As the Oscars are forever wrong in their choices I thought I'd do my own little Oscars for all the films I've seen this year. Of course I haven't managed to see every film this year so I'm sure there will be lots of films left off the list that should be deserving of a place.
Best Film: 45 Years
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| Tom Courtenay and Charlotte Rampling in 45 Years |
45 Years has only been nominated for one Oscar (best actress for Charlotte Rampling) which it probably won't win, but really it should be winning just about everything. Directed by Andrew Haigh it stars Charlotte Rampling and Tom Courtenay as elderly couple Kate and Geoff Mercer who are rocked by the discovery of the frozen body of Geoff's former girlfriend who died 50 years ago, after falling to her death in the Alps. This is not a detective film- I'll put it out there now that neither Geoff nor Kate had the girl murdered- but rather it is film about love, marriage and how we deceive ourselves. There are moments of discovery and drama, but mostly it's about a slow realisation that you can live with someone for 45 Years and still not truly know who they are. It is moving, intelligent and beautifully acted...and it wasn't even nominated for Best Picture.
Best Director: George Miller, Mad Max: Fury Road
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| George Miller, Director of Mad Max: Fury Road |
This was a difficult one. The other two major contenders for the award were Alejandro Inarritu for The Revenant (who will probably win the actual Oscar) and Andrew Haigh for 45 Years. Inarritu, for all my slight qualms about the film itself (that it doesn't have all that much to say, that the revenge plot is less interesting than the simple survival, that the main character isn't well defined) has directed a film which is an experience to watch- there are moments in it where you feel the pain that Glass is going through. In complete contrast, Haigh's direction is subtle and quiet but all the more impressive for it- he approaches the film with admirable restraint and poise. However, in the end George Miller wins the day. I didn't enjoy Mad Max as much as other people- the characters weren't all that well defined and I wanted to see more of the world- but the sheer scale of the action, all done with live sets is incredible. There is such an intensity and creative energy to this film that means you can't help but love it, and that is all down to Miller, the man who started the franchise and is now overseeing its resurgence.
Best Actor: Tom Courtenay, 45 Years
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| Tom Courtenay as Geoff Mercer |
Tom Courtenay has not been nominated for the Oscar which has caused quite an outcry in British circles and you can see why. His performance here is one of the utmost intelligence and maturity. 45 Years is a film told mostly from the perspective of Kate, which, for a lesser actor than Tom Courtenay, might make it a struggle to bring Geoff's feelings across. Not the case. We feel Courtenay's sadness and struggle, even as this impacts Kate, the protagonist. Even more impressive, we see a shift in his character throughout, even whilst he retains this sympathy. At first he is lovable and comedic, by the end his physicality takes on an almost grotesque style- his jerking movements and odd intonations show how, in Kate's eyes, he's becoming all the more distant and strange. Geoff's end speech, which I cannot properly describe without explaining the crutch of the film is utterly heartbreaking, and is made so by Tom Courtenay's strength in performance. A quick note should say that although Leo is expected to win tonight it will be a disappointing victory. His performance in The Revenant is supremely dedicated (read the reports of the shoot) but the character of Glass is limited and ill defined- his character can be summed up by survival and revenge. This doesn't give Di Caprio much to work with and so although his performance is good, anyone who was willing to crawl around in the snow for a long time and grow a beard could have done it.
Best Actress: Charlotte Rampling, 45 Years
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| Charlotte Rampling as Kate Mercer |
45 Years is a brilliant film, and it is Charlotte Rampling's performance that makes it so. She is just amazing. The subtleties of Kate's feelings are portrayed by a slight move of the mouth, a glance, a slight crack in her voice. Throughout the film we see Kate's increasing uncertainty, as her world crumbles around her, and yet it is all done with a serene and realistic calm. There is no breakdown, there is no screaming fit, only an awkward dinner, a silent car journey, small things. And Charlotte Rampling does it all perfectly. The most moving scene of the film is at the end when, during Geoff and Kate's wedding anniversary, Kate goes into the toilet and just stares at herself in the mirror. There is no dialogue, but Rampling's look tells you all about her feelings, her uncertainty, her isolation in this event full of people. There should be a special shout out to Cate Blanchett in Carol who is brilliant as you would expect, balancing a superficial glamour with deeper emotion, and Saoirse Ronan, who gives a very subtle and moving performance as Ellis in Brooklyn.
Best Supporting Actor: Oscar Isaac, Ex Machina
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| Oscar Isaac as Nathan |
This was a tough one. I initially was going to go with Tom Hardy for The Revenant, because his performance creates a strange and intriguing mixture of loathing and empathy (he is so evil and cruel, yet you see how his life at the frontier has shaped him that way). However, in the end I have settled on Oscar Isaac in Ex Machina. It is a wonderfully ambiguous performance, at once funny (Nathan's dance to Get Down Saturday Night is a moment of surreal brilliance), sinister and slightly pathetic, Oscar Isaac's billionaire Nathan is a constant enigma. From the moment he appears, you know there is something wrong and suspicious about him, but what it is you can't place your finger on.
