The DGA Awards are on Saturday, shockingly. They crept up on us before we were ready. That’s because the Oscar race will be shaped more by what happens toward the end of the month, when the Producers Guild and the SAG-AFTRA announce their winners. A lot can change in a few short weeks. The PGA (producers) used to go “first” right after the Golden Globes. Often, that would mean the consensus either agreed with them or didn’t. The Globes back then were comprised of 90 members that remained more or less unchanged for decades. That’s no longer true. There are 300 members and all different kinds of people from all over the world.
But sometimes, we would see a disconnect just when we thought the race was settled. Birdman overtaking Boyhood and The King’s Speech overtaking The Social Network are good examples. And in some bizarre twists, we saw the SAG ensemble deciding the race at the last possible minute, like with Parasite and Spotlight. In one rare instance, and probably still the biggest shock at the Oscars, Moonlight beat La La Land without winning much of anything except the WGA Award for Original Screenplay (it would be placed in Adapted at the Oscars).
We’ve learned from the losses of La La Land and 1917 that there is no such thing as a sure thing where the ranked-choice ballot is concerned. It would be ironic (and frustrating) if Christopher Nolan’s film, Oppenheimer, loses Best Picture because of the ballot, which was only implemented after another Christopher Nolan movie (The Dark Knight) was shut out. Count me among those with fingers crossed that actors will, for once, pick the right movie to win. They hardly ever do, though — so prepare yourselves.
Saturday morning will be the DGA breakfast with all of the nominees. Then, they will hand out the final prize very late at night. At the moment, I do not believe they will be live-streamed, but if they are, we’ll get the link for you.
The Frontrunner
Oppenheimer is Christopher Nolan’s fifth DGA nomination:
It is only his second Oscar nomination for Best Director. It’s pretty cool of the DGA way back when to have nominated him for Memento and The Dark Knight. That shows you just how badass they once before before Hollywood sh*t the bed, doesn’t it? The DGA have since added a bunch of members, diluting their membership significantly, so picks like that are kind of rare. I do admire them for nominating David Fincher for The Girl with the Dragon Tattoo, also fairly badass.
As for Mr. Nolan, his time has come to finally win. Whether they will give him the win or not remains unseen. This is always the most nerve-racking moment in the Oscar race, whether the big guilds will align with the expectations of lowly worms like me. A consensus vote is an unwieldy beast. You never know what will drive people and in what direction. My heart sank when Birdman won the PGA. Ditto The King’s Speech. You have to prepare yourselves for the worst when it comes to thousands of people voting. I dare not get my hopes up lest they fling me into a violent rage on Saturday night. Please no. I don’t need another ocular migraine to take me out of commission.
In case you didn’t get it, Oppenheimer is the kind of movie film awards were invented for. It isn’t just that a movie made on film (IMAX, for chrissakes) about quantum physics and barely known scientists made almost a billion dollars worldwide. It isn’t just that it’s a subjective, exquisite collaborative work of Nolan’s assured hand, with masterful editing by Jennifer Lame and that score from Ludwig Goransson — MY GOD the score.
Oppenheimer is, to my mind, a perfect film by someone who deeply cares about the subject. Nolan’s affection for Oppie is in every frame. It’s in how he didn’t want to miss a single second of this American Prometheus. Anyone who reads the book will understand why. This is a breathtaking, expansive life of a curious mind that saw what other people couldn’t. This is the story of a sensitive man who helped build the most destructive weapon in human history. As a scientist, he couldn’t not do it. As a humanist, he spent much of his life trying to stop a fast-moving train that would ultimately lead to massive bombs — as Rabi says in the film, “weapons of mass genocide.” Like the biggest of them of them all, the Tsar Bomba:
We can only hope the 19,000 or so filmmakers in the DGA can understand the dense and complex Oppenheimer. But when people don’t, I feel like Marlon Brando in The Godfather.
