As the Oscars ceremony approaches on Sunday night, many fans donning the Irish colours may hold mixed emotions regarding Christopher Nolan’s ‘Oppenheimer’. The grand biographical film is anticipated to both yield and take away rewards, much akin to divine providence. For a significant part of the awards season, Gong University’s Dr Barbie-Snub had anticipated a close competition between Cillian Murphy, portraying the titular scientist, and Paul Giamatti’s emotive portrayal in Alexander Payne’s ‘The Holdovers’.
The idiosyncratic practice of the Golden Globes, separating comedy and drama categories, saw both actors emerge victorious. Although Giamatti’s win at the unpredictable Critics’ Choice awards held little significance on its own, his picture taken at the In-N-Out burger chain following the event boosted his public image. Notably, suggestions were made that Murphy should be seen at Supermac’s should he secure the Bafta award, which he indeed did.
If Giamatti had prevailed at the Screen Actors Guild Awards – an event typically favoured by Americans – the stage would have been set for an invigorating equal-opportunity contest. However, this wasn’t the case. Murphy delivered yet another restrained speech, leading bookmakers to slash his odds to an almost certain 1/14. A win for Giamatti would now be considered a major upset, more surprising even than Olivia Colman’s defeat of Glenn Close in 2019.
A win for Murphy would be a significant achievement. He would follow in the footsteps of Daniel Day Lewis as the second Irish citizen to secure the best actor Oscar. It’s an odd rarity for a nation known for its love of emotive performance before the spotlight that such a victory would mark only the fourth for an Irish actor in any acting category across the Oscars’ 96-year existence. Murphy’s journey to this point has been marked by steady dignity and a lack of controversy.
Patrick Freyne has raised suspicions that some Celebrity Big Brother participants may have made arrangements on Airbnb – a move deemed acceptable by the producers.
A review of ‘The Gentlemen’ commends Guy Ritchie’s mix of extreme violence and humour as absurdly entertaining. Undeniably, ‘Oppenheimer’ continues to make waves.
The trio of Irish contenders, across two categories, for Yorgos Lanthimos’s film ‘Poor Things’ might not feel particularly grateful towards Oppenheimer. The boundary-pushing drama, which has already bagged the Golden Lion at the Venice International Film Festival, appears to be a runner-up for the best picture award. Nevertheless, the nominated producers from Element Pictures in Dublin, Ed Guiney and Andrew Lowe, haven’t overlooked the fact that the blockbuster by Nolan has been gradually gaining momentum over the past month. It’s worth noting that no film has previously won best film at Bafta, best feature at the Producers Guild of America, best motion-picture director at the Directors Guild of America, and best ensemble at the Screen Actors Guild without also claiming the best picture award at the Oscars. All of these have been accomplished by Oppenheimer.
Recently, the Oscars have stepped away from lavishing all the honours on grand dramas, such as Lawrence of Arabia, The Last Emperor, and The Lord of the Rings. Despite its impressive 13 nominations, it’s doubtful that Oppenheimer will threaten the record of 11 victories. However, substantial wins in the technical categories may elevate Hoyte van Hoytema, the revered cinematographer of the film, above Dublin-born Robbie Ryan who is in the running for ‘Poor Things’. Ryan, though, did enjoy success with the British Society of Cinematographers.
Oppenheimer has indeed cast a shadow. The film has evolved into a formidable challenger during the awards season.
The acceleration of this trend, combined with certain guarantees in other areas, has left us desperately searching for excitement. Initial predictions were thrown off balance when it was declared that Lily Gladstone, who gave a commendable performance in ‘Killers of the Flower Moon’, would try her luck for the lead prize (a relatively good fit for either category). Da’Vine Joy Randolph, who excelled as a grieving mother in ‘The Holdovers’, hasn’t experienced a loss since and has been victorious in all her ventures. Oppenheimer’s adversary, Robert Downey Jr., has been similarly assertive. His knack for delivering slick, self-effacing acceptance speeches has reinforced his status as a clear favourite. The winners of Best Director are somewhat predictable at this point. Suffice to say, Murphy and Downey Jr. will have expressed their gratitude to the victorious Anglo-American even before he graces the stage (unless the order of events is shuffled again).
The race for best actress has indeed been invigorated by what was seen as a setback for best supporting actress. Upon entering the race, Gladstone swiftly assumed pole position. Her controlled performance as her character agonisingly fades drew comparisons with Stone’s energetic portrayal in Poor Things, sparking a good-natured rivalry. Stone’s vibrant twist on the Bride of Frankenstein and Gladstone’s turn both earned them Globe victories. However, when Gladstone didn’t secure a Bafta nomination, it seemed her awards push might falter. Unpredictably, things shifted in her favour at Sag, with Stone’s enthusiastic support. The sporty response was a refreshing surprise in what seemed otherwise to be a predictable awards season.
