After 2016, the african-american community have zurzido strong and ugly on the criteria of the american Academy of Arts and Cinematographic Sciences of Hollywood, the nominations for the Oscars, 2017 opens up a huge red carpet to the protagonists in non-caucasians.
From the outset, we highlight the eight appointments of the comoventíssimo “Moonlight”, the more the afro american film that I have memory and a work deserving special welcome for the LGBT community by problem, nothing unusual, that addresses (debut in Portugal on the 2nd of February). Takes place entirely in the suburbs of Miami, in the days of today, and seems to exist in an urban area where the whites are absolutely absent, an effect almost