Film awards shouldn’t be handed out based on a moment’s feeling. Ideally, they are given out to “high achievements” in film — the HIGHEST. Does that mean every single person is going to understand every part of it? No. Do you get the gist of it? Yes. Do you understand the genius of it? Of course.
Who could defeat Nolan? There are, I think, two possibilities.
The Challenger
After Greta Gerwig was left off Best Director for the Oscars, it kicked into motion a media narrative that seemed to go viral. Could that drive female directors at the behest of, say, activists in the industry, to “bloc vote” for Gerwig? Possibly. But we’re talking about 19,000 voters here. How many of them are female? Moreover, how many of them love Barbie? I’m not sure.
In any other year, I would be rooting for Gerwig to pull this out. This is only her second DGA nomination, following Lady Bird. I would not be upset if she won in any other year but this one. The main reason is that, quite simply, Christopher Nolan deserves to win. And if it’s just done out of spite, then that would be the wrong reason.
And if you’re talking about a broad consensus, then Oppie & Barbie fit the bill:
Do I think that Greta Gerwig will eventually get here and win? I do. But remember, some of the greatest directors in history never won anything, either a DGA or an Oscar, Alfred Hitchcock and Stan the Man Kubrick among them. So if she doesn’t ever win, she is in good company.
Women who have won the DGA is a teeny tiny list. There are just three: Kathryn Bigelow for The Hurt Locker, Chloe Zhao for Nomadland, and Jane Campion for The Power of the Dog. How many women have even been nominated? More than for the Oscar, that’s for sure.
1976 — Lina Wertmüller, Seven Beauties
1986 — Randa Haines, Kiss of the Spider Woman
1991 — Barbra Streisand, The Prince of Tides
1993 — Jane Campion, The Piano
2003 — Sofia Coppola, Lost in Translation
2009 — Kathryn Bigelow, The Hurt Locker
2012 — Kathryn Bigelow, Zero Dark Thirty
2017 — Greta Gerwig, Lady Bird
2020 — Chloe Zhao, Nomadland; Emerald Fennell, Promising Young Woman
2021 — Jane Campion, The Power of the Dog
2023 — Greta Gerwig, Barbie
Gerwig’s in great company as the third woman in history to earn two DGA nominations. When people throw a fuss about not enough women in the race, the suggestion is that they should be given some kind of special consideration, but this is at the same time as the Spirit Awards and the Gotham Awards went “gender neutral.” Either gender makes a difference or it doesn’t.
Do I think Gerwig should win because she’s a woman? No. Should she win because she directed the highest-grossing film of the year? Maybe.
Some of the greatest directors of all time never won, even while being white males.
I mean:
The Enfant Terrible
There is a scenario I could imagine where Yorgos Lanthimos pulls out a shock win. They went for Alejandro G. Inarritu for Birdman so anything is possible. We’re not expecting it, but it would be the kind of win that might run the tables on the whole season, sending me spiraling into an ocular migraine. For the love of God, people, don’t do that. Give it to Barbenheimer, either/or. Save yourselves. Save your industry. Don’t be dancing on the edge of a volcano. Might they? Yes, they might. Be ready.
Poor Things is Yorgos Lanthimos’ first DGA nomination. How’s the film stacking up in terms of RT’s ratings? Just a wee bit divisive.
But then again, Birdman was divisive too and it still ran the tables. So you never know.
Just Happy to Be There
Worth noting, the King, the Master, the Professor, Martin Scorsese is now on his 11th DGA nomination for Feature Film, with only one win for The Departed. It seems like such a prolific director might win another. Will this be his year? Probably not, but you never know.
Alexander Payne for The Holdovers has three nominations at the DGA, with no wins. He still has a career ahead of him, but there is a scenario where a consensus might build around The Holdovers as the film most people can agree on that they love. It does meet the definition of the tried and true Oscar winner: a film you can sit anyone down in front of and they will get it, if not love it. Though that rule was tossed last year with Everything, Everywhere All at Once. It’s a whole new world.
DGA Predictions
Most of us are going for the two frontrunners in Feature Film and First-Time Feature Film.