Presently, it’s unclear what the verdict of the Oscar voters will be, as the odds for Best Actress seem evenly split. Stone, who clinched a victory for La La Land in 2017, could, in the event of a win, astonishingly surpass Elizabeth Taylor’s age at her second triumph with ‘Who’s Afraid of Virginia Woolf?’ way back in 1967. On the other hand, if Gladstone were to win, she’d make history as the first individual with Native American roots to clinch an acting Oscar. Intriguingly, Gladstone also has familial ties to the cousin of famed William Ewart Gladstone.
The mere allusion to Stone’s predicament brings to the fore an unlikely, but not impossible, scenario where Poor Things could potentially match an undesirable record. This motion picture by Lanthimos has bagged eleven nominations, a tally equal to the highest number of nominations that didn’t result in a victory, a dubious record held by The Turning Point and the original creation of The Color Purple. A concerning statistic comes from GoldDerby.com, a well-respected award-season platform which, at the moment of writing, does not consider Poor Things as a front-runner in any of its eleven categories. Should it not be a winner against competing films such as Barbie in the sections of costumes or production design, or Maestro in makeup and hair, the best actress award will be of escalating importance for Lanthimos, Guiney and Lowe as the awards show concludes. We anticipate a win soon as the film, despite The Banshees of Inisherin’s failure to win any awards last year, has reaped twice the box office earnings. Its commercial success cannot be ignored.
The nominations have highlighted alterations in the profile of the voting body. A decade earlier, it would have been unthinkable for a film as daring and complex as Jonathan Glazer’s The Zone of Interest to accumulate five nominations. Although the likelihood of winning best picture are slim, the Holocaust drama is expected to be the first UK film to clinch the award for the best international feature, previously known as the best foreign-language film.
This achievement might be attributed to the French, who have not celebrated a victory for more than 30 years, and this has paved the way for a relatively unobstructed path to the award. France’s authorities caused a stir when they selected Tran Anh Hung’s The Taste of Things over Justine Triet’s Palme d’Or winner, Anatomy of a Fall for the award submission. Each country is only allowed to present one submission, and this decision no doubt resulted in a sense of regret as their choice missed out on a nomination. However, Triet and her co-worker Arthur Harari seem to have a strong chance of winning the best original screenplay.
This year, Irish viewers have reason to rejoice. The Oscars are set to begin two hours earlier than they did just years ago due to a change in the commencement time, now witnessed at 4pm Pacific Time, which is more of the afternoon than evening, and a peculiar situation related to daylight-saving. In Ireland, the ceremony starts at night-time, close to 11 o’clock, which is almost prime-time.
What can audiences anticipate?
The calamity of the 2022 Oscars is still fresh in the memory of the event’s organizers. Even in absence of the infamous “slap” incident, they would have had to justify the decision not to air certain awards live, the victory of an obscure Zack Snyder film in the “Oscars fan favourite” voting, the enlistment of skateboarder presenters, and the lacklustre script for hosts Regina Hall, Amy Schumer and Wanda Sykes. Jimmy Kimmel, the quintessence of a reliable host, was called back last year to oversee a smooth, albeit uneventful, ceremony. He is once again poised to exhibit his unflappable manner, mastered in 2017 when Faye Dunaway mistakenly announced the incorrect winner for best picture.
Despite the global chaos caused by the Covid pandemic, viewing figures last year were higher than previous years. Historically, popular films resulted in greater viewership numbers; exemplified by the record-breaking audience size during the Titanic year which remains the highest for any live award show in American history. As two films from the Barbenheimer studios have been heavily nominated this year, viewer interest is expected to escalate. If poor humour about Greta Gerwig’s feminist fantasy and Christopher Nolan’s grim sprawling is what viewers fancy, the Oscars is the place to be.
The Oscars’ future was recently influenced by the buzz around specific performances at last month’s Grammys, from artists such as Tracy Chapman and Miley Cyrus, suggesting the persistence of popularity for award ceremonies. The chance of a performance from Ryan Gosling, performing ‘I’m Just Ken’ from Barbie, might eliminate any doubts among those addicted to viral content. Still, the 2022 fiasco has reminded the Oscar executives about the importance of honouring tradition. As the iconic ceremony inches towards its 100th year, no rational person would want to tarnish the reputation of this grand matron of Hollywood Boulevard as she prepares for her magnificent celebration.
