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‘Everything Everywhere’ shoots as favorite at Oscars still without identity – 01/24/2023

‘Everything Everywhere’ shoots as favorite at Oscars still without identity – 01/24/2023
‘Everything Everywhere’ shoots as favorite at Oscars still without identity – 01/24/2023

With a glorious 11 Oscar nominations, including best picture and best director, “Everything, Everywhere, at the Same Time” becomes the favorite to be enshrined at the party taking place on March 12th. The question that remains in the air, however, is: does anyone still care about the Oscars?

Well, yes and no. Among all film awards, the Oscar is still the most relevant. The Academy’s recognition has commercial weight, which is essential in a season in which the overwhelming majority of productions did not find their audience and sank at the box office.

The other side of the question, however, leaves the scenario cloudy. The Oscars lost their luster a long time ago, lost their impact as a thermometer, if not in terms of quality, then in expressiveness. Watching an “Oscar-winning film” meant finding a unique work, a work that, in a certain way, X-rayed a moment in pop culture.

In a history of hits and misses, it’s undeniable to overlook the stature of a movie like “The Godfather.” Or “Thieves’ Syndicate”. “Operation France”. “Lawrence of Arabia”. “Lost in the night”. “The Silence of the Lambs”. “Titanic”! Works that stand the test of time. Productions that shaped cinema. Signature films, timeless hits.

In recent years, though, the Oscars have lost that weight. Not that the statuette went to unworthy films. Perhaps a better word here is “forgettable”. I like “The Shape of Water”, I think “Birdman” is a triumph out of the curve, and “Parasite” ignited the hope of seeing the Oscars seeking a lost relevance.

But it is difficult to defend an award that puts on its noblest pedestal only ok films like “Argo” or “Spotlight”, like “The Artist” or “The King’s Speech”. I’m not the biggest fan of “Moonlight” but its artistic and social weight is undeniable. Now, “Green Book” and “In the Rhythm of the Heart” chosen as best picture are a bad joke.

Which brings us to this year’s party. Without pointing out hits or absences (where’s “RRR”?), the nominees show an uncertain ceremony where to step. “Everything and Everywhere at Once,” which likely wins the best picture Oscar, is the perfect blueprint for where the Academy can go next.

The Daniels’ film is an independent venture, produced by the flawless A24, with a modest budget and maximum creativity. It became a success with the public and is loved by the industry, an effect enhanced by the good boyhood by Michelle Yeoh, Jamie Lee Curtis and Ke Huy Quan. It’s the right movie at the right time, its likely victory won’t turn any noses up.

Other nominees show the fruits of greater internationalization of Academy members. If the German “Nothing New on the Front” would be an obvious choice, even with its surprise nine nominations, last year’s Cannes winner “Triangle of Sadness” is a bold and welcome move.

“Avatar: O Caminho da Água” and “Top Gun: Maverick” secured their place among the nominees for representing cinema in its essence, quality films that did the job in bringing audiences back to theaters. In this same category it is possible to include “Elvis”, a global success that does not hide the very peculiar signature of its director.

The select group of nominees for best picture is completed by “Between Women” (a film that absolutely nobody has seen), “The Fabelmans” (which should guarantee Steven Spielberg’s third directorial Oscar), “Inisherin’s Banshees” and ” TÁR” by Todd Field. In a perfect world, this Cate Blanchett-led drama would be the undisputed champion of this year’s ceremony.

It is mature, powerful cinema that makes absolutely no concessions. A complex character leading a story about a polished personality, submerged and, finally, consumed by art. No matter the winner, “TÁR” is the 2023 Oscar film that will stand the test of time. It’s a start.

The article is in Portuguese

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