Feature Film
Christopher Nolan, Oppenheimer — Sasha Stone, Ryan Adams, Clarence Moye, Mark Johnson, Marshall Flores
First Time Feature
Celine Song, Past Lives — Stone, Adams, Moye, Johnson
Cord Jefferson, American Fiction — Flores
Then, for Documentary we have:
Bobi Wine: The People’s President
20 Days in Mariupol — Johnson, Flores, Moye
Beyond Utopia
Still: A Michael J. Fox Movie — Stone
Kokomo City
Contest
Here you go, you have to nail all of the categories here to win and two of them are slightly unpredictable. Thanks to Marshall for putting together the form.
![2025 Oscars: Can a Late-Breaker Still Win Best Picture? [POLL]](https://www.awardsdaily.com/wp-content/uploads/2024/10/gladiator-350x250.jpg)
I noticed a huge mistake in the women nominated for best director list. Randa Haines didn´t direct Kiss of the Spider Woman (1985), the Oscar-nominated director for that one was Brazil’s Hector Babenco. The following year Haines directed Children of a Lesser God (1986), which got a first time ever best picture nomination for a movie directed by a woman, but Haines herself wasn´t nominated for her work as a director, Woody Allen took her place. Maybe the confusion was caused because the late William Hurt starred in both Kiss of the Spider Woman and Children of a Lesser God.
Well (and I say this for every film), if your best bet at winning Best Picture is pulling a CODA, you’re in very serious trouble.
It got more BAFTA nominations than CODA did.
Not with that BAFTA performance it isn’t.
Something that never changes around here is Sammy always going for the films that have no chance.
https://screenrant.com/oppenheimer-movie-christopher-nolan-steven-spielberg/
FACT JUST ABOUT EVERY CONTEMPORARY even long established filmmaker or writer from Villeneuve, to Schrader, Stone to Spielberg and more tells you why it simply be UNTENABLE for Oscars to dismiss numerous established famous and ICONIC filmmakers declaration of heights of Oppenheimer’s towering cinematic achievement…
Spielberg said he ” ADORED THE FILM ” …NAME ONE alternate contender this year or in LEAST LAST 15 years been so openly praised in quite the way Oppenheimer and Nolan have been ? The resonance already within the film industry amongst some serious famous iconic filmmaker names tell you ALL U NEED to know bout fate where direction Oscars should turn..
It seriously risk a backlash from HOLLYWOODS OWN ROYALTY if Oppenheimer not win best picture… and frankly least 7 Oscars ey?
Spielberg adored it, Stone declared it a ” instant classic ” , Villeneuve is adamant that this is future upward potential of cinema in way it presented …thereseldom in our era in 21st century such high and open public praise by Hollywood royalty here but we at this point now ….all because how extraordinary accomplishment for cinema Oppenheimer truly is!!
If we to put our game faces on here really should be 8 Oscars doesn’t desrrve the minimum for it heights and by far more impactful cinematic landmark achivement then last years 7 time oscar winner…don’t u think ??
But I try not get greedy 7 LEAST Oppenhrimer desrrve here
Hi!
To me, it’s not really about the Oscars being great. But talking about the Oscars is a great facilitator to talk about films, and about the film year holistically. I find that it also makes me consider more deeply what I like about specific films – to form an opinion about whether I would nominate certain films in certain categories or not.
While I don’t really think the Oscars awards the truly best films of the year (at least not in my opinion), at least a number of the really good films of the year tend to show up as an Oscar contender in some way.
And predicting is fun. I’m a maths student pretty involved with probability theory, so this idea of considering the clues (precursor awards, the “buzz”, and the fundamentals of the films) to try to figure out what is most likely to happen at the ceremony is, to me, very exciting. If you’re new to predicting awards, I’d encourage you to make your own predictions (don’t just copy others) and update that throughout the season as the precursors announce and the buzz shifts. I often get things wrong, but that’s not important, the important thing is that I tried and had fun! And over the years, people get better at it naturally.