It has been reported that previous Oscar winners from over the years, rekindling an elegant trend from 2009, will present the current acting contenders – a decision met with much enthusiasm. It stirs up fond memories from 15 years prior when industry veterans like Sophia Loren and Shirley MacLaine, thankfully, still present with us, graced the stage to honour their successors. There is speculation surrounding whether Day-Lewis could be coaxed to introduce Murphy, although negativity abounds regarding this probability. However, there’s confirmation that previous winners Nicolas Cage, Matthew McConaughey, and Al Pacino will be present, contributing to the event in some capacity. The ties to Oscars’ rich heritage is deemed vital or else its significance wanes. Barely into its adolescence, the Academy Awards has always had a penchant for retrospection, with perhaps its most poignant moment being Charlie Chaplin’s return in 1972 after being ostracised.
Belying the assertion of some, politics has had a prevalent role in the tradition, as exemplified by Sacheen Littlefeather in 1973, Susan Sarandon in 1993, and Vanessa Redgrave citing ‘Zionist hoodlums’ in 1978. Hence, there’s expected to be minor unrest if the Hollywood actors’ strike last autumn is addressed. This slightly contentious act shut down processes in the industry, and Kimmel is predicted to joke about it. The organisers, however, have more trepidation regarding a potential interruption to the ongoing silence throughout the awards season about the Gaza dispute. If the recipient of an award was to shed light on this issue, some predict a significant uproar in the auditorium, which might be enough to risk taking such a stance.
The unforeseen and often awkward moments that Oscar ceremonies are no stranger to are bound to recur. Possibly, someone significant might be missed on the memorial tribute list. A mishap could occur, like a trip down the staircase, or a mistaken readout of the best picture award. Remembering the infamous streaker during David Niven’s presentation in 1974, the organisers hope for an incident-free event. However, they’re aware such slip-ups can generate buzz; as the saying goes, any publicity is good publicity.
Should you wish to know the nominees for the 96th Academy Awards, here they are, along with some presumptions:
Best Picture:
– American Fiction
– Anatomy of a Fall
– Barbie
– The Holdovers
– Killers of the Flower Moon
– Maestro
– Oppenheimer
– Past Lives
– Poor Things
– The Zone of Interest
Predicted Wins and Worthiest Victors in Renowned Film Categories
In the category for ‘Best Film,’ Oppenheimer appears to be the favourite, having made a significant impression throughout its campaign. The Zone of Interest could be a deserving winner, being a bold proposition that has intriguingly managed to maintain relevance.
For ‘Best Director’, prominent names include Martin Scorsese with Killers of the Flower Moon, Christopher Nolan with Oppenheimer, Yorgos Lanthimos with Poor Things, Justine Triet with Anatomy of a Fall and Jonathan Glazer with The Zone of Interest. It seems probable that the award will go to Christopher Nolan due to the recent trend of splitting best picture and best director winners. A worthy winner, however, might be Jonathan Glazer, credited with innovative executions of grand ideas.
In the ‘Best Leading Role Actor’ category, candidates include Bradley Cooper for Maestro, Colman Domingo for Rustin, Paul Giamatti for The Holdovers, Jeffrey Wright for American Fiction and Cillian Murphy for Oppenheimer. The contest seems close, though Cillian Murphy’s recent Screen Actors Guild award implies he could be the frontrunner and arguably the meritorious contender with a remarkably measured performance.
The ‘Best Leading Role Actress’ nominations feature Annette Bening for Nyad, Carey Mulligan for Maestro, Lily Gladstone for Killers of the Flower Moon, Sandra Hüller for Anatomy of a Fall, and Emma Stone for Poor Things. Gladstone and Stone are equally probable winners, yet Gladstone’s star seems to be in ascendance. As for the deserving winner, it may be a toss-up between Stone and Gladstone with two beautifully matching performances, though Hüller’s acting is also commendable.
In the ‘Best Supporting Actress’ category, the nominees are Emily Blunt for Oppenheimer, Danielle Brooks for The Color Purple, America Ferrera for Barbie, Jodie Foster for Nyad and Da’Vine Joy Randolph for The Holdovers. Da’Vine Joy Randolph appears to emerge as the likely winner with her charming presence and standout scenes, making her a deserving victor sans any ostentatious display.
For the ‘Best Supporting Actor’, the nominees encompass Sterling K Brown for American Fiction, Robert De Niro for Killers of the Flower Moon, Mark Ruffalo for Poor Things, Robert Downey Junior for Oppenheimer, and Ryan Gosling for Barbie.
Robert Downey Jr. is likely to win due to his adept portrayal of the character, not relying on the stereotypical villain mannerisms, and an overarching narrative of being deserving for some time now, however, Mark Ruffalo arguably delivered his finest comedic performance and exhibited a great enjoyement of his villain character, notwithstanding his inconsistent accent.
In the category of best adapted screenplay, the contenders include American Fiction, Barbie, Oppenheimer, Poor Things, and The Zone of Interest. The trophy is likely to go to American Fiction, receiving a significant boost following its People’s Choice award victory at Toronto, but the technical brilliance of The Zone of Interest often overshadows its nuanced script, making it the rightful winner.