Best Supporting Actress: Alicia Vikander, Ex Machina
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| Alicia Vikander as Eva |
I promise it wasn't intentional that the acting awards would go in duos to two films, but since both leading actor awards go to 45 Years, both supporting actor awards are going to go to Ex Machina. If Oscar Isaac's performance is one of supreme ambiguity and change, Alicia Vikander as the AI Eva is one of a different kind ambiguity. Her initial innocence and slight jerking movements, as well as the seem instability of her body, give her an appearance of fragility- she needs to be protected. However, as the film progresses, this seemingly simple picture of Eva becomes more complex. I want to avoid spoilers, but suffice to say Alicia Vikander's performance captures the subtleties of both sides of Eva and, my God, if she doesn't make a convincing robot I don't know who does.
Best Original Screenplay: Charlie Kaufman, Anomalisa
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| Charlie Kaufman, writer and director of Anomalisa |
This was almost another win for Ex Machina but in the end I couldn't overlook one of my all time favourite film makers, Charlie Kaufman. Anomalisa is a puppet film about a middle aged man, Michael Stone (voiced by David Thewlis) who lives in a world identical to our own, except that everyone else has identical face and voices (Tom Noonan's voice, to be precise). When he meets Lisa Hesselman (Jennifer Jason Leigh), therefore, he believes they have a special connection. Like all Charlie Kaufman's films, this is a film with so many layers. However, its foremost themes are the typical Kaufman ones of loneliness, of living in a world which seems devoid of meaning, and, most importantly and tragically, the hope and desperation to escape this meaningless through love. It may be a puppet film, but it is melancholic to the bone.
Best Adapted Screenplay: Andrew Haigh, 45 Years
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| Andrew Haigh, writer and director of 45 Years |
Based on David Constantine's short story In Another Country, it's 45 Years again- go see it, it's brilliant. (The other real contender was Brooklyn for a very mature adaption of Colm Toibin's novel of the same name- for a film about a love triangle, it's amazingly unsentimental and devoid of 'weepy' moments, yet still maintains that romantic yearning that you'd expect from a period drama romance.)
Best Animated Film: Anomalisa
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Michael (David Thewlis) and Lisa (Jennifer Jason Leigh)
in Anomalisa |
I loved Inside Out and so it breaks my heart not to give it a single award, but in both the categories it was seriously competing in, it has been beaten by Anomalisa. And, to be quite fair, how could the award for best animated film not go to Anomalisa, a truly daring film by one of modern cinemas true artists. Its boldness is breathtaking- it is all about what it means to be human, yet is done completely with puppets; it has the most realistically awkward sex scene, again, done only with puppets; and it combines comedy, elation and pathos in a way only Charlie Kaufman can. Unfortunately, very few people will see the film, but that says so much about the state of the film industry when genuinely brave and original films like Anomalisa go missing, whilst studios keep churning out more and more remakes and sequels.
Best Cinematography: Emmanuel Lubezki, The Revenant
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| Emmanuel Lubezki |
Finally a win for The Revenant. Lubezki won the Oscar last year for Birdman which had the continuous shot gimmick. Although the continuous shot did contribute to the film's intensity and the idea that it was a piece of theatre, personally I thought Mr Turner deserved it more for its beautiful response to Turner's artwork and portrait of the changing English landscape. However, this time Lubezki would be fully deserving of his Oscar. The Revenant is a haunting film, and a major part of this is the contrast between the harsh brutality of the acts of men and beasts, juxtaposed with the beauties of nature, filmed lovingly by Lubezki. Not only is the landscape beautiful, but the action scenes are also filmed with technical skill and intensity, using long takes reminiscent of Birdman.
Best Original Score: John Williams, Star Wars: The Force Awakens
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Howard Shore, composer for all of the
Star Wars films |
Combining seamlessly the old with the new was what made the latest Star Wars film great, and nowhere more so than the score. The original trilogy is noted for its brilliant scoring, from the opening titles, to Darth Vader's entrance, to Luke staring up at the suns of Tatooine. For the prequel trilogy, one of the few good things about it was its amazing score, especially during the large dramatic fights scenes. Star Wars: The Force Awakens builds on this, with new songs introducing new characters (especially Rey's theme) but also supplementing these new songs with the well known old songs at key moments, such as Darth Vader's theme when Kylo Ren is talking to his burnt out mask. Basically, I'm giving Star Wars: The Force Awakens an award because I love it and want to give it an award. Plus, if you can't give the traditional Star Wars force theme when Rey starts fighting back against Kylo Ren an award, what can you do.
Overall Winners:
45 Years: Best Film, Best Actor (Tom Courtenay), Best Actress (Charlotte Rampling), Best Adapted Screenplay (Andrew Haigh)- 4 awards
Anomalisa: Best Original Screenplay (Charlie Kaufman), Best Animated Film- 2 awards
Ex Machina: Best Supporting Actor (Oscar Isaac), Best Supporting Actress (Alicia Vikander)- 2 awards
Mad Max: Fury Road: Best Director (George Miller)- 1 award
The Revenant: Best Cinematography (Emmanuel Lubezki)- 1 award
Star Wars: The Force Awakens: Best Score (Howard Shore)- 1 award
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