ACTRESS –
“Oppenheimer” – Emily Blunt garners her first Academy Award nomination, but with no wins of note for her performance, I can’t imagine that she’ll win here.

“The Color Purple” – Danielle Brooks is the recipient of the single nomination for the film. Her chances of upending the category are non-existent.

“Barbie” – America Ferrera delivered the film’s “message” effectively and has been recognized with this nomination for it. Is that enough to surpass the clear season frontrunner? Nope.

“Nyad” – Jodie Foster delivers an equitable performance that fully supports her lead. But simply doing your job, regardless of how well, doesn’t always generate interest enough to cast a vote in your favor.

“The Holdovers” – Da’Vine Joy Randolph has won every major, and probably minor, award this season. I see no reason to stop her now.

ANIMATED FEATURE –
“The Boy and the Heron” – Oscar winner Hayao Miyazaki (Spirited Away) returns with a film that excited and confused differing audiences. Expect the voting to be similar.

“Elemental” – The immigrant-inspired film turned out to be a slow burn surprise hit. Though in all honestly, I found the behind-the-scenes documentary short far more inspiring. So much so that it actually increased my affection for the film but not enough to believe that Elemental’s box-office success will replicate itself into an award win here.

“Nimona” – I thought the well themed film was a great ride. With its thematic and social messaging clearly thought out and delivered without ever having to draw attention to itself or beat the audience over the head. Not that those highlights are going to get it across the finish line this year, it should attract audiences to come and see how this kind of thing can be done effectively.

“Robot Dreams” – I didn’t see it and I don’t know anyone who did. I don’t think that matters.

“Spider-Man: Across the Spider-Verse” – I mean, I fell asleep, but it’s a long one. I enjoyed what I saw, thought it was unique, but haven’t ever gone back to finish it…Seems like I’m having more trouble giving it the Oscar than the Academy will.

SCREENPLAY ORIGINAL –
“Anatomy of a Fall” – If the film wins nothing else, and I think it might not, Justine Triet and Arthur Harari are most certainly going home with this award recognition for their downright practical take on this court room drama.

“The Holdovers” – David Hemington turns in a quality script that feels way too familiar to win on the big stage.

“Maestro” – There’s nothing Bradley Cooper (A Star is Born) and/or Josh Singer (Spotlight) can do to turn the tide that’s cascading against this film.

“May December” – Samy Burch (Coyote vs. Acme) and Alex Mechanik (his first screenplay) garner the accolades usually reserved for director Todd Haynes. I can’t see a win for this film, on multiple levels, the least of which is that this is its only nomination.

“Past Lives” – Celine Song (The Wheel of Time) has delivered a wonderful script about a topic few couples, and society at large, rarely discuss. In doing so, along with directing the as-moving film, Song has made a memorable mark on the Academy. This has got to be the second-place script, possibly first but I’m not betting on it.

SCREENPLAY ADAPTED –
“American Fiction” – The little film that could, can. Here, at least.

“Barbie” – Initially, I thought this would be a strong contender but as Awards Season has rolled on, there seems to be quite a bit of either realization or backlash against the outspoken throngs who want more for the film. I think it’s becoming quite the turnoff to voters. So much so that I think Gerwig is out now too.

“Oppenheimer” – Probably the toughest category for the film. Certainly, it’s most uncertain and no one expects a filmic sweep. With Nolan winning a directing award there are options to award other category contenders here. That way more films walk home with a little something.

“Poor Things” – Tony McNamara (The Favourite) garners his second nomination for a Yorgos Lanthimos film. And by winning only the Florida Film Critics award, I’m afraid he also garners his second loss.

“The Zone of Interest” – I don’t think the film will be as successful in the writing categories as Anatomy of a Fall. Still, really good to see this here.

PRODUCTION DESIGN / ART DIRECTION –
“Barbie” – One of two solid chances, beyond the Song category, for the film to walk away with an award. I’m just not convinced the Academy will pick Barbie over Poor Things here, maybe in Costume though.

“Killers of the Flower Moon” – I don’t think this film wins any awards this year. Late Season Update: Okay, it wins one award, but definitely not here.

“Napoleon” – The scale, the detail, the Oscar bait. Due credit not-withstanding, the classic period piece feels like an outdated option this year.

“Oppenheimer” – If this film wins it’s all down to the cinematic seriousness of the Academy voters. I don’t think there as old school anymore, so I’m betting against it.

“Poor Things” – I feel myself a-leaning. Look, it beat Barbie at the Art Directors Guild (ADG) awards and even though Gold Derby doesn’t think so, I don’t trust them, the film has got to win something. While I think Barbie can, and just might, lose everything outright.

