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If your film is a commercial film, it has to reinvent its genre of choice, be constantly talked about by the press and audiences and/or have a hefty studio campaign budget standing behind it to even stand a chance at getting nominated. And then you’ll still lose to stuff such as “The Shape of Water.”
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Theaters aren’t going anywhere, at least for Berkeley. The city’s cinema scene has managed to exist outside the typical film industry narrative.
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“Best Picture” is a massive concept that is not properly captured by the rules and logistics in place because it transcends them.
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Despite offering a surprisingly eclectic spread of nominees, the 90th Academy Awards proved to be utterly, boringly predictable.
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Christopher Nolan may have received that coveted nomination, but the industry’s unwillingness to celebrate him remains to a significant degree.
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With the general consensus that there were no major snubs in this year’s Academy Awards nominations, category predictions become all the more interesting.
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While the stunning LGBTQ+ love story “Call Me By Your Name” garnered four nominations, it was snubbed for nearly just as many.
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Yet this sudden upsurge in critical appreciation of genre films raises the question of whether the nature of filmmaking itself is changing, or if we are.
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By continuing to break the institutional silence surrounding sexual violence and believing survivors, we’ll retain film as our source of light in 2018.
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The film’s narrative challenges its apparent attempt at seriousness, but there’s no question as to whether “The Shape of Water” is visually stunning.
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