The nominees for the best original screenplay are Anatomy of a Fall, The Holdovers, Maestro, May December, and Past Lives. It could be a close race, however, the unpredictability surrounding Palme d’Or winner, Anatomy of a Fall, puts it ahead, but don’t discount The Holdovers. May December deserves the honor, the fact that Todd Haynes’s ingenious comedy is ignored elsewhere is surprising.
Competing for the award for the best cinematographer are El Conde, Oppenheimer, Maestro, Killers of the Flower Moon and Poor Things. Oppenheimer has the upper hand with its technical prowess while Poor Things stands out with Robbie Ryan deftly showcasing his cinematographic skills with intense fisheye footage.
For best editing, the nominations include Anatomy of a Fall, Killers of the Flower Moon, The Holdovers, Oppenheimer, and Poor Things. Oppenheimer has an advantage in this category being an action film concealed in camouflage, plus they have a good chance of bagging the best picture award as well. However, Poor Things, which combined a period setting with the flow of a surreal nightmare, is deemed a more worthy winner.
In the best animated feature film group, The Boy and the Heron, Elemental, Nimona, Robot Dreams, and Spider-Man: Across the Spider-Verse are in competition. The Boy and the Heron & Spider-Verse are the leading contenders, with the former most likely to win due to Hayao Miyazaki’s traditional Japanese fable edging out Spider-Verse’s vibrant energy, although the latter with its upcoming sequel might get another chance for recognition.
Lastly, the best international feature film nominations include The Teachers’ Lounge from Germany, Io Capitano from Italy, Perfect Days from Japan, and Society of the Snow from Spain.
Presenting predictions for the United Kingdom’s “The Zone of Interest” awards. After the disappointment of the French submission “Anatomy of a Fall”, expect “The Zone of Interest” to steal the show. It is tipped to be the first ever UK winner in this category.
Moving onto the best documentary feature film category, “20 Days in Mariupol” is the expected favourite due to the relevance of the Ukraine conflict to the voters. However, “Four Daughters” with its exceptional narrative from Tunisia and innovative blending of genres is the deserving winner.
For the best sound, expect the intensely loud “Oppenheimer” to bag the prize. However, “The Zone of Interest” with its striking and poignant sound design stands out among the nominees and might just surprise us by winning the vote.
The best original song category sees a tight competition between Barbie’s “What was I Made for?” and “I’m Just Ken.” These are the clear favourites with the latter deserving the win for its entertaining vibe.
Up next is the best original score where “Oppenheimer” is anticipated to win by influencing the mood of the event. However, “Poor Things”‘ Jerskin Fendrix’s score, with its unmatched humour, is the deserving winner.
In the best makeup and hairstyling category, “Maestro” is likely to steal the win. But don’t overlook “Poor Things” with its daunting task of blending the lavish with the sinister, which it achieved expertly.
And finally, the best costume design category presents stiff competition. Stay tuned for further updates.
For the Oppenheimer and Poor Things match up, the favourite to win is Poor Things. It is particularly admired for its aesthetic appeal, despite its close competition with Barbie. The preference remains consistent for Poor Things, which portrays a touch of the unconventional, setting it apart from the predictable Sunday television dramas.
In the production design sector, Barbie and Poor Things are again locked in a head-to-head contest. Poor Things is anticipated to take the prize, perhaps by a slim number of votes, marking the significance of this intense rivalry. Yet, despite the leaning towards Poor Things, there’s a sense of consideration for Napoleon, suggesting it could do with a lucky break.
In the visual effects category, the favorite is Godzilla Minus One, especially given the baffling absence of Oppenheimer from the list. This opens up an opportunity for the legendary giant lizard to seize his moment. It would be pleasing to witness this classic Japanese icon roar his way to an Oscar with the audience applauding his triumph.
In the realm of live action short films, The Wonderful Story of Henry Sugar is the one to beat. This intriguing choice might lead to Wes Anderson receiving his first Oscar in an unexpected category. That said, there is unease over a large Netflix movie possibly dominating. The suggested winner in this context is Red, White and Blue, a film praised for its emphasis on critical issues.
In the animated short film competition, Letter to a Pig is considered the most likely to win, combining its profound theme with stunning animation. However, there is a possibility that the fame associated with John & Yoko could swing the voting. Letter to a Pig is also deemed as the most deserving to win, offering a unique counterpart to The Zone of Interest.
Lastly, in the documentary short division, the films in contention are The ABCs of Book Banning, The Barber of Little Rock, Island in Between, The Last Repair Shop, and Nai Nai & Wai Po.
The ABCs of Book Burning stands a good chance of victory, given its compatibility with the political tendencies of voters. It also deserves triumph for its punctual relevance and tactful incorporation of young individuals without appearing calculating.