CINEMATOGRAPHY –
“El Conde” – The “Bardo” of this year’s category may have what it takes, stylistically, to win, but it’ll never garner the votes.

“Killers of the Flower Moon” – Scorsese never fails to have his films photographed with integrity and cinematic style. Be that as it may, there’s little hope of a win for this Killer.

“Maestro” – The old Hollywood-feel and 4:3 framing of the flashback scenes are just the beginning of the compliments I have for Cooper’s film. This is a work of art is so many ways. I can only hope, not guarantee, the Academy sees this film for the gorgeousness that it delivers.

“Oppenheimer” – Hoyte van Hoytema has won the Critics’ Choice and BAFTA. I expect him to win the American Society of Cinematographers (ASC) on March 3rd (Note: Which he did). After that, Bob’s your uncle.

“Poor Things” – Robbie Ryan (The Favourite) garners his second, and well-deserved, nomination. It’s possible that he can win here also, but he lost the American Society of Cinematographers (ASC) award to Hoytema so, Fanny’s his aunt.

FILM EDITING –
“Anatomy of a Fall” – Kudos for making this talky courtroom drama engrossing. It’s truly a feat, but not one I expect to beat the goliath in the room.

“The Holdovers” – Everything about this film appears retro to me, especially the look and grain of the film itself. So much so that I imagine they actually cut the movie in a smoke-filled shed on the Miramax studio lot. Personally, that’s a nice image, but not one I expect to win Oscar gold.

“Killers of the Flower Moon” – Longtime Scorsese partner, Thelma Schoonmaker garners her ninth Oscar nomination (her eighth for a Scorsese film) but this won’t become her fourth win.

“Oppenheimer” – Seamlessly and clearly bridging three distinct timelines into an impactful whole. I don’t see how anyone can argue against Jennifer Lame’s work here. BAFTA and Critics’ Choice couldn’t.

“Poor Things” – Yorgos Mavropsaridis (The Favourite) is the third participant this year to get his second Oscar nomination for a Yorgos Lanthimos film. Expect the “less fortunate” evening’s trend to continue.

COSTUME –
“Barbie” – Exaggerated but contemporary and significantly difficult to discount. Originally, I was betting against its limited innovation rather than for its nostalgic bullseye. But as this is literally the last sentence I’m writing this year, and I still can’t get the possibility of this win out of my mind, so I gotta bet on Blond for the Gold.

“Killers of the Flower Moon” – Not quite as subdued as Oppenheimer, I think the bulk is still too pedestrian though.

“Napoleon” – The only film in this group to have old-school Oscar appeal. The period piece could wind up surprising, but I don’t think that’s likely.

“Oppenheimer” – By far, the least flashy of the lot.

“Poor Things” – Here’s where the quirk really works. However, I don’t know if anyone would wear these costumes as opposed to those optioned by Barbie for Halloween, so I’m gonna split the wins and go against the brain.

MAKEUP –
“Golda” – The Chicken or the Egg? Did Gary Oldman’s performance in Darkest Hour win him the Oscar or did the Makeup make the man? Naval-gazing question really as Hellen Mirren isn’t nominated for her performance in the Best Actress category, so neither ought win.

“Maestro” – Noses Supposes, His Toes Aren’t Roses but Noses Supposes Erroneously. Woo-hoo!

“Oppenheimer” – I don’t really have a big shine for this nomination. I mean the makeup is there, especially across the film’s three timelines, but it’s not as immersive as Golda, Darkest Hour, or Maestro by any stretch.

“Poor Things” – Willem Dafoe’s face in the trailers should be enough to give any voter pause.

“Society of the Snow” – I love that this film got a second nomination and, in this category, it’s a respectable nod. I don’t really trust its chances, but man, those boys were gaunt.

ORIGINAL SCORE –
“American Fiction” – Laura Karpman’s score has a great jazz lounge vibe. Mix that with a bit of Vince Guaraldi (The Peanuts) and you’ve got a strong product. I wouldn’t expect it to win but I do expect it to be namelessly heard, even appreciated, in a variety of circumstances going forward.

“Indian Jones and the Dial of Destiny” – John Williams is a fifty-two-time nominee who hasn’t won this award since Schindler’s List in 1994. This year won’t be his either but dang…That’s one heck of a career and this is a score I actually like quite a bit.

“Killers of the Flower Moon” – Robbie Robertson delivers period appropriate music (banjoes and fiddles before guitar, bass & effective drums or traditional instruments even) to a little-beloved film. Context can carry it a long way but on its own, the music can be about as un-thrilling as the film.

