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I disagree with most public discourse on the “Will and Chris” situation, as it woefully omits Pinkett-Smith’s experience and the larger elephant in the room: The acceptance of Black womxn being humiliated as a form of entertainment in this country.
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From film beat reporters Emma Murphree and Joy Diamond, here are picks for what will win — but more importantly — what should win March 27.
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When campus alumnus Kristen Hwang logged onto a zoom call with the other Student Academy Awards finalists in September, she was not expecting to hear that her thesis film, “When They’re Gone,” had won the top prize for a documentary film.
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Yet, there’s no need to fret: Film beat reporters Joy Diamond and Dominic Marziali have found a few quieter releases (some streaming, some not) to put on your map.
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The anxiously anticipated film adaptation of “Dear Evan Hansen” entirely misses the mark, serving up a cringeworthy film that makes headlines for all the wrong reasons.
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Accompanied by the Los Angeles Philharmonic and — as always — her brother-producer Finneas, Eilish pays tribute to both her hometown and the decades of musical icons that have come before her through a beautiful, hourlong sequential recital of the 16-track LP.
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And as for the academy, the wins for “Mank” are a sign that the body still maintains a deep-seated aversion to change.
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So although this year’s Oscars may feel like a pyrrhic celebration of 2020 in film, they’re also a chance to take stock and remind ourselves of what film gives us and what it adds to our lives.
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Leave it to the Academy of Motion Picture Arts and Sciences to show the Golden Globes how it’s done. The nominees are a step up, but best of all, the Oscars are sweeping Zoom into the dustbin.
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When you’re forced to put away your phone for two hours and focus on strangers inhabiting a different world, the fear that life might be slipping through your fingers fades into the background.
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