Plus it gives you bragging rights to your friends if you know in advance what’s going to win!
Why do you think it should be the universal belief that Oppenheimer is better directed than The Holdovers? I get that you think that, but surely it’s a subjective issue where people’s opinions will differ.
https://japantoday.com/category/entertainment/q-a-nolan-and-villeneuve-on-%E2%80%98tenet%E2%80%99-returning-to-theaters-and-why-%E2%80%98dune-2%E2%80%99-will-be-shown-on-film1
Hey everyone my friends here …exclusive amusing and revealing interview on evolution of cinema to going to next level and Nolan and Villeneuve to genius visionary filmmakers of our time…
Who actually best mates did u know? Talking on legacy of films future outlook post Oppenheimer and a lil known fil. Called…DUNE PT II!! ( I didn’t know it gonna be a trilogy so that in mind it likely SHOULD win best picture afterpt III and Villeneuve finally get his well earned best director Oscar after dune pt II…set make stack of diughin box office … some say surpass’ Oppenheimer ‘ but unfair comparison DUNE pt II part of ultra high quality film franchise based on far more popular book.. big difference…
irrelevant, in my opinion… Barbie is the industry bet, if they want to reward the phenomenon of the year, but it has many detractors and even more people thinking it’s actually overrated. The Holdovers is like Spotlight, Green Book… not many haters, and offering some kind of “safe place”. In a preferential ballot, it seems rarely it would be placed lower than a 4th place.
Personally, I think “Oppenheimer” is exactly a blueprint on how a biopic should be made, and deserves to win, any day. But it’s really between the logical industry pick (Oppenheimer) and the cutest puppy (The Holdovers)
Surely Barbie is closer to an upset than Holdovers. It has box office, narrative/zeitgest, and the SAG Ensemble nomination, and it beat Holdovers in Screenplay at the Globes and CCAs.
So, how it would be the race for the actual win, in my opinion?
Still, this seems as a 2-way race with Oppenheimer in the lead, but The Holdovers being way more close to upset than most would be willing to accept. Everything else is in the longshot status.
Side Note: Nobody is really talking about it but Poor Things is showing decent legs at the box office. It just passed 70 million and looks like it could hit 100M and make a decent profit for a mid budget searchlight film like this in a post covid era. It does have a reasonably high budget for the weird kinda film it is(35M) but it should easily end up with at least a 2.5x multiplier on this and could get to 3+ and turn a healthy wee profit – something that really hasn’t been happening for films like this post covid.
Yeah even though I am still pretty confident (and I never am) that it’ll just be an Oppenheimer sweep, if we were going to get one of the last minute switches we often get it wouldn’t happen at DGA. Nolan is winning director regardless.
It’s PGA that’ll really confirm things, if it loses there then I’ll reconsider my prediction (I wouldn’t be worried about Oppenheimer’s standing if it loses SAG to something like Barbie).
welcome everyone. I am new to this site. In fact I am new to such things as awards! I was raised in a small Swiss village and the only movie house was owned by a community of gay men.
So do tell me, what’s so great about the Oscars?
Hey, why are you hating? Both are good movies but come on. Do you really honestly believe that Oppie is not miles ahead?! It’s not even close..
Hi gals and guys. I had some technical difficulties but I am back. Thank you Ryan for giving me some ideas how to get back online.
Anyway! Christopher Nolan is about to win the DGA!!! Let’s pop that champagne bottle!!
Here is a 2 minute video that shows why Oppenheimer is a Masterpiece…
https://youtu.be/LCPUL0ZI93c?si=1g1dA-ZOTQ7w1aq3
Nolan will win the DGA and the Oscar.
Testing
Nolan. Open. Shut. The end.
See how easy that was?
You will always have One Night In Soho and Next Goal Wins. hahaha!