“Oppenheimer” – Ludwig Goransson has gotten more love, more awards, and more jobs in the last few years than I can stomach. Really. I mean, I can be happy for him, but I’m not nearly as impressed by his body of work as many others obviously claim to be. Whatever…

“Poor Things” – Jerskin Fendrix’s score blends the shrill twinge and sour twang of a Universal monster movie music box with the childlike air of a 1930s-40s Disney fantasy. It’s perfectly moody and discomfortingly pleasing in many respects, and those violins are perfect, but I’m thinking it’s too purposefully bent to win.

ORIGINAL SONG –
“Flamin Hot” – “The Fire Inside”. Give it up for fifteen-time nominee Diane Warren. At least she’s willing to update her songs and sounds with the times. I think it works against her some, cause even after tonight, she still hasn’t won an Oscar.

“Barbie” – “I’m Just Ken”. Where he sees love, Oscar sees a friend. But even friends get drunk, slip, and fall skates-first into each other.

“American Symphony” – “It Never Went Away” by Jon Batiste is a beautiful entry this year and a solid runner-up in fourth place. I say that because, ahead of it, there’s at least two Barbie songs before another opportunity for the Academy to recognize an entirely different marginalized demographic.

“Killers of the Flower Moon” – “Wahzhazhe (A Song For My People)” may be authentic but I’m not so sure if voters would be voting for the song or the message their vote casts. Note: The song is a six-minute track of mostly monotonous drums and vocal chants; the meanings of which I have never been educated on. I’d be curious to know how many voters have.

“Barbie” – “What Was I Made For” Billie Eilish becomes the youngest artist ever to have two Oscar wins. And deservedly so, this song hits just right.

SOUND (Combined Sound Editing and Sound Mixing Categories) –
“The Creator” – The film’s best chance for acknowledgement is in the Visual Effects category. Although it doesn’t look good over there either.

“Maestro” – Bradley Cooper and Company says, “What?”. I totally disagree though as I love the six minute one-take conducting scene.

“Mission Impossible – Dead Reckoning Part One” – Not a chance when the legitimate big category contenders find their way into your category.

“Oppenheimer” – The obvious pick, goes Boom!

“The Zone of Interest” – The sneaky pick, could surprise.

VISUAL EFFECTS –
“The Creator” – Originally, I was as onboard as I could be with this pick, because nothing else looked like a lock and the trailers clearly showed an emotional lean to the visual effects. But then it lost the BAFTA to Poor Things which isn’t even nominated here. Grrrr.

“Godzilla Minus One” – More for Less. Notably, the film had a total budget of under $15 million dollars and still landed a nomination here. It’s going up against tired franchises and filmmakers who spend multiple times this film’s budget on their effects. Nothing about Godzilla Minus One overstays its welcome. Everything else in this category is easily worth overlooking; we’ve seen too much of it for too long, while “Godzilla”, rightfully, stands out.

“Guardians of the Galaxy Vol. 3” – Even in a race this uninteresting, I still can’t pick the Marvel film.

“Mission Impossible – Dead Reckoning Part One” – I think so much has been made about Tom Cruise’s stunts and the near indecipherable effects that go along with his boldness; or crazy, if you want to call it that. Still no Mission Impossible film has won this award, or any award for that matter. That actually, is a second promotion for recognizing the film and the franchise. But who doesn’t want to check a Godzilla box? We’ll see on Sunday.

“Napoleon” – It has an outside chance equal to the other less interesting nominees, but I’m not seeing as clearly the “why?” of that statement.

BEST INTERNATIONAL FEATURE FILM –
“Io Capitano” – Matteo Garrone’s emotionally searing immigrant film concerning two youths who leave Africa for Europe is on my “to-watch” list.

“Perfect Days” – Wim Wenders delivers this Japanese film about an unassuming janitor who just might have the secret to a happy life. Should be worth a look.

“Society of Snow” – The fantastic Spanish film deserves every bit of this nomination and should be considered the runner-up to this year’s clear winner.

“The Teachers’ Lounge” – Ilker Catak’s film is a powerful commentary on trust, betrayal, equity, justice and due process. Can’t wait to see this.

“The Zone of Interest” – This isn’t even up for debate. #TheZoneofOscarGold

BEST DOCUMENTARY (FEATURE) –
“Bobi Wine: The People’s President” – A feel good and absolutely frightening look at Uganda political infighting. Sending the same message as Navalny but not quite reaching the same apex…or, Thank God, the same end.

“The Eternal Memory” – The heartfelt romance of the Alzheimer’s documentary is a difficult thing for me to vote against, for many reasons. Still, the film’s focalized pain is so small in comparison to its category peers.

“Four Daughters” – Why is this category still so focused on pain. I didn’t see it but after watching so many dour and difficult films, I don’t even want to.

