Oscar Nominees Ranked

What a strange award season you are, we whisper in our best Cate Blanchett impression. It indeed is. But this year strangeness comes from not the unpredictability of the season, but the exact opposite. If you asked us months ago, we’d say that the upcoming award season was going to be full of fun with so many films that differ from each other. But alas, we spent the whole season watching same people win and listen to same speeches so much that the only way to differentiate them is through the winners’ clothes. Almost every main category at Academy Awards look locked at this point, so as the Much Ado team, we left predictions aside and ranked the nominees in main eight categories!

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Oscar Nominated Shorts 2018: Review

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With the Oscars only a few days away, the most popular question being asked is probably about which film is going to win Best Picture. Short films often get overshadowed by their feature length partners, but despite their small size, they can often present a better narrative than most movies you see being promoted by the big Hollywood studios. This year’s batch of Animated shorts provide personal and inventive stories with some dazzling animation techniques, while the Live Action shorts explore real-world issues that hit all emotions on the scale. In the following article, each film is reviewed with the two front runners in each category clearly presented.

Animation

1. Revolting Rhymes: Part One (UK) dir. Jakob Schuh & Jan Lachauer

Based on the novel of the same name by the legendary Roald Dahl, with illustrations by Quentin Blake, Revolting Rhymes cleverly rewrites the classic fairy tales that most of us grew up with. Following the narration of the Big Bad Wolf (Dominic West), the stories of Snow White and Red Riding Hood (featuring the Three Little Pigs) intertwine in this modernized, fun, and darkly comedic adventure. The relationship between Snow White (Gemma Chan) and “Red” (Rose Leslie) provide the most charm as it’s rare we get to see some of our favourite fairy tale heroines together. The animation is beautiful in its realism, especially in terms of the modern, Parisian-style architecture surrounding the story. Originally airing as a two-part series on BBC, only the first chapter of this tale has been nominated for an Academy Award, leaving the Wolf’s cry for “patience” for the rest immediately ignored, as you scramble to find part two on Netflix.

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What Lady Bird’s Nominations Mean to Fellow St. Francis Alumnae

Being only the fifth woman to be nominated for an Academy Award as a director, Greta Gerwig’s work and accomplishments have had a monumental impact on women across all industries. But, Lady Bird‘s highest nominations offer a deeper significance for a group of women I am proud to be a part of. Like Gerwig, I am a St. Francis High School alumna, an all-girls, Catholic high school in Sacramento, California. As St. Francis Troubadours, aka Troubies, we were taught that we would one day change the world, whether it be in STEM or the arts. Seeing other girls doing such amazing things as teenagers only made me eager to see what I, and the young women I went to school with, would do as adults.

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Sam Levy and Greta Gerwig on set of Lady Bird. ©A24

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Tipping the Scale: An Oscars Think Piece

This essay is by our guest writer Edina Alix. 

In the Twitter bio of the Academy of Motion Picture Arts and Sciences, it reads “we champion the power of human imagination.” In the last ninety years of the academy’s existence however, this “human imagination” has been overwhelmingly straight, white and male. In this year’s Oscar nominations alone, only one of the five directors nominated for best director was a woman (Greta Gerwig for “Lady Bird”) and her presence in the prestigious lineup marked the end of an eight year dry spell of the exclusive “boys club” of male directors in the category. Dee Rees (Mudbound) was snubbed of a best director nomination, marking yet another year that no women of color were nominated for best director. What was truly shocking was that this year marked the very first time that a woman was nominated for best cinematographer (Rachel Morrison for “Mudbound”) in the entire history of the Academy Awards.

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Rachel Morrison, the first woman nominated for the Academy Award for Best Cinematography

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In The Vision of Guillermo Del Toro’s Magical Realism and Universal Symbolism

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Guillermo with his Golden Lion for his latest work “Shape of Water” at the Venice Film Festival. | Courtesy of Vittorio Zunino Celotto / Getty Images.

* This piece contains spoilers on the endings of Del Toro’s 2006 work Pan’s Labyrinth, 2015 work Crimson Peak and 2017 work Shape of Water. 

My relationship with literature long before I knew how to read, with my mother taking at least half an hour of her night before my bedtime to read me stories. There was never a single night lacking the sound of turning pages and her raspy yet sweet voice; no matter how tired or sad she was, my mother would knock on my door exacly at nine thirthy, and we would spend our little quality time together until I fell asleep in her arms. And if there’s one reason that I became an avid reader, a maybe-future writer, a literature student: it is because of her, and her efforts.

This, of course, also meant that as I grew older and older, our libraries merged into one, too. Of course, there wwere my populist fantasy series — looking at you Harry Potter and Twilight —, which I would read even on my way to home from school while walking, and there were her thick, old looking books from Turkish novelists. Somewhere in the middle, just after I became a highschool  student and started one of the hardest periods of my teenage years, I started picking up books from her side of the shelves. Then came Paul Coelho and Isabel Allende, Camus and Christie, Le Guin and Kafka, but most important of them all, Gabriel Garcia Marquez. He was the favorite writer of my mother, and he quickly became mine too.  His writing style, even when translated, had the power to carry me from my reality to another one; one that still seemed so close yet so far away, a purgatory between reality and dream. As I learned later later, this was called magical realism, a very popular type of fiction from Latin American literature that was known for its merging of fantasy elements with otherwise “normal” settings.

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Much Ado About Cinema’s Oscar Predictions

After months of a less than fruitful awards season, the beginning of the home stretch is finally upon us: Oscar nominations are announced tomorrow. With our varied taste at Much Ado, some of us have celebrated as their favourite films win big at the Golden Globes, Critics Choice Awards and SAG Awards, while others have suffered as their favourites get paid dust. It’s been a tumultuous couple of months, but now it’s time to honour the grand old tradition of making predictions. Without further ado, we present our Oscar predictions, along with some films and performances that we think deserve more awards attention.

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“Thelma”: A Striking Imagery of Female Power Told In European Art-house Style

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Eili Harboe as the titular character in Thelma. | Photo: Imagine Film/The Orchard

“Thou shalt not suffer a witch to live,” whispers Margaret White to herself, near the start of the infamous third arc of Brian De Palma’s 1976-made cult masterpiece Carrie, based on Stephen Kings’s novel of the same name and starring Sissy Spacek in the titular role of a demure, innocent high-school girl who realizes she has telekinetic powers after her first period. The setting is the movie’s silence before the storm, with Carrie having just left her mother alone in their home to go to the prom, which is in itself an act of rebellion that accumulates the varying loose threads of her growing confidence in a final push against her mother, who begs her not the go many times, basing her protests on the ground that “they’re (as in her peers) all gonna laugh at her”. Carrie doesn’t listen to her mother’s paranoid arguments and leaves, happy to finally be seen as beautiful and noteworthy, her breasts showing behind her pink dress and a corsage in her hand, given by William Katt’s Tommy Ross.

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