Although I would probably prefer Scorsese, “The Holdovers” has grown even more in my appreciation on second viewing. It’s easy to kinda underestimate the movie as “conventional” (which it certainly is), but I really like how delicately Payne navigates around the sentimental cliffs of the story and paints a sincere portrait of his main characters – always in an unagitated but precise tone. Above that, the acting is superb, and I really like the 70s retro style.
I can see it.
At least the DGA got things right at least to some degree – unlike some other groups…!
Messy, and almost unwatchable.
I’m just hoping that Alexander Payne pulls a “Ben Affleck” at the DGA..! 🙂
I’d frankly hate to imagine a world where a film being a little “messy” would be a reason not to award it.
It should be Payne but I wouldn’t much complain if it is Lanthimos who prevails here.
Alexander Payne of The Holdovers should win the DGA award for outstanding directorial achievement in feature film – in a just world.
Nolan should have no business winning the award for that “messy” film.
I’m not sure “never come close” is likely. We never know the margins, but given the love for Birdman, it more likely was close.
You will always have One Night In Soho and Next Goal Wins. hahaha!
Abso- damn- well – lutely!! There soo many stark differences BTW the frontrunners rhis time awards season last year year before thst and frankly last DECADE and OPPENHEIMER as frontrunner…
Not just money it made but the phenomena it become..it really truly resonates for old style hybrid modern (method wise) shot n edited film no less whole film on IMAX… ( in itself a gamechanger being I think? First ever full citations feature shot in IMAX ) Nolan is a pioneer revolutionary of mainstreaming capabilities OF Imax I noo idea how he pulled off more intimate close up smaller moments in Oppenheimer juxtaposed against such massive IMAX camera but this Is TRUE cinematic experience REVOLUTION cibema fans WORLDWIDE longing for day IMAX no longer restricted to documentaries if spectacular vistas ..NOLAN TOOK principle of ” big shot moments” from spectacular esp nature documentaries or space exploration ones snd transposed integrated it into CINEMA..
He the first to pioneer the BIGGEST transformation in cinema I’m format presentation scientifically SINCE WIDESCREEN introduced to cinema.
Evrn if you didn’t love Oppenheimer ( seriously who wouldn’t other thsn minority whinge protest VERY small MINORITY say ” Nolan is too cold” well not every story is peaches and cream ( imagine how wreck Oppenheimer of there wee luvvy divvy cuddly moments lol)…
But to admire the decade plus of steady cinematic REVOLUTION ..forget 3d NOLANS CINEMATIC LEGACY AND INFLUENCE is WAY OF THE FUTURE ..
To present cinematic experience for audiences his investment of ever evolving IMAX cameras and NOT to lose sight of important dramatic powerful moments of drama within each frame.. this what stands out in Oppenheimer as I quite sure Nolan’s and Hollywood’s first film shot ENTIRELY in IMAX right?
Yes Oppenheimer story tense, bleak thematically yet once again like he did with THE DARKKNIGHT Nolan doesn’t shy away from way he executes presents film on IMAX to let powe of medium sweep up audienv3s into Nolan’s world to turn dark stories into inspired cinematic journey Nolan generously shares with his beloved audiences..
There was a line first part of superb brilliant performance of Emily Blunt as Kitty: saying to Oppenheimer as dark clouds and wind descended swept pick up speed in Los Alamos where test to change human history ltr take place ” THE WORLD IS RE-FORMING AHEAD OF A NEW TIME”…THAT EXACTLY much like true historic EVENT Oppenheimer the movie is doing to Hollywood it REDISCOVERING AND ADVANCING AT THHE CINEMATIC AS OPPOSEDTO HISTORIC PIVOT POINT IN HOLLYWOOD HOW OSCSRS ARE PERCIEVED AND WHERHER OR NOT OSCARS CAN REENGAGE WITH LONG LOST LOYAL FANBASE BUT AT SANE TIME REVOLUTIONISING CINEMAS NEXT BIG ITERATION LIKE TRINITY TEST ITSELF IMPACT ABD SHOCKWAVE IN AFRERMATH WILL (HOPEFULLY ) TRANSFORM FSCE OF CINEMA AND CALIBRE FILMS AT PURE CINEMATIC LRVEL COMPETE FOR BEST PICTURE AND HOPEFULLY OPPENHEIMER BE FIRST OF NEW GENERATION SLEW OF LIKE MIMDED OSCAR WINNERS TO COME WHERE INVESTMRNR IN ATRENGTH OF VISOON SELDOM TOLD HISTOTIC STORIES TOLD WITH IMAX TO SWEEP AUDIENCES OFF THERE FEET .