“To Kill a Tiger” – Nisha Pahuja’s film sees a man fighting for the justice and honor of his thirteen-year-old daughter. I didn’t get a chance to screen it before the awards and I’m not sure I can take any more torment. This one ends with a feel good, yeah?

“20 Days in Mariupol” – The graphically disturbing and difficult to watch documentary is the belle of the ball this year. Ukrainian support is a hot topic, and this film clearly depicts the atrocities brought upon them, specifically women and children. Damnit!

BEST DOCUMENTARY (SHORT SUBJECT) –
“The ABCs of Book Banning” – While I’d love to see a film titled as such get an Oscar, the reality of the film is far less interesting and more heavily skewed to social justice. Example: The award-winning books, Slaughterhouse-Five and The Handmaid’s Tale are pictured but not followed up on while books concerning gender and racial issues are featured and discussed prominently. As such, it feels less whole.

“The Barber of Little Rock” – The film delivers an interesting narrative that concerns a civic leader working to uplift his community and its members through vocation and financial support, both of which lead to independence. It’s a good idea and a good film, but there’s still greatness ahead in this category.

“Island in Between” – Kinmen, is a small island in between Taiwan and mainland China that stands as a living barrier and/or divide between the countries and the similar conflicting identities of the population. And, like the island/topic, the film sits somewhere in between the best and worst of this category.

“The Last Repair Shop” – The wonderfully moving film has a heart worth beating for. What started out feeling skewed and socially justice driven becomes a heartfelt accounting of the individuals who support the youth of the Los Angeles area and their life-saving connections to music. The analogies of broken people and broken instruments who both need a little, or in some cases a lot, of care to help make them sing again comes wholeheartedly through. The closing-credits coda is absolutely sublime.

“Nai Nai & Wai Po” – This short and sweet look at two aged Asian women is a fun piece. Delivering only a single message, audiences have a good time participating with these ladies as their student-filmmaker grandson prompts them to play well outside their age group. #GangstaGrandma

BEST SHORT FILM (ANIMATION) –
“Letter to a Pig” – Trauma: Memories of the Holocaust. It’s got that going for it, but War Is Over might have a more uplifting message.

“Ninety-Five Senses” – From Jared and Jerusha Hess (Napoleon Dynamite), the short uses the five human sense to paint a surprising picture of tragedy and acceptance. Don’t fret, there’s a fair amount of humor and identification for the audience. Deserving? Yes, but it’s not a lock. However, it’s a short worth seeking out and seeing for yourselves.

“Our Uniform” – Creative and unique for sure. Really wish I had an opportunity to screen these before setting them aside, mostly cause I’m choosing the name recognition of one contender.

“Pachyderme” – Trauma: Sentimental this time. Maybe too sentimental?

“WAR IS OVER! Inspired by the Music of John & Yoko” – Two-time short nominee, Dave Mullins (Lou) and Sean Lennon (son of John and Yoko), with a little help from Peter Jackson’s Weta FX Studio, have crafted this optimistic music video set during the first world war that sees two opposing soldiers play chess with the help of a messenger pigeon. And the song kind of sticks in your head.

BEST SHORT FILM (LIVE ACTION) –
“The After” – A man, played effectively by David Oyelowo (Lawman: Bass Reeves) lives his life as an Uber driver in the aftermath of a horrific tragedy. The short has acting support from Sule Rimi (The English, Andor) and Ruth Sheen (H/jack, The Nevers) and a great closing credits song, Let It All Go by Birdy and Rhodes. It’s the kind of short that’s too short for its own good and would be better served as a feature.

“Invincible” – The issue of mental health in teens is addressed in this small and moderately powerful film. Much like The After, Invincible too suffers from limited context and a too-short runtime to really flex its power and message.

“Knight of Fortune” – This surprising and almost frightening short from Denmark delivers a welcome message about grief. It may not be a front runner here, but it’s something I just might spend the rest of my life thinking about.

“Red, White and Blue” – Brittany Snow stars in this heavy-handed short that addresses the current abortion issue. A hot-button and supremely important topic, it’s the most likely runner-up to Anderson’s Henry Sugar, and could easily find a second wind to carry it across the finish line.

“The Wonderful Story of Henry Sugar” – Bite-sized Wes Anderson (The Grand Budapest Hotel). Far from his best work though it may be, the trademark craft and cast are just too well produced to vote against. And it checks off the Anderson box for a lot of voters.

At the end of it all “…and then there was One” seems to be the larger theme of my picks. Sure, I’ve got Oppenheimer winning eight awards, but only Barbie or Poor Things can walk away with two, which seemingly leaves thirteen other films to be awarded singularly. Hope to read about that in the aftermath reports on Monday. I mean, who else could have predicted such a feat?

-m-