The nominations for the 98th Oscars were announced on January 22nd. As with the usual tradition of awards season, there were some notable snubs and surprises.
The biggest surprise was seeing one of the Best Picture nominees break history as the most nominated film of all time at the Oscars. That achievement belongs to none other than Ryan Coogler’s Sinners. The film is incredibly rich with symbolism and commentary; how cultural preservation comes at the cost of freedom being forcefully taken by oppressive forces. It is also a fascinating genre-blend of period drama and horror. Not only does it explore Blues music and black culture, we are also introduced to musical Irish vampires. A pairing you certainly do not see ever. It really makes all the sense for Sinners to receive its impressive sixteen nominations; a first in the Academy’s history.
Following this is One Battle After Another becoming one of the most nominated films of the decade with thirteen nominations. Paul Thomas Anderson’s latest film was my personal favourite of last year. A post-modern take on revolutionaries and how the means of resistance are challenged by either ego or community. It questions whether such activism truly helps if some of its actions are merely an extremist performance. The film is also a meaningful father-daughter story. We follow Bob (Leonardo DiCaprio), a washed-up revolutionary who tries to save his daughter Willa (Chase Infiniti) from a corrupt government official. Within this turbulence, Anderson explores the political burdens and ambitions that are passed down from one generation after another. The continuity of revolution can only be maintained in the hopes that the youth finds better ways to improve the world. These ideas are definitely applicable to the current state of America. It is also simply entertaining with its comedic one-liners and physical comedy. Nothing beats hearing DiCaprio use the phrase “homie” on several occasions.
Other notable nominations being Aunt Gladys from the horror blockbuster Weapons becoming an Oscar-nominee for Supporting Actress. It feels great seeing the Academy acknowledge the talent found in the horror space over the last few years. Moreso, long-time actor Ethan Hawke received his first-ever Lead Actor nomination for his portrayal as lyricist Lorenz Hart in Blue Moon. Jessie Buckley is most predicted to win the Lead Actress category, and rightfully so. Her acting as Agnes in Hamnet is one of the most powerful performances put to screen this decade.
I loved seeing the main cast of Joachim Trier’s Sentimental Value receive respective acting nominations. The Norwegian film follows two sisters (Renate Reinsve and Inga Ibsdotter Lilleaas) trying to reconcile with their filmmaker father (Stellan Skarsgård) once they discover his latest script heavily reflects personal family dynamics. I deeply resonated with Trier’s meta-exploration of cinema being a marker for emotional liberation. The way in which art is used to channel unspoken emotions, or as a means to avoid confronting the root to one’s issues. A truly beautiful film deserving of any possible international recognition.
However, the Oscars is not without its divisiveness. Park Chan-wook’s latest film No Other Choice was left completely ignored. The director’s filmography is significantly renowned for helping Korean cinema receive global recognition. Therefore, the snub came as a surprise given this year’s awards season being inclusive for non-English language films. Its dark and comic exploration of capitalism is also a subject matter well-favoured by the Academy. Granted, some sort of Best Picture nod was always a long shot, but a complete shutout from even the International Film category was shocking. Furthermore, Wicked For Good, the sequel to last year’s blockbuster musical, suffered the same fate. It was not even recognised in craft categories that its predecessor won during its Oscar race such as Costume Design. An unexpected outcome considering the first film received ten nominations just a year ago.
While Marty Supreme, Timothée Chalamet’s dramedy masterpiece about table tennis, is a major contender, I personally felt surprised seeing no attention for Daniel Lopatin’s electronic music score or Odessa A’zion’s performance for supporting actress. These two aspects greatly elevated the film for me. I also wished we got to see a little more recognition for some newcomers. Eva Victor’s Sorry Baby was an impressive debut that she both directed, wrote, and starred in. It had also received some late endorsement from the Golden Globes and even support from iconic actor Julia Roberts. The film could have easily received an Original Screenplay nod, but alas.
Lots of surprises and snubs here. We shall see who our winners for the 98th Oscars are this upcoming March.
