Showing posts with label International. Show all posts
Showing posts with label International. Show all posts

Wednesday, February 11, 2026

Completed Category: Best Original Song

 Oh, this weird little category!

Original Song
"Dear Me" - from Diane Warren: Relentless
"Golden" - from KPop Demon Hunters
"I Lied To You" - from Sinners
"Sweet Dreams of Joy" - from Viva Verdi!
"Train Dreams" -  from Train Dreams

Now, listen.  I am going to tell you right now that I greatly enjoyed the Diane Warren documentary, and I don't care what anyone thinks about my enjoyment of it.  Notably, it did not make the shortlist for Documentary Features, but this latest song that Diane wrote did in fact get her another Original Song nomination, and she once again, I'm sorry to say, is unlikely to win. I learned so much about her and her life and her friend group, and I will tell you that her prickly personality, stream of f-bombs, and liking animals more than people all really work for me.  The song "Dear Me" is performed by Kesha and is not the greatest Diane Warren song. Oh well. Try again next year! 

Another movie I love, but am not picking to win this category? Train Dreams.  I still want all of you to watch that gorgeous, sad, lovely movie (it's on Netflix!) when you are in an appropriate, thoughtful mood.  The song, performed by  Nick Cave, very much fits the vibe of the movie, but it's not anything next level as a song.  Moving on... 

Viva Verdi! is the "Huh?" movie of this year's Oscar nominees. Well, it's a documentary about some folks living in the retirement home in Italy designed by Verdi himself (!) as a home for retired/older musicians. It was a really interesting little slice of life, but again, not nominated as a doc but rather for the song "Sweet Dreams of Joy."  Well, it was fine.  You can actually enjoy the folks singing a lot of more famous songs throughout the film in little snippets, by the way, if you're into that kind of thing.  But the movie also features their personalities and some history. It's available to rent on the Jolt indie film streaming service (I told you, Huh?)  Thanks, Jolt!  It's an honor for you to be nominated, Viva Verdi. 

Right, then. Sinners vs. KPop Demon Hunters.  It is going to be hard for anything to beat the extremely popular and now Grammy-winning "Golden" and KPop Demon Hunters delighted everybody, or at least a lot of bodies. But there is a tiny smidgen of a chance that Sinners busts out to a big night and collects trophy after trophy including this one for "I Lied To You."  That of course would mean Sinners seizes the glory - and the Oscars - from One Battle After Another  or as I now think of it One Nomination After Another.  A girl can dream. 

Which of these movies and songs did you like? 

Order I want them to win:  
Keeping in mind that I'm not sure how much I care, really?  And that as much as I liked Sinners I'm not all that into blues, which I know is like an egregious sin among most guitar players but I said what I said? Probably the same as the... 

Order that I think they're likely to win: 
Golden, I Lied to You, big gap here, still in the gap, still in the gap, Train Dreams, then another gap and then Dear Me or Sweet Dreams Of Joy  


Thursday, February 27, 2025

Completed Category: Documentary Feature

My second-to-last completed category!  One more nominee to see after this. 

Documentary Feature Film
Black Box Diaries
No Other Land
Porcelain War
Soundtrack To A Coup d'Etat
Sugarcane

Let me just say, once again, that whether a documentary is interesting or good is not based on the topic.

 There can be an amazing documentary about a subject in which I have no interest that has me riveted. Or, the opposite: a topic I would love to know more about can be covered in a terrible documentary, making for an excruciating 2.5 hours, such as is the case with Soundtrack To A Coup d'Etat.  Holy cow is this a boring look at the mid-twentieth century tragic and murderous foreign policy of Belgium and the U.S., and political shenanigans in the Congo, up to and including the murder of Patrice Lumumba. I am deeply interested in this history! This documentary bored me immensely. Also, it was irritating. There's this whole jazz motif going on, and it drove me straight up a wall.  I really don't like jazz and I'm pretty sure that's related to how much I hate this film.  The film is constructed of various jazz music that is sometimes lyrically appropriate and sometimes relevant because the film at that time is talking about when Louis Armstrong or whoever traveled to Africa at that time -- so many layers, like a piece of jazz music, right?  Ugh. It was awful. There were actually close-ups of people singing where you could see their saliva - gross, shudder.  And the shots of Dizzy Gillespie's puffy cheeks gave me the fantods. Now, on the other hand, the frequent clips of Malcolm X talking were by far a highlight of this film - more of that, please. Less of everything else.  Side note: this is not solely about "We Didn't Start the Fire" (Belgians in the Congo!) but also a fair bit of Car 54 Where Are You?  (Khrushchev's due at Idlewild!) 

Anyway. Onto the four good documentaries! 

Black Box Diaries - haunting, stunning achievement, quite personal while being globally relevant, as one woman documents her pursuit of justice in the aftermath of a sexual assault. Why are men. 

No Other Land -  depressing, infuriating look at oppressively macho Israeli military posturing over a bit of land that they would like to forbid Palestinians to live on, for no discernible reason.  

Porcelain War - still more depressing stuff, with art and nature and beauty struggling to keep their heads above the mass of violent warfare that is the Russian invasion of and war in Ukraine.  

Sugarcane -  another personal depiction that meanders through major trauma and its effects years and decades later on the survivors of "Indian schools" in Canada as well as on their descendants. I really thought this was well done, with the weaving of one personal search for healing amid the wider community and even world search for healing related to this horrible bit of history. 

There is really only one that I can't bear to see win, but my order in which I'd like to see them win:  Sugarcane, Black Box Diaries, Porcelain War  (really, any of those three!), then No Other Land

Order in which I think they'll win: 
Maybe Porcelain War? Or Black Box Diaries.  I might like Sugarcane more than some other people do, but I did notice Lily Gladstone's name as an Executive Producer, which probably means she'll have  successfully campaigned it to some extent.  No Other Land probably won't work for some people. I don't know who votes for Soundtrack to a Coup d'Etat ... Steely Dan fans? Overwrought fever dreaming men? I don't know. 

Which documentary did you think was the best? 



Tuesday, February 25, 2025

Completed Category: International Feature

I greatly enjoy foreign films. One of my favorite categories! 

International Feature Film
Flow
Emilia Perez
The Seed of the Sacred Fig
I'm Still Here
The Girl With The Needle

This year? Not easy, my friends. 

There are four incredible cinematic accomplishments and one travesty of a nomination. I do not see how any member of this or any other Academy who watches all five of these could even consider voting for the abject mess that is Emilia Perez.

Flow is a sweet little cat film 🐈‍⬛️ and misfit friends story with no dialogue and lots of struggles and success, as we have mentioned elsewhere. Welcome to this party,  Latvia! If Flow loses both here and in Animated, I'll be devastated.

The Seed of the Sacred Fig is such a well-done look at Iran; it skillfully incorporates real-life videos of protests from recent years while placing you into this family's little world, then creating tension that sneaks up on you and builds to a fever pitch. 

I'm Still Here, also nominated for Actress in a Leading Role (Fernanda Torres) and freaking Best Picture is incredible - except that it depicts a true Brazil story - and I've not felt sadder in some time than I did after watching this loving family experience man-made tragedy. 

And then last night I watched The Girl With The Needle, which is a slow burn but then dear gods will it mess you up. There are so many questions to contemplate about these characters and their choices. What should we do, what can we do, why are men, why are humans, why any of it? Go see it knowing absolutely nothing! Other than: humans, poverty, Denmark, war, devastation, black and white -- the film, not life choices. But prepare for heart palpitations. 