OPPENHEIMER TO THE WORLD TRANSFORMED FACE OF THE TECHNOLOGICAL RACE BRYOND MILITARY..
NOLANS OPPENHEIMER FILM TO THE WORLD TRANSFORMED THE FSCE OF THE BIOPIC TO REACH UNPRECEDENRED EPIC HEIGHTS OF SCOPE IN STORYTELLING THANX TO IMAX… YES THIS IS BY MY OSN ADMISSION BIGGER REVOLUTION THSN CINEMATIC ONE SAVING PRIVATE RYAN PULLED OFF ..
OPPENHEIMER SIMPLY TOOCACCOMPLISHED CINEMATIC FEAT TO IGNORE N CLEARLY PICTURE N DIRECTOR MUST GO ONE WAY ONLY..
Well Sasha if you keep swinging to narrative I advocated strongly foe to Hollywood I need to build whole new EXPANSIVE narrative theme as you to your great credit I grateful for come to realise embrace BIG TIME narrative I been pedalling …now you taken thst on leaving me not much to say ( I think few members n staff on AD.com that truly relieved going to themselves: ” oh thank G-d he not gonba do a 3000 word plus diatribe riddled with capitals and bold n bad formatting )…
I could try ahem but i spare some members that ‘ torture’ atm lol…
No seriously I so thrilled Sasha embracing more more common sense side and in tune in sync with growing number of film goers who WANT to care bout Oscars but for far too long over a decade WE feel Oscar DONT care bout films MATTER TO US more than THEY DO TO THEM !!
THAT ABOVE LINE is the HEART in most simplistic way looking at it of the problem right ?
For all the reasons Sasha outlined and increasingly the noticeable lack of rationale members here make on frontrunner put simply OPPENHEIMER is ultra rare in this day and age FLAWLESS blockbuster cinematic event crirics audiences absolutely love..
And for SAG or PGA to find a way to ‘ weasel their way ” out of current narrative “NOLAN AND OPPENHEIMER desrrve it earned it is best film at many levels compared to rest by FAR ”
That only gonna ensure as Sasha says the VOLCANOE OF Oscar engaging PUBLIC SPITE will engulf undo ALL of Awards season credibility haunt them until NEXT YEAR BEYOND this Oscar ceremony in those scenario.
But I dare say lest I go down path in fit of rage so blind angry I bolt out door from barely getting up of bed wave my arms flailing yelling NUDE down street ( part home alone Kevin yelling arms waving motif), if IF lord forbid on this universe SAG PGA CHOKE on their avoidable self inflicted guilt snubbing Barbie so compensating wirh DGA win is totally unacceptable as rationale as Sasha says..
NO EXCUSE FOR GUILDS TO FUK IT UP their rebuilding start of atm as it stands in race their credibility NOT letting social media rampant excessive activist for ” snubbed” or alt lesser known LESSER cinematocally EMBRACED films – in considerable part cos a filmmaker / producer backed by arm of big studio evrn within independent indie film smaller subsidiary ( ie: fox searchlight pictures subsidiary of multiple billion dollars empirical FOX) and still STUBBORN CONCIOUS CHOICE by producers say POOR THINGS , AMERICAN FICTION to deliberately pitch to not just small but SMALLEST narrowest target audience through festivals and then in transitioning to cinema FONT EVEN CARE to bother evrn at lower end hav3 BIGGER target of expansion than they actually do atmwhich still very limited as opposed to overtly restrictive..doesn’t have be wider release level but bigger then very small to small release target band,)
As films like this cannot, don’t want to simply DONT respect right more fiilmgoers engage to strong word mouth films like poor things or American Fiction frankly why should they win say more than one smaller oscar ? They shouldn’t. Fil. Goers who love Oscars strongly respect admire have buzz bout Oscar worthy films that MORE ACCESSIBLE nearish (within 50 minutes travel radius around their suburb )!!
