Which Film Won The Oscar For "Best Animated Feature" In 2002?
It's the most wonderful time of the yr: the preamble earlier Awards Season. As the kickoff snowflakes fall, the latest Martin Scorsese film, The Irishman, descends on expectant theaters (and Netflix). Meanwhile, Google Play is asking you to cough up $nineteen.99 for a echo viewing of Quentin Tarantino's In one case Upon a Time in Hollywood. Certain, these heavy-hitters are bound to get some Academy Award fizz, simply they aren't the only winners out there this winter. This year, ditch the typical Oscar allurement and enjoy these strange, indie and lesser-known cinematic gems that are on rails to nab some golden statuettes.
The Last Black Human in San Francisco | Directed by Joe Talbot (A24)
Joe Talbot's feature directorial debut is based on a story developed in function by Jimmie Fails, who besides plays the titular role. The Last Black Human being in San Francisco is a semi-autobiographical account of Fails' struggle to reclaim his childhood domicile, a Victorian located in the city'southward Fillmore Commune, as his metropolis undergoes gentrification. After debuting at the Sundance Film Festival, the movie won an honor for Best Directing as well as a Special Jury Prize for Creative Collaboration.
Called "ravishing, haunting and exultant" past critic Manohla Dargis in The New York Times, the picture show came out in June — way ahead of Oscar season and in the middle of the summer blockbuster blast. Despite that timing, we're sincerely hoping the Academy doesn't forget about this beautiful, poetic film. Equally Justin Chang dubbed information technology in his Los Angeles Times review, it's a "gorgeous, moving ode to a city in flux."
The Farewell | Directed by Lulu Wang (A24)
Written and directed by Lulu Wang, The Goodbye is a comedy-drama based on Wang's life experiences, which she first unveiled to the public in the class of a radio story called What Y'all Don't Know on NPR's This American Life program. Starring Awkwafina as Billi, an aspiring Chinese American author living in New York, and acting legend Zhao Shuzhen equally Billi'southward Nai Nai (paternal grandmother) who lives in Changchun, China, The Goodbye centers on the relationship between a granddaughter and grandmother.
Nai Nai is diagnosed with a final illness, and her family, including Billi's parents, are determined to keep the truth from her — a determination that Wang presents every bit something done out of love. When the family plans a trip to China under the guise of attending a wedding, Billi grapples with what'southward "right." Vanity Fair calls this understated, charming film a "[moving]… story about the negotiations of familial love, but besides of the immigrant experience, of revisiting i'due south homeland to, in some senses, say goodbye to it."
Parasite | Directed by Bong Joon-ho (Neon)
The universally acclaimed Parasite isn't managing director Bell Joon-ho's outset historic outing. His sophomore moving picture Memories of Murder (2003) brought him international success, and two of his other hits, The Host (2006) and Snowpiercer (2013), are two of the highest-grossing films of all time in South korea. However, Parasite won the coveted Palme d'Or at the 2019 Cannes Film Festival, making Bong the offset Korean director to nab the award.
So, what is Parasite virtually? To keep it brief, it's almost 2 families, the Kims — who live in a basement apartment and struggle to make ends meet — and the Parks — a wealthy family in search of a tutor for their daughter. Honestly, it's best to know as little every bit possible about this dark-one-act-meets-thriller-meets-social-commentary film. Bong is known for exploring timely social themes, like class strife, and frequently mixes genres and employs tonal shifts as his films unfold.
Bilge Ebiri of NY Mag noted that Parasite is a "nervus-wracking masterpiece whose spell lingers long afterwards its haunting terminal epitome." Will Parasite become the offset foreign-language moving-picture show to nab a Best Picture Oscar? We certainly hope so.
Uncut Gems | Directed by Josh Safdie & Benny Safdie (A24)
Unless you've been on the festival circuit, you probably know as much as we do: Adam Sandler's grapheme, Howard Ratner, is a jewelry store owner — and compulsive gambler. Surprise, surprise: Ratner needs to pay off his debts before it'due south also tardily. Some other certainty: Every few years, Sandler will cast aside his Sabbatum Night Live/Happy Gilmore schtick and cobble together an Oscar-worthy, dramatic performance, equally evidenced by Punch-Drunkard Honey (2002) and as attempted in Reign Over Me (2007).
Co-starring Lakeith Stanfield, Idina Menzel and Kevin Garnett, Uncut Gems was a favorite at both Telluride Film Festival and the Toronto International Film Festival. IndieWire has chosen it "a riveting loftier-wire act, pairing cosmic visuals with the gritty energy of a dark psychological thriller and sudden bursts of frantic comedy," and critics agree that Sandler puts in a remarkable, nomination-garnering functioning.
Waves | Directed by Trey Edward Shults (A24)
Trey Edward Shults' Waves is set in Due south Florida and stars his It Comes at Night (2017) star Kelvin Harrison Jr. Co-starring heavy hitters like Renée Elise Goldsberry, Lucas Hedges and Sterling M. Brown, it traces a family unit's journeying every bit they navigate love and forgiveness in the wake of a jarring loss. This patient family drama — gear up to a Trent Reznor and Atticus Ross score — was praised past the Los Angeles Times for being "deeply rooted in its characters' consciousness."
On the other hand, its white manager has received criticism for telling a story about Blackness masculinity and trauma that he doesn't take the authority to tell. In the Globe and Mail, Sarah-Tai Blackness wrote "I'm tired of watching movies by white directors that are sold to Black audiences as if our lived experience is as culturally transmittable as making a mix-tape… Shults… lacks not only the lived feel to responsibly brand this moving-picture show, merely also the lack of vision needed to sell information technology." Only time (and audition reactions outside of the awards excursion) will tell if Waves volition become this year's Green Book (2018) and a true All-time Motion picture contender.
Honorable Mention: Booksmart | Directed by Olivia Wilde (Annapurna)
Olivia Wilde's characteristic directorial debut is a heartfelt — yet raunchy — coming-of-historic period one-act that centers on the friendship between two immature women (Beanie Feldstein and Kaitlyn Dever) who prepare out to break some rules and accept some wild fun the nighttime earlier graduation. I of those women fifty-fifty gets a queer romance storyline, which is refreshing. In fact, this whole film is a refreshing take on a well-worn genre.
Hailed as the best buddy one-act since Superbad (2007), Booksmart deftly proves that, equally noted past Vox, "When you lot're a teenager […] your biggest enemy is usually yourself." Wilde's picture drives that universal, compelling notion home without sacrificing any sense of humour. Unfortunately, comedies don't ever become their dues at the Oscars, merely this one is all the same a 2019 must-meet.
Source: https://www.simpli.com/pop-culture/oscar-watch-best-films-2019?utm_content=params%3Ao%3D740008%26ad%3DdirN%26qo%3DserpIndex
Posted by: stevensonablents.blogspot.com
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