Order I want them to win:  Any of the three, seriously. Maybe Seed of the Sacred Fig, I'm Still Here, The Girl With The Needle. Next Flow only because it better freaking be winning Animated. And then a giant huge gap bigger than sixty- four Grand Canyons, and then gtfo E.P.

Order I think they will win:
I'm Still Here maybe possibly please. Then stupid freaking E. Perez because humans are the worst. Then the others... although if the voters have the sense the gods gave a goose then they'll do the right thing here. Which is to say, do anything but the worst thing. 


Sunday, February 23, 2025

Completed Category: Live Action Shorts

I headed down to my local cinema to finish off the Shorts today. 

Live Action Short Film
A Lien
Anuja 
I'm Not A Robot
The Last Ranger
The Man Who Could Not Remain Silent 

Three of these are available for you to watch online, which I did do over the past few weeks, and that's great because then when I go to the theatre to catch the others, during the ones I've already seen I can either re-watch, or I can go get my popcorn refill! 

This is definitely one of the years that I prefer the Live Action Shorts to the Animated Shorts.  They are  all a little depressing, though.  Why are humans?  I do continue to ask this question.  Also, there were a couple of my fellow moviegoers chatting in the lobby afterwards who were flummoxed by how these Shorts left things unresolved at the end.  It's a fair point; it was very Lady-or-the-Tiger-esque up in the Live Action Shorts.  At any rate, issues presented include: immigration/deportation/removal by ICE, child labor/opportunity for education, authoritarian regimes on the verge of genocide, humanity vs. robots, and the murder of innocent animals by poachers for their tusks & horns so that some horrible men can get rich and or feel more "virile" and strong.  #WHYAreMen, seriously.  

Order I want them to win: 
The Last Ranger, The Man Who Could Not Remain Silent, honestly this is so hard, I won't be mad if any of them win, maybe Anuja-A Lien then I'm Not A Robot? This is not to really take anything away from I'm Not A Robot. This category might be the least dud-ly of all the categories.

Order I think they will win: 
Wow I really don't know. They're all so timely. I'd like some others to weigh in here! 
But maybe A Lien (timely) or The Last Ranger (infuriating but galvanizing)? , The Man Who Could Not Remain Silent -- so timely -- then I'm Not A Robot (also so timely) and Anuja?  Dude, I don't know. 

What do you think? 

 


Wednesday, February 19, 2025

Completed Category: Original Screenplay

I love to think about the Screenplay categories! In fact, I want one of my next checklist projects to be: Watch All the Nominated Screenplay Films Ever.  That will take a while. In the meantime, this year: 

Original Screenplay
ANORA
Written by Sean Baker
THE BRUTALIST
Written by Brady Corbet, Mona Fastvold
A REAL PAIN
Written by Jesse Eisenberg
SEPTEMBER 5
Written by Moritz Binder, Tim Fehlbaum; Co-Written by Alex David
THE SUBSTANCE
Written by Coralie Fargeat

I only just this week completed this category because I had September 5 lingering for a while simply because #IAmVeryBusy and also I knew it was easily available to rent on demand as opposed to some others in which one must still be in pursuit* and so I knew I'd get around to it as soon as I could get around to it. 

*This year, we're looking in pursuit at you, Porcelain War. And with Ukraine having become a daily news story this week, at that! Every damn year, we are forced to go through this with one or two nominated flicks - a refusal by the distributor to, ya know, distribute the film during the two months between Oscar nominations and Oscar ceremony. It's so fckng stupid, every damn year. It's like - "Hi! We want to give you our money! Please take it in exchange for a streaming rental  of your film!"   "No."  "OK well, could you have it play in theatres across the country/world?"  "No."  "Hmm, well, we really want to see it? Can we please? Remember, we are trying to pay you for this. Money for your film! Isn't that what you wanted?"   "Why oh why is the film industry dying nobody goes to movies why oh why won't they see my film i weep i wail i gnash my teeth why oh why!"  "Um..er..." 

Anyway, that was a tangent about a totally different category. Back in Screenplay-land, September 5 is available, and I paid for a streaming rental and watched it! Amazing how that works! I enjoyed the movie and thought it was well done, everyone all tightly crammed in the control room and whatnot. I was also like, hey! I know her! about the actress playing translator and much more Marianne - not a real person, a composite character - as she starred in last year's International nominee The Teachers' Lounge.  Good for her, Oscar-ing it up two years in a row.  I think this screenplay fully and completely did its job, keeping you interested and invested, while laying out and guiding you through the story, but I am pretty sure it will not win, as people are heavily invested in voting for some of its competition. 

The Brutalist is going to get votes, in this and in other categories. I think it is going to get more votes in other categories.  First of all this thing is long and it pummels you, and I mean, as a story it's fine and all (if a little bit terribly intense) but its strengths are more so in the Directing, Cinematography, Score, and other elements of its pummeling you for four hours of your life.  We could possibly see it sweep all its nominations, but I don't think so. Don't worry, you're still the Brutal-est screenplay. 

Although I've gotta say, The Substance almost gives ya a run for yer money in the brutal department!  The Substance  is glorious and crazy and ridiculous and socio-philosophical and wonderful and I love it. That being said, the ending where it gets a little shaky (or splattery) before bringing it all home is its weakest point. I still love it and I forgive it all its flaws and won't mind even a tiny bit if it DOES win here - and it does have a chance - but I think we have to seriously reckon with the other two competing nominees. 

A Real Pain accurately describes its character played by Kieran Culkin, who is likely to win Supporting Actor for his co-starring lead role. This is a typically perfect kind of Screenplay winner: indie vibes, but famous people, and interesting content that raises some socio-political questions, and also fun. I personally related immensely to this film, because I too took a trip to Poland as an adult and met up with a group of other adults (on a Habitat for Humanity build) and then took a week by myself to go see my great-grandparents' hometown. So I was nostalgia-loving this in addition to being entertained by it. The only annoying thing about this film is its accurately described title (lead!) character, whom you want to throttle. Screenwriter (and co-star) Jesse Eisenberg just won the BAFTA, too, and had no speech written, he said, because he didn't think he would win. True? Maybe. A Real Pain had all the buzz for quite a while. What overtook it? 

A film that had even earlier buzz, then cooled a bit, but has surged back even more since nominations day: Anora. This thing is a well-done screenplay of misfit friends, another title character who comes into situations like a wrecking ball (but is met with other wrecking ball types who outdo her in that department), surprising scenarios, an ante that gets upped a few times, and the edginess that people love to love in their films. I personally walked away from Anora shaking my head and wondering #WhyAreMen, but the sex-work-is-work prostitution apologists will be out in droves making sure that question doesn't get too much attention to distract us from the feel-good train wreck of Anora. 

Order I want them to win: A Real Pain, September 5, The Substance, Anora or The Brutalist

Order I think they will win: Anora, A Real Pain, The Substance, then a gap and then The Brutalist, September 5. 

This is too close to call.  But I do think the bolder Anora might succeed here.
Which one do you think will win? 

Monday, February 17, 2025

Completed Category: Documentary Shorts

Friends, enemies, countrypeople, et. al., it's one of those years where I'm going to insist that you absolutely need to watch the Documentary Shorts. 

Documentary Short Film
Instruments of a Beating Heart
Incident
I Am Ready, Warden
The Only Girl In The Orchestra 
Death By Numbers

This year we have: life, death, death, life, and death.