So scrub off Poor Things ( which considerably overrated not much better overall thsn Flower Moon slightly better but way overkill In oversaturated wild crazy fish eye and semi blurred backdrop to exaggerate it fantasy setting more it need to be n screeeeeching sound make sex scenes totally unpleasant to witness aartgh! U already tell that it unpleasant experience for story and nature of characters situation like omg!) So NO forget Poor Things as Boilover .
In any other year THE HOLDOVERS probably but unlike above film WOULD U BELIEVE in Australia ONLY LASTED 2 fukin weeks!!.. well in my state in Victoria! Least Poor things lasted 3 weeks but on way out!… I missed Holdovers wanted see it more than Poor Things but that low for film has shot winning both acting Oscars one reasons it may not for Giamatti is cos shackles been imposed so tightly by producer and studio not exactly cheap as chips studio at all … I unconvinced if narrative as truly should be films matter = performances that matter MOST to bigger release films of the year …this why MURPHY despite bring first time nominee is formidable threat and deserved frontrunner to Giamatti..givenHoldovers massive acclaim what fukin excuse to have film even I market like Australian in my home state come n go in 2 weeks? Outrageous unjustified unforgivable.. forget holdovers for boilover and don’t be surprised of Giamatti loses SAG if he does he blame holdovers moronic producers for restricting it release in number global markets so severely!! Holdovers deserved bigger release at moderate level not this .sad..
Forget Barbie.. key Guilds and oscar nominations s HAVE SPOKEN regardless whether it right ir wrong oscar did they need make their bed and sleep in it not turn dsmn bed upside down try find a ‘ out’ Barbie severely diminished oscar contender and really while I in middle enjoying seeing it at bargain price on streaming more than first rime I saw it it has plot holes galore, it plays as pure populist entertainment it silly funny some clever wrists and delightfully cheesy even if it clever in progressive way this isn’t fil to align with narrative Oscar needs to embrace if oscar snub Avengers Endgame, avatar , the dark knight ..then thry need show responsible consistency that includes Barbie more in common as populist defined blockbuster I mentioned above thsn a bonafide frontrunner worthy of Oscars tbh..
American Fiction IF afilms story and circumstances is made out be such important intersection exposing stereotypes vs.hypocrisy by challenging established narrative on race as this film does and if fil. Story is true story .. then what fukin excuse is there for this film be seen accessible in. Cinemas and releasee level near non-existence? If it Screenplay supposedly so lauded important foundation for cinema screening success then given sllabove NOBODY CAN TELL ME and indie fil. Comedy like this justified beat likes of Oppenheimer in adapted Screenplay oscar just cos it different and it dynamics and angles etc of it issues may be fresh but all seem one dimensional beyond it target primary intent nothing secondary tertiary and win one big 3 awards kf pic director , Screenplay you GOTTA PUT film to ultimate test most importantly if story so well written as critics make out it does ( though mind you it on par with oppenheimer for adapted Screenplay wins in critics circles at best)… then why NOT EXPAND RELEASE and START8NG point instead very restrictive starting point cinema release to small release starting point barometers oscar all but forgotten is to weight up accomplishmrnt of script precision vs..whether or nor enough evrn at small release end if spectrum cinema audiences buy it this game been heavily diluted distorted wirh way Screenplay vote fallen so American Fiction deserves oy settle for nomination not win for Screenplay b forget best picture.