Issues include: racism, death penalty, killing of civilians by police, school shootings, sexism, grief, the meaning of life, creating art, and overcoming obstacles. 

You can see the Doc Shorts in select theatres this week and honestly, yes, it's worth dropping whatever you have to do or have scheduled the next few days.  Seriously, get a babysitter, take the afternoon off work, skip your church group - or heck, gather up and bring your church group - and hie thee to the cinema. 

Now, this is certainly a viewer-discretion-is-advised situation, but on the other hand, this is documentation of real life, and nobody really exercised discretion to prevent the real-life people from having to witness and/or experience terrible things up to and including being shot and killed. 

For those who cannot get to the cinema, please watch the ones that are available at home via streaming. Here is the link to Incident, which should be required viewing for you, your family, your neighbors, your friends, your enemies, and whoever else you can find strolling blithely around this Earth. https://www.youtube.com/watch?v=oW65ChIjur4 

Incident depicts the killing of a Black man by police in Chicago, and the things the officers both instinctively and calculatedly say and do in the minutes following the incident.  I want this one to win. I think it might. I've never seen a Doc Short quite like it, the way it uses and split screens the various body camera and CCTV camera footage. 

I Am Ready, Warden depicts the lead-up to the execution date for a death row inmate, with input from the condemned man, his murder victim's son, his own son, a church lady who has become his adopted godmother, and a Texas government official. I also want this one to win. It could. It crafts this story so, so, so very well. The "cast" of characters really immerse you in the swirling realities of one man's sentence to death. 

Death By Numbers  depicts the written and spoken reflections of Sam Fuentes,  one of the survivors who was injured in the Parkland, Florida school shooting a few years back as she prepares to testify and speaks to the killer at the sentencing and victim impact statement days in court. She's a great writer. I hope she continues to heal and survive, and to gift us with her words.  I mourn the friends and teachers she lost that day as well as everything that has been taken from her and from other dead and living school shooting victims.  

One of the "feel-good" ones of the bunch is The Only Girl In the Orchestra, uplifting despite the gasp-out-loud sexism and affecting consideration of questions of what should we do with our lives? I recommend it for anyone who has: played music, listened to music, lived in New York, lived as an artist, admired a family member, admired a teacher, watched classic Westerns (no, seriously), touched a stringed instrument, moved a piano, or celebrated the gift of being alive.  It's on Netflix. 

The other feel-good one is Instruments of a Beating Heart, despite the occasional kids crying after either not getting a part they auditioned for or making mistakes as they rehearse the parts they did get. This is an adorable slice of life little film about 7-year-olds preparing to perform "Ode to Joy" with tambourines and whatnot for the incoming first graders at their school in Japan. I adore it. I recommend it to anyone who has ever tried to do something, failed, or succeeded.  It's available here: https://www.youtube.com/watch?v=DRW0auOiqm4 

Order I want them to win:  THIS IS SO HARD
Maybe Incident or I Am Ready, Warden, then Instruments of a Beating Heart, as those three are such interestingly crafted documentary observances, and then the other two which are also A+ content if a bit more traditional let's-follow-this-person storytelling -- Death By Numbers  and The Only Girl In The Orchestra.  I will not be mad when any of these five win, except for the part where the other four have to not win.  

Order I think they will win:  I DON'T KNOW I said this is hard!!!!!! maybe Incident? 

Saturday, February 15, 2025

Completed Category: Animated Short

Well, I guess it wouldn't be the Animated Shorts if there weren't something totally bananas that makes you go, What in the what did I just watch? 

Animated Short Film
Beautiful Men
In the Shadow of the Cypress

Magic Candies
Wander to Wonder
Yuck!

This is how it breaks down: two that you can watch with your sanity intact, one head-scratcher, and two why-jesus-and-all-the-gods-why. 

The two that you can watch with your sanity intact are Magic Candies and Yuck!  This is not to say there's nothing weird in Magic Candies -- talking inanimate objects really get the ball rolling here. But it's cute, follows a well-paced narrative, has clear and convincing animation, and delivers a good message. 

Yuck
! has a lot of the same attributes, actually, with less surrealism (despite being French!)  This is simply a sweet story about the universal experience of being kids who are thisclose to outgrowing their "eww gross!" reaction to K-I-S-S-I-N-G.  Will either of those two short films that I liked win?  Well, I don't know.  What does the Academy want from an Animated Short?  Do they want things I want, like sharp, clear visuals and sensible narrative and reasonably intact sanity?  Or do they want - something else? 

Perhaps they want a whale - a very large and very square whale - washed up on a beach, and some fever dreamy attempts to save it interspersed with flashbacks and chaos and feelings of despair. If so, then In the Shadow of the Cypress is for them!  This is definitely a little film for people willing to puzzle out some layers of symbolism.  If you're the type who can't even get past things like the green light on Daisy's dock then this might not be the unpacking of symbols task for you. 

This year in the Oscars, we have a lot of men -- not just in the number of Acting nominees, but also in the titles of films nominated in Visual Effects, Makeup, Live Action Shorts - and here in the Animated Shorts, it's Beautiful Men time. Now, do you think that these men are, in fact, Beautiful, or might the title be wry and cynical in some way? Well... have I taught you nothing?  By the way you will get the chance to judge a whole lot of an animated's man's body to decide if he is beautiful. I mean it. There was a not-appropriate-for-children disclaimer and everything. 

And if you like naked men in your Animated Shorts and you're ready to go full wacko?  Well, have we got the Animated Short for you. It's time to Wander to Wonder, kids.  I really don't know what to say about this one - and I mean that in 100% earnest. I simply don't know what to say. This film is not for everybody, but I guess it's for somebody. That somebody is not me. 

Order I want them to win: Magic Candies, Yuck!, In the Shadow of the Cypress, [big gap], Beautiful Men, [bigger gap], cancel the Oscars, outlaw all animation forevermore, Wander to Wonder. 

Order I think they will win: Magic Candies, maybe In the Shadow of the Cypress, Beautiful Men, Yuck!, please-all-the-gods-forbid Wander to Wonder

Check out the Shorts in a cinema near you, now playing! But, don't say I didn't warn you about the weirdos and the naked men and the weirdo naked men! 

Friday, February 14, 2025

Completed Category: Animated: Redux

 Yesterday I was tired; this morning I found the energy to say a tiny bit more about the Animated Feature Film nominees. 

Have you seen them?

First of all, Flow is amazing and might win. It's about a cat!

🐈‍⬛️ Of course it should win! Actually, it's a wonderful, mesmerizing little journey and misfit friends story. It's also nominated in the International Feature category; it's Latvian, with no dialogue; the director is fun on the socials. Bet against it in your Oscar pool at your own risk.
My second favorite is Inside Out 2, which I thought was clever and actually engaged me more than the first one (which won). I rather enjoyed Ennui ("Ennui, are you paying attention?" "Non.") and I think the broccoli boat should be a Disneyland ride?!
Memoir Of A Snail is the weirdo one, and not for kids. It was so not my style at all, but then grew on me a little bit because the old woman voiced by Jacki Weaver is amazing (in a kind of get-off-my-lawn way) and I love the snail at the end 🥔
Also not really my thing is Wallace and Gromit: Vengeance Most Fowl, although I'm sure that humor and the misunderstanding between them works for some people. It makes me feel anxious about the dog! Like, wake up dumb human! Anyway, this had a major scene with a bridge that tried to get in on last year's Mission Impossible/Indiana Jones years-later-sequel-dramatic-scene -of-peril-on-a-big-high-bridge who-wore-it -better territory.
Speaking of who-wore-it-better, this year's theme is robots that you order or buy to do a job and whose prime directive may or may not jibe with what you need. Reality, much? The Wild Robot is not the only nominated flick to do this (in various categories) but it's a big one and lots of folks' favorite. Could win.
What's your vote?