Zone if Interest , PAST Lives: OMG just…NO. where the FUK were these film not open in cinemas? Like Invisible ghosts to film goers in my country espzobe of interest would loved to seen forget past lives gees classic type of films in vein of smaller scale ‘very loosely Parasite type ‘ film that oscar embraced sufficiently for while pllllease geeess… but zone of interest is film and producers I MOST FRUSTRATED with it important timely I heard of it ambition and bold take focus on monsters behind ugly face of Aushwitz…important necessary but producers didn’t think so or grant thst to film goers forget it thrn disappointing no release in 50 min radius where I lived unacceptable
Netflix love to piss pple off in droves not just me talk bout waste of space fil like Maestro should been made for cinema release not Netflix but wasn’t can’t change current history I guess… Cooper been recognised nominations plenty beyond d make-up make him look like Bernstein I not convinced his best performance no .atch for Giamatti or Murphy…Netflix BACKED THE WRONG HORSE the Killer least opened way too briefly given it one best fil.s of year not far behind Oppenheimer Netflix once again discriminate against backing in more cinemetically immersive film and by far the killer resonated potentially more than Maestro which majority non Netflix subscribers didn’t engage Netflix need stop treating themselves Luke controlling elitist club and get in sync evrn for limited streaming / cinema release more rhan they had thry totally sabotaged the killer deliberately film would made best picture cut would Bern far superior to fol. Goer approval focen least the killer out one week though Netflix should had it out for aMONTH not a week.. totally undermined Netflix out of touch don’t care if has 200 million subscribers perception. When comes yo Oscars is thry continue to embarrassingly put up WRONG calibre films for Oscar fail constantly connect it brand to invest in cinematic memorable films worthy of Oscar like the killer .. waste of space hence Maestro is.
Napoleon and the Killler should replaced PAST Lives and Maestro where those former films categories they been nominated in.
It amusing the activist driven superficial supposed historian boasted’ experts ‘ in France sought to demolish and press there tried to assassinate ridkey Scott’s underrated brilliant almost masterpiece film ….and yet in France film going public and indeed in it global box office prob bit more thsn us box office Napoleon I give credit to Apple but film. Goers ignored I cessation bleating of half supposed historisns irrelevance srkf stated ocerimportsnce to embrace truly unique bold take esp in under 3 hrs to do biopic through perspective as biopic epic showcasing key moments in chronology of key battles and moments in logical order dome that way not been epic like this for runtime it was kudos to Scott he was hard done by by too msny critics dared judge Napoleon by minor historic oversights ( thry clearly got confused by filmmaking strategy presentation to deliberately ‘ skip ‘ lesser important context given approach was ro go focus on main events turning points not piddly stuff critics tried make virtue of like they expected Scott do direct re-enactment if everything maybe if he aiming break film run time record held by Dr.zhivago …
Did I disappointment u all make it 3000 words?
I expect minimum 7 Oscars Def deserves 8 this year no if buts compromises excuses for Oppenheimer
Does anyone else not see the contest link?
I don’t think much will be gleaned from the DGA because they will go for Nolan, which will just confirm what we all assume: that Nolan will probably win the director Oscar. SAG, PGA and BAFTA should be much more telling of the situation in general.
Lanthimos should win this. Or Payne. But I’m sure that it will be Nolan. Race in this category is over for months
i love the right movie and if the wrong movie gets a trophy,.. dang..wow. It will reveal that evil activists have in fact done harm to me, and it will be shame on hollyweird for turning their back on the right ideas
Justine Triet may not have been invited to the DGA Awards but she did attend the dinner for César nominees with her nominated cast members:
The reason it will be Nolan this year: He made the best film, he is overdue, and his film also made money. I really don’t see a reason to bring down the film (other than some people don’t like the person Oppenheimer … dumb reason if you ask me).
Moonlight I believe had the second or third most nominations that year and Ali was romping the precursors, including SAG. The backlash against the idea that La La could win twelve Oscars gave moonlight the opening it walked through.
The Birdman thing never made sense other than maybe industry dislike of the famously Hollywood shy Linklater played a bigger role than anyone realized. How Birdman could sweep three topline categories but Keaton never come close to the win is so bizarre.