Toutes les réactions :

Thursday, February 13, 2025

Completed Category: Animated

This will be brief because I am tired.  Not because I've reached that point in the Oscar season of being tired but because of too much life stuff. But, maybe I do need to start taking off the entire month of February for watching Oscar nominations!  

Animated Feature Film
Flow
Inside Out 2

Memoir of A Snail
Wallace and Gromit: Vengeance Most Fowl
The Wild Robot

I liked: Inside Out 2. 
I ... meh:  The Wild Robot, Wallace and Gromit: Vengeance Most Fowl
Not really my thing, although bits of it grew on me, mostly the snail saving the day: Memoir of a Snail

But I LOVED: Flow

It's about a cat. 


I would be perfectly happy to have more movies like Flow! 
Let's give it the Oscar. 

The End. 


Wednesday, February 12, 2025

Completed Category: Lead Actress

 The film I saw to complete this category also completed Best Picture but we'll save that for later, and for now just think about...

Actress In A Leading Role
Cynthia Erivo - Wicked
Mikey Madison - Anora
Demi Moore - The Substance
Fernanda Torres -  I'm Still Here
Mr. Carlos "Karla Sofia" Gascon, a man - Emilia Perez

 Are you thinking to yourself "Gee that's weird, why is there a man nominated in the Actress category?"  Well, posterity, if you're reading this and the human species has somehow managed to survive, you probably have history books that note the 2020s as a time of great strife, and a whole lot of nonsense, sometimes simultaneously. One of those areas is the idea that there are "transgender" people who somehow aren't the sex that they are. We're not going to waste any more time on that here (Ask Me Anything - but elsewhere) other than to point out how totally fucking stupid this category is this year because of the nomination of a man, and how sad we are for Angelina Jolie, Marianne Jean-Baptiste, Pamela Anderson, Nicole Kidman, Amy Adams, or whichever woman would have had that fifth slot. 




Now, I will also say that while there are four wonderful performances by Actresses in Leading Roles here, they all make me sad (as does the man's - for being nominated), except for Cynthia in Wicked.  On the contrary, Wicked is so much pure joy!!!
Even though it, too, has many layered socio-philosophical questions and lots of turmoil, the movie and the production and everything about it just bring me so much joy, and I'm so happy for the supremely talented Cynthia Erivo in this nomination. I might even be rooting for her if I weren't annoyed by the category fraud regarding her --> co-star Ariana Grande, who is nominated in Supporting. The category fraud sort of spills over and ruins this nomination.  Anyway - she also might get nominated for Second Wicked, when that comes around. She really is so talented.  She's an "EGOT nominee" as they say. and has won several awards.  Someday, Cynthia. 

As much as we love Wicked, most people think one of two other nominees will be the likely winner.  And most people do not think that it will be the man, Gascon, nor that it will be Mikey Madison from Anora.  I mean - she was great, in that she carried the movie, basically the entire thing, and it was entertaining. That flick is not for everybody, but a lot of people sure do love it, and there is certainly talk about it winning in major categories (even Director and Best Picture!)  However, there are two stronger contenders here.

Fernanda Torres is nominated for the Brazilian film I'm Still Here, which is also nominated for not only International Film but Best Picture as well, and it is a heartbreaking performance.  Based on a true story, it made me sadder than just about anything has in a while - humanity is so frustrating and infuriating and horrible from time to time, and the thing is, people simply don't have to be the way they are, but they are.  I get so sad, after watching I'm Still Here, thinking about the family, and the other families of other victims of dictatorships, and about the people who suffered and were tortured and died, for no good reason. None. Fernanda's character endures impossible things, and she might - juuuuuust might - be the winner. 

But. Then we have The Substance. 


Demi Moore is enthusiastically supported and beloved in this 100% bonkers film that I absolutely adored. It's got Hollywood (in spades!), it's got messages, it's got a star we've all grown up with or seen 100 times, finally getting her Oscar nomination.  It is a rollicking ride and it ups the ante multiple times and Demi Moore knocks it out of the park, giving us everything we could want and more on this wild ride. 

With her Golden Globe win and her trending buzz (and her lack of public relations nightmare mistakes - at least not yet!), Demi Moore is starting to really be favored to really win this Oscar, and I am 100% OK if the Academy makes this choice. 

What a year. What a time to be alive. 

Order I want them to win: 
Demi, Fernanda, Cynthia, Mikey

Order I think they will win: 
Demi, Fernanda, Cynthia, Mikey, the man

Who was your favorite Lead Actress performance? 


Monday, January 27, 2025

Completed Category: Directing

 Oh boy, let's kick off some completed category posts! 

Achievement in Directing

Anora *Sean Baker
The Brutalist * Brady Corbet
A Complete Unknown * James Mangold
Emilia Perez * Jacques Audiard
The Substance * Coralie Fargeat 

Directing is always so intense.  And in this category, there are always directors nominated for some very serious flicks, and some staggering accomplishments, and more often than not there is a "what the heck did I just watch," and sometimes those three things overlap. Ooh, like in a Venn diagram! 



As we will discuss several times throughout the course of this bloggage, The Brutalist  should henceforth be known as The Brutal-est, as it pummels you for four unmerciful hours. Well, that's not actually true: you get an intermission!  I like intermission at the theatre; I can easily go get my popcorn refill. Anyway, should Brady Corbet win for The Brutalist?  I mean, he really might do so.  And there are all sorts of #SeriousCinema reasons, but also he took years and years, apparently, to film the thing, and no one thought he could pull it off, of course. The Los Angeles Times called it a "whopper of a film."  At the very least!  And there were some things I liked about it very much - the Original Score for example, which is not this category, and the way he shot the early-on-in-the-flick men-paying-for-sex scene without making it about gazing at women's bodies. At all. This is the complete exact precise opposite of... 

Anora.  Well, well, well, what have we here? Sean Baker (who? I know. This category has all first-time-in-this-category nominees for the first time since James Cameron was the king of the world! Sean Baker is the director of The Florida Project, that's who, so we know he) has a way of getting his movies' long-haired, sharper-than-you-think-they-are, but-also-sharper-tongued, young women  to carry us through a motion picture.  In both of these films of his that I've seen, we watch these people who are a bit less "there but for the grace of god go I" and a bit more "good god, will someone, anyone, make some better choices, please!"  But Anora has captured a lot of viewers' hearts, and as one person I know put it, "That was way better than it had any right being."  I personally very much dig the misfit friends stories, and hooo-boy do we get one of those here.  I can't exactly say that I never wanted this long dark night of lost souls to end, but it was entertaining and propelled you right along. I am not here for anyone to blather on about mistreated "sex workers" and I do not feel sorry for the character Ani, nor her colleagues, and least of all would I ever feel a shred of sympathy for the many, many, many gross disgusting men both in the film and in the real world who buy human flesh. If I walked out of The Brutal-est saying "What just happened to me for four hours?" I walked out of Anora saying "Why are men."  That said, she (the main character) reminds me of the gals from Long Island I met when I lived in New York. Also, Sean Baker is Gen X! We need more Gen  X winners. Like maybe...

Coralie Fargeat!  Who's she?  She was born in the mid-1970s like the coolest kids were, she's French, and she directed The Substance.  I loved The Substance.  Yup, I'm sold.  Did it spiral just a wee bit out of bloody control as it careened toward its ending?  It did.  Do I forgive it this flaw? I absolutely do.  This film is a marvelous work and it's a wonder, but nothing at all like other films I've called "marvelous" or a "wonder" over the years.  It's wild and bizarre and so very L.A. and it tackles profound societal issues and it might earn Demi Moore - Demi Moore! she's one of those very-very-late Baby Boomers who feels like an honorary Gen-Xer - an Oscar. #TeamTheSubstance? Maybe. But I could also find myself on ... 

#TeamACompleteUnknown.  Wow, do I love me some Bob Dylan and some Joan Baez, which you already know if you've known me for more than about five minutes, not that anyone I know is reading this so I still have to document these things for posterity.  And this film with pitch-perfect (no pun intended) performances is not a traditional biopic; it's more of a study of some personalities that came together like atoms bonding and clashing and sharing electrons for a time and exploding into something more and sometimes causing damage and sometimes creating something heretofore undiscovered. It got three well-deserved acting nominations (more on Ed Norton, who is a revelation as Pete Seeger, in his category post coming soon), and the whole thing is so immersive and carefully considered and real, and someone like me whose go-to karaoke song has long been (like, for 2 decades+) Dylan's "Like A Rolling Stone" was primed and ready for A Complete Unknown, and yes, yes, I treasure it, and James Mangold's magnificent directing is a big reason why.   

You know what I don't treasure?  Emilia Perez. Why does this movie have to be. It is such a freaking trainwreck in so many ways, but oddly, it's not the Directing per se, just the whole entirety of the thing. I mean, don't get me wrong: director Jacques Audiard made a lot of terrible choices, such as making the film in the first place, pretending men can be women, collecting a bunch of terrible songs and terrible song-and-dance numbers and sprinkling them throughout the most implausible nonsense while pretending to take everything seriously, and pummeling the audience with a mix of zaniness and tragedy and plot holes. But it's not like Mamma Mia-shit-production values bad, nor like Everything Everywhere All At Once we-are-in-the-hands-of-10-year-old-boys bad; it's just bad-bad. 

Chronological order in which I saw the flicks over a month and a half:
Anora, A Complete Unknown, The Brutalist, Emilia Perez, The Substance

Order in which I like the flicks: 
A Complete Unknown 
The Substance
[--gap--]
Anora
[major gap]
The Brutalist
[major serious chasm gap]
Emilia Perez

Order in which I think they will win: 
The Brutalist, Anora, gods forbid Emilia Perez uggggh, A Complete Unknown, The Substance


I would be very happy to be wrong about my winner prediction!  But 4 out of 5 of these can win; the other will cause me to throw things at the TV. 

Saturday, March 09, 2024

Completed Category: International Feature

 Well this is a bonus for sure! I did not think that I was going to complete Foreign International Feature before the big day but the fates conspired to make it so! 


The fates did not prevent me from being tired, and sick though. When's the last time I was sick with such an ugh virus for the actual ceremony?  Which I will be assuming I don't feel much better tomorrow. Hmm. Anyway, allons-y!

IO CAPITANO - ITALY: Spoiler alert that Italy is in this film even less than Florida is in Nyad. And there are about four words of Italian. And it's a co-production of Italy, France, and Belgium but takes place in Senegal, Mali, Niger, Libya, and international waters. Anyway I absolutely loved it but it would be kind of interesting if it won and joined the ranks of Italy winners like The Bicycle Thief, Cinema Paradiso, Life is Beautiful, The Great Beauty...  It won't win though because the winner of this category has already been anointed, but I would love for this to win. It was interesting, compelling, ferocious, and full of humans doing terrible things but also helping one another. I swear, I have two types of films that are My Kind of Movie, and this is one of them - international human rights tragedies I guess. I am trying not to spoiler but I really want to shout out one small part whose actor proved "There are no..." If you've seen it, remember the man who is the go-between when they build the fountain?  There is so much that crosses his face when the Rich Boss Guy comes out to look at it and we get this little twinge of sympathy as we realize his life is seriously on the line here too and he's kind of maybe doing his best?  Or certainly not the worst of the Libya men who do stuff, not by a long shot. There are a million incredible moments in this film and I loved it. 

PERFECT DAYS - JAPAN: This is my other My Kind of Movie. Thoughtful and wistful. I absolutely loved it. Wim Wenders directed it, but it's Japanese, so this continues our cross-cultural shenanigans, and it made me want to hie myself back to Japan (it's been too long). I cannot freaking stand how people talk about people's professions as if that is who they are and I have a million thoughts about that and what capitalism hath wrought and so forth but in this movie I definitely had some feelings about that. Fantastic performance from our lead and a bunch of wonderful profound moments. Ten out of ten! 

SOCIETY OF THE SNOW - SPAIN: About the Uruguayan team plane crash in the Andes. See? Cross-cultural shenanigans everywhere.  The survivors and family gave their approval and some of them even had cameos in the film. It's absolutely fantastic and is possibly the only one with a chance of beating the film that will win this category, although not much of one. It did get an additional nomination, make-up and hairstyling, which was in fact impressive especially at the end as their bodies became gaunt and dirty and ravaged by the time stranded. If you are wondering "Did we need another retelling of this story?" the answer is Yes. We needed this one.  Also, for the record, ever since I heard about this story decades ago I have always been 100% decidedly on #TeamEatTheHumans. No reason not to at all! 

THE TEACHERS' LOUNGE - GERMANY: Very German! Very modern/Gen Alpha kids. This film has a way of ratcheting up the tension as you move around the various school locations and through the days and revelations of new facts as things get stirred up about who is stealing money in the school. There are so many moments when you're so frustrated with these characters - or is that just me?  I did not really love the ending, but at any rate this was interesting for the most part. 

THE ZONE OF INTEREST - UNITED KINGDOM: Because that's what we need, isn't it - the U.K. winning for Best Foreign International Film?!  Hahaha ... it's so going to, though. As I have mentioned a few other places, I did not love this film, which was not a film i.e. a cinematic narrative so much as it was an art project. It took Martin Amis' book title and premise/setting and nothing else, including that it did not take the plot, and it also forgot to replace it with a plot of its own. It shocks us with the revelation - ?? who didn't know this? -- that the evil Nazis went about their lives while committing unspeakable atrocities. I know this film worked for a lot of people but I am not one of them. I was glad when it ended, not that I understand what he's trying to say with the ending -- we shouldn't have janitors? What? Whatever. Mark your Oscar pool ballots for this winner. 

Order I want them to win:
Io Capitano
<tie>Perfect Days and Society of the Snow
<gap>
The Teachers' Lounge
<gap>
The Zone of Interest 

Order I think they will win: 
The Zone of Interest
Society of the Snow
Io Capitano
Perfect Days
The Teachers' Lounge

Ahhhhhh I am so glad I got to see all of these flicks! My favorite Category!
I'm still not offended by calling it Foreign. 

Sunday, March 03, 2024

Completed Category: Documentary Feature

This is one of my favorite categories! I love good documentaries. It's pretty rare for a terrible one to get nominated in Documentary Feature. (It has happened, but rarely.) 


Part of what I love about Documentary Feature watching is learning about things around the world. It's my favorite when the five noms give us five different countries and preferably some history from each one. 

BOBI WINE: THE PEOPLE'S PRESIDENT: First up, Uganda. Bobi Wine is a famous pop star who speaks to and for the people, which of course means he and his movement are widely quashed, with some people even being killed, by the president-dictator-for-life in power who insists that everyone is still voting for him. This is such an interesting (though sad and frustrating as well) look at Uganda. Bonus points because we also get a campaign road trip with a map route. 

THE ETERNAL MEMORY: At first glance, this is more about an interpersonal relationship and the debilitating devastation of Alzheimer's but as it goes along you realize you're also going to get glimpses of Chilean history and the film weaves in the theme of how this journalist acted as a recorder of Chile memory - think about the verb recordar in Spanish! - even as we watch him lose his own. Bonus points for the CAT! Who hangs out in multiple scenes!

FOUR DAUGHTERS: Of all the places I almost went to but didn't, Tunisia sticks in my craw the most sometimes. I gotta get there. Anyway, this doc is sad and engaging, almost transfixing, as you plunge into the relationships of this mother and her daughters, two of whom are now eaten by the radicalization wolf, as she puts it. The way they choose to depict this family's story is unique and effective, and that makes me think it has a serious chance of winning here. 

TO KILL A TIGER: First of all - not an actual tiger! It's a metaphor. There are no tigers in this film. India frustrates the hell out of me whenever I watch a documentary or read a book about something happening there. It's always someone trying to fight some enormous injustice, and you get some little bit of hope, and then there are 1 billion more injustices to fight the next day. That said, this documentary did a lot of work and frankly could have edited it down a tad more because it kind of starts to drag after a while, but then in the end it pulls you back in. This is the kind of documentary that makes me think humans are so frequently so terrible to one another, but, as long as we are all here thank godz there are people trying to shine at least one light in the darkness. 

20 DAYS IN MARIUPOL: More lights shining in dark days in Ukraine. This is a constant barrage of sadness and misery, and sometimes I still think about the pet turtle even two months after I watched this. The journalist filmmakers did fantastic work, and it's Ukraine, so this has a really really really good chance. 

Order I want them to win: 
This is probably my hardest category to rank! 
Maybe 20 Days in Mariupol
The Eternal Memory
Four Daughters
Bobi Wine The People's President
To Kill A Tiger

But they are so close in that ranking it might as well be a 5-way tie for me. 

Order I think they will win: 
20 Days In Mariupol
Four Daughters
To Kill A Tiger
The Eternal Memory
Bobi Wine: The People's President* 
*unless Academy voters see shades of trumptydumpty and fear him becoming prez for life and that ratchets up the relatability factor here giving this more votes

I love Documentary Feature watching! 
Which one was most impressive to you? 


Sunday, December 18, 2016

One More Day Before the Storm

As Macbeth said, "Tomorrow and tomorrow and tomorrow..."  

But I do believe that tomorrow, Monday, December 19th, will in fact signify something.
The future, which occurs after the present

I've had this super-weird confluence of personal, professional, and political timing, which all seem to be coming to a frothy head tomorrow. So, when I woke up today (Sunday, December 18th) and Facebook was offering up Fb memories of our three-years-ago trip to Hong Kong Disney, I decided this image of me at Tomorrowland says something important.

Tomorrow means hope. It's not all gloom and doom creeping in at a petty pace, Macbeth. Now, Macbeth is my boy (i.e. favorite Shakespeare tragedy) and he certainly has it right that there are fools and poor players all around us strutting and fretting (ahem TheDnldWTFTrumpface ahem). But the very notion of tomorrow brings hope, as one of my OTHER favorite plays of all time reminds us. So, so, so much hope for the wretches whom Macbeth might call "walking shadows" as they contemplate revolution in Les Misérables:

"There's a new world for the winning/Do you hear the people sing?"

When the Electoral College meets tomorrow, will they hear? Will they do the right thing, the moral thing, the Constitutional thing, and use their best judgment to cast their votes, which means casting them so that TheDnldWTFTrumpface does not ascend to the presidency?

While that's happening politically, I also personally have a huge and emotional development tomorrow in my professional life. (No, the electors aren't going to elect me...that I know of!) One era is coming to an end, due in large part to reduction-in-force layoffs that came slamming into one of my gigs, but not entirely due to that, as I have seized upon a blessing-in-disguise opportunity to do some stuff when this particular new little era of mine dawns. AND, just to compound the personal/professional/tomorrow timing of it all, the last month and a half has been a whirlwind, a mighty and fierce whirlwind, of me working two and a half jobs, laying groundwork, and figuring out lots of big stuff, and all this has been happening since Monday, November 7, the first "One Day More," which led us to the horrible Tuesday, November 8 election day or more accurately the horrible Wednesday, November 9 Day After. So for one month and a half I have been in this intense stirring up of life and time (working every day, sometimes two jobs, plus other events, with no time to think but just go go go with eyes on the prize), with big developments, and meanwhile this parallel thing happening of Trumpface and the end of the world and the burgeoning fight for the #ElectoralCollegeExMachina moment we all need and then after a particularly intense last burst of the 36 hours from 11 a.m. Friday through 11 p.m. Saturday where I was just everywhere serving three or more masters and just go go go went went went I came home and rested.

Sleeping deeply.

And waking up today to Facebook memories of Tomorrowland and the imminence of tomorrow, December 19, when one big thing ends in my personal life, AND there is one superbig chance for the whole world in political life.

Sing it, Les Misérables:

"Tomorrow is the judgment day
Tomorrow we'll discover what our god in heaven has in store
One more dawn
One more day
One day more."


Saturday, January 23, 2016

A cat, a book, and a good cause
(Bring Quincy to the USA)

So here's the deal: I am fundraising to bring Quincy, the amazing cat we rescued from the street in Guangzhou when he was an abandoned 4-week-old kitten, the very cat you see pictured on the left side of this blog, from China to the U.S.

(If you'd like to just donate to the cause straightaway without being bothered to read any further, I will not stop you: here's the link. But if I were you, I'd read on to see what you can get out of it...plus other options for donating.) 

The problem is, essentially, that it costs a whole lot to fly a cat from China to the U.S., not to mention the several circles of Chinese bureaucracy that have to be navigated before he can get on the plane. AND I'm managing all this from a distance. Although I have been trying to save up for this endeavor, we are now up against a February deadline (when the people in Tianjin who now have Quincy are leaving Asia for good) and are short of funds. What kind of funds? We're talking, basically, a $2,000 swirl of bureaucracy, vaccine checks (yes, we got his shots previously, but the government needs us to pay them to check his vaccine status in order to approve his emigration), customs fees, export health examination, the flight itself, etc.  It's a bit maddening. But those of you who followed the saga of Quincy back when we originally rescued him, and watched him (online) develop into the playful, good-hearted, creative, magnificent young cat that he became, may understand why it's worth the cost to bring him back to people who love him instead of leaving him to the uncertainty of fate. 

Here's where we get to what's in it for you. Despite the magical things crowd-sourced fundraising can do (e.g. pay for a lot of young drunk people's Uber rides, or Tila Tequila's rent), I did not actually want to ask for money, to ask people to give something for 'nothing.' But what could I give? I asked myself. Well, anyone who knows me probably knows that there is one thing I have a lot of: books. And so, this.

If you donate to the Bring Quincy to the U.S.A. cause, I will give you a book of mine. 

I will select it personally, basing my decision on who you are, what I know of you, our friendship, what I think you might like -- you get the idea. 

Do I want to part with my books? Of course not. But there's something that is even more important to me than my books, and that is Quincy. A sacrifice, they say, is when you give up something you want for something you want more. Well, I can definitely see that definition applying here. 

So, you see, everybody wins!
*I raise the money, and ponder what's truly important.
*You get a book, and the satisfaction of contributing to a good cause. (And a fun surprise!)
*Quincy gets to come live with us in the USA, with the people who saved, raised, and loved him. 

You can send your donation however you like -- PayPal the gift directly to me (a good option), use Chase QuickPay (a very good and easy option), use the GoFundMe link, put a check in the mail, whatever makes you happy. (Note that sending money directly avoids the GoFundMe fees.) I will then give you (if you're local) or send to you (via the cheap media mail of course) a book that I select for you. It's yours forever, to read, cherish, ignore, keep, regift, throw across the room--your call. (Donation amount? Whatever you think a book and/or Quincy is worth. You decide.) 

It's basically like you're buying a book, which you should be doing anyway, right? (Riiighht???) But instead of supporting Amazon or whatever this time, you can support the awesome Quincy. 

Feel free to email or message me for more information or if you have any questions at all. I would love the opportunity to select a book from my personal collection for you in exchange for your kindness in helping the Bring Quincy Quest. 

Friday, April 03, 2015

What gives you the right to exist?

It infuriates me when someone (say, Benjamin Netanyahu) "demands" (!) that someone else (say, perhaps, Iran) "acknowledge Israel's right to exist." It is a smoke screen. It is a perfect example of the utterly bogus catchphrase politics that I loathe with every fiber of my being: so-called leaders say something that sounds so right that you couldn't possibly disagree with it--unless you actually critically think about it, that is. But they don't want you to do that. They just want your emotional response that pegs everyone who doesn't immediately do this as a demon.

Before we get to whether "Israel has a right to exist" and why that phrase actually means nothing, let's illustrate with a couple of other common examples. One of the most prevalent and annoying is "family values." Precisely what the hell does it mean to be "against family values"? That's right, it means nothing. But every year another politician or two dutifully trots out the line that s/he is in favor of family values, and no one ever asks them what, exactly, is a family value? What are you supporting? Does anyone recall that this phrase hit the big-time when Dan Quayle -- Dan Quayle of all people -- hurled it at a fictional TV character whose life choices he didn't like (even though they weren't, actually, you know, real choices in a real life that existed or anything)? The fact that we're still being subjected to this nonsense phrase more than two decades later says something -- I don't know what, but something pretty awful -- about the U.S. political scene.

From "the" other "side" of things, we get another bit of political rhetoric you're unlikely to avoid if you ever like to be on the internet, and that is the false dichotomy of gay marriage versus "hate." Gay marriage versus discrimination, yes. Gay marriage versus unequal treatment, certainly. Gay marriages versus people clinging to some misguided ideas, I'll grant you. But all the signs and memes and posters and retweets with phrases like "Do you support gay marriage or do you support HATE?!" are just absurd. What do you hope to accomplish with that? "Yeah, put me down in the hate column." Who says that? (I might add that the idea of being "pro-choice" is also problematic in this way, but then again, that term is fighting against the even more insidious and misleading "pro-life," so the abortion rhetoric battle is long past any hope of real words that mean anything.)

Right, so, Israel. Here's Netanyahu, who doesn't want to play with the neighbor children sign any deals unless/until Iran "acknowledges Israel's right to exist." Notice what happens when he/anyone says this.  It's visceral, a gut punch, a surge of adrenaline: we're supposed to bristle at the very idea that someone could be so demonic as to "not acknowledge Israel's right to exist." But why? What does that mean? What IS a "right to exist"?  You know who has a right to exist? Living things that exist. It's not up for debate. It's like the thing about human rights, right? You have them because you're human. Existence is. Do I need to get Descartes up in here? What exactly does a right to exist do? If you exist, whether you have the right to do so or not is kind of a moot point.

There are three basic problems with Netanyahu's demand.
1. Israel is not the same thing as Jewish people. But this is the emotional reaction they're playing on. They say "Israel's right to exist" and we are supposed to immediately line up on the "right" side, that is to say, the side that equates "not wanting to kill millions of people" with "support for Israel" (to the extent that those three words actually mean anything either). If someone is born, they now exist (note: born) and you don't have a right to kill them. So, that's the end of the story. There is no coda in which their lives, one life or a hundred lives or six million lives or approaching seven billion lives mean any particular nation should or shouldn't exist. It means those one or a hundred or six million or nearly seven billion lives get to be lived. That's what it means.
2. Maybe, just maybe, carving a modern Jewish state out of Palestine was not in fact the best solution. Maybe, just maybe, it caused more problems than it solved. Maybe, just maybe, some people should be willing to discuss this instead of shutting off all debate about it. And yet, instead we sit here demanding recognition of Israel's "right to exist." Does any state have a "right" to exist? Why? Why do any states exist in the first place? For a lot of terrible reasons, for many of them. History, inertia, war, reproduction, heritage, negotiations, genocide, whatever led people to be where they are and establish nation states -- these aren't really the same thing as having rights.
3. It goes back to the oft-repeated but never correctly translated statement that Mahmoud Ahmadinejad allegedly made (except guess what, he didn't) that Israel should be wiped off the map. That loaded phrase in English is an idiom that for some reason everyone takes figuratively and literally when they hear this (alleged but not really made) statement about Israel. But he didn't say it. He was explaining that maybe said modern Jewish state shouldn't have been carved out of Palestine with these particular lines in the sand (and now, on maps) where they are. Kind of like what I'm trying to explain to you all (see #2 above). And that it's OK to have a conversation about this. But we don't have a conversation. We run around ignoring everything except inflammatory rhetoric (real or imagined).

What does it actually mean to recognize the right to exist? What is the point of it? Look at the things around me. My pen. My desk. My cat sleeping on the bed. My comfortable sweatshirt. Do these things have a right to exist? They just exist! You don't have the right to destroy them, but what actual right do they have? What does it mean? It's more like a right to not not-exist by someone else's action. But god forbid we talk nuances or philosophy or, you know, subtlety of thought. We'd rather scream and yell about Israel as if it's a good idea and you're a terrible hater if you don't value it, where "value" is defined to mean "repeat a bunch of cliches and tired old saws that will get a lot of warmongering blood pumping."



Thursday, February 26, 2015

And the misplaced outrage goes to...

The 87th Academy Awards have come and gone, with few surprise winners and no triumph for Boyhood. Yes, I was in that camp: the one that was moved and impressed more by Richard Linklater's 12-years-of-filming look at the quiet moments of life than by Alejandro G.(onzález) Iñárritu's weird and flashy spectacle of actors, cinematography, and dark snark. Alas.

And you know, if Boyhood and Linklater had won then we wouldn't have been able to make Twitter explode with outrage over Sean Penn's "racist" joke, uttered after he opened the envelope while we all waited through a dramatic pause and his one-liner to find out the Best Picture of 2014. Oh, wait, what's that? It wasn't actually racist? Twitter would have found something else about which to explode in outrage instead? How right you are.

For those who live under a rock or, perhaps worse, didn't watch Sunday night's ceremony, Sean Penn saw that Birdman had won and that his buddy Iñárritu would be returning to the stage to collect another statuette having already been up there for his Screenplay and Director wins, and so before announcing the name of the picture, Penn quipped, "Who gave this son-of-a-bitch his green card?" 

Apparently, this "ruined the Oscars" for some people. (Um. Hello?) For others, it was a reminder that the Oscars are so white (I mean: #OscarsSoWhite. Who needs verbs?) that as soon as a Mexican gets an award, there's bound to be a green card joke. Never mind the fact that said joke specifically mocks this very offensive attitude, that attitude being "Who let in all these Mexicans?" where "in" is defined to mean "entering the space that was actually Mexico longer than it has been the United States but was taken by means of a coercive treaty of Guadalupe-Hidalgo and a ruthless, illegal war conducted by James K. Polk and company, from which the Bush-Cheney-Rumsfeld-Rice junta got all its best warmongering ideas."

Right, never mind all that. Time to Tweet. Among the Tweets were some questions as to whether Penn and Iñárritu are friends? They are. They give each other crap all the time. They made 21 Grams together. Iñárritu said Penn's joke was hilarious. He also went on to talk about Mexico, Mexicans and immigrants in his acceptance speech. But this curious "Yikes! I hope they're friends!" response signals to me how weirdly people seem to have lost the ability to read humorous social cues. I can't believe anyone actually thinks or thought that Sean Penn (or anyone -- but least of all Sean Penn) would really mean that green card statement without irony. Or thinks that an Oscar presenter would refer to someone they're not pals with as a "son-of-a-bitch" in that situation. Those would be weird moves even for a celebrity actor.

Now, was the joke necessary? Of course not. Why must these walking egos actors deliver a one-liner upon opening the envelope? I have never forgotten Denzel Washington's "By a nose!" instead of just saying that Nicole Kidman had won Best Actress for The Hours; at the end of a long awards season full of babble about her prosthetic nose that overlooked all the anguish, insight, and emotional nuance of her portrayal of Virginia Woolf, we had to have one more nose joke. What's the point? Why do you have to take one more second for yourself before handing out the award? Then again, why not? It's a big party, we're all here together, why not crack wise with your friends? In other words: is this all much ado about nothing? 

Was the joke funny? Clever? Reasonable minds could disagree.  I mean, first of all, partly no, in the sense that you don't even need a "green card" or to work in the United States to make a film, or be nominated for Best Picture. Like, Iñárritu could have been nominated in all those categories as a Mexican resident for making a film in Mexico, so it doesn't even matter. It's not like, say, Arnold Schwarzenegger governing the state of California. But also, there are layers to it. Gotta love a good joke with layers. The idea that there are authoritative bodies (governments, academies) that can bestow legitimacy on people and their work...the idea that others might resent that...the idea that you can have "too many" people from a certain place in another certain place... it might actually turn out to be more nuanced than it first appears. 

Or, you could just ignore it and move on with your disappointment that Boyhood didn't win Best Picture. It received only one award all night, Supporting Actress for Patricia Arquette, who ended her speech with a rousing call for wage equality and equal rights for women, which prompted Meryl Streep to shout "Yes!" and leap to her feet. And you thought that was going to be the political moment of the night! 

People pretend to like sarcasm -- they dutifully watch Jon Stewart and Stephen Colbert skewering the news and news makers -- but when someone actually does say something sarcastic they don't always know what to do with themselves. They do better if there are a lot of big flashing arrows saying "LOL here" and misusing "literally" to help them understand that someone is joking. 

People also pretend to like those who "say what they think."  Really, you hear that all the time in empty platitudes: "I really respect [PersonX]; s/he speaks her/his mind...says what s/he thinks..tells it like it is.." and so on. Until someone actually does that, and then it's all a horrified, "Wow, you're so opinionated." Or, my favorite, "Never discuss politics with friends."  What?  What kind of friendships do you have?

If you are really concerned about how "offensive" it was for Sean Penn to pretend he was indignant that Alejandro G. Iñárritu (who, yes, has officially approved the Anglicizing of how he uses his last name[s]) has a green card even though he doesn't need a green card to be nominated for or win Oscars, maybe you should take it up with your representatives in Congress who let the morass of idiocy that is U.S. immigration law persist in its unfair state year after year. Or maybe you should watch a previous Iñárritu nominee, Babel, which ably depicts actual human life at the U.S./Mexican border and the actual misunderstandings that swirl around lives there. Or maybe you should read up on the blatantly illegal and dishonest maneuvering Polk used to kick off the Mexican-American war that make Dubya and Company look -- well, if not better, than at least like they weren't the first to have the idea that they could just use the military to do whatever they want, no matter how many innocents were murdered in the process. Maybe you could even spare a thought or two for the entirely overlooked sexism in the fact that "son-of-a-bitch" is a go-to insult in the first place, in many languages. 

Or...you could just go on Twitter and ascribe the world's problems to Sean Penn. Sean Penn. 

Friday, January 09, 2015

J'accuse!

Among the many things I read in the Chicago Tribune today (that's the actual paper edition, mind you, but I will obligingly post a link for you online masses to the digital version, sigh) was an editorial headlined "What does the West do now?" I'm not sharing it for its stark either/or characterization of what it calls the "militant Islamist assaults on liberal Western lands and their freedoms" but rather for one of the points it makes in its list of suggestions of what, in fact, "the West" can do now.

One of its bullet points is that "More Westerners would be open to calls for tolerance of Muslim immigrants if more leaders within Islam would publicly, and vigorously, denounce jihadist sentiments that attract some Muslims to religious extremism."

Apart from the troubling phrase "Muslim immigrants" (immigrants go from nation to nation; the religion isn't really a factor; the phrase dangerously implies there aren't native-born Muslims in these so-called liberal Western countries, etc.), I would love to see more of a discussion of this suggestion.

Particularly, I think it's a good idea to -- and I wish more people would -- call for leaders to "publicly, and vigorously, denounce" jihadist sentiments. In other words, your half-assed calls for peace ain't cuttin' it, might be another way of putting it.

But lest you think I am applying this only to Islam vs. its extremists, which I think misses large parts of the problem, I wonder if we shouldn't call for more leaders in other areas to publicly, and vigorously, denounce the psychos who act in their name.

Should evangelical Christians be urged to publicly, and vigorously, denounce the Ku Klux Klan? The Westboro Baptist Church?  The Quiverfull movement?

Should Mormon leaders publicly, and vigorously, denounce polygamy? I'm forever annoyed by how non-Mormons call the shots in associating current Mormons with this abandoned practice. One can only assume that the church leaders tacitly support the idea of bringing it back someday when they refuse to publicly, and vigorously, denounce it.

Will any of our political leaders ever publicly, and vigorously, denounce the warmongers and torturemongers in their ranks? Or the awful shenanigans in countries that have oil/other resources we want? What if people in the military could have publicly and vigorously denounced the horrible Iraq war choices without being called unpatriotic, or worse?  What if Edward Snowden had been able to publicly and vigorously denounce unchecked unfounded surveillance without then having to flee as a refugee?

Or will everyone just keep playing the Oh-my-gosh-I-wouldn't-want-to-offend-anybody game?

Many of us from Arizona have to spend more time than we'd like publicly and vigorously denouncing the psychos who get themselves elected with alarming frequency there. Publicly and vigorously denouncing people who claim to speak for you isn't so bad. It can be fun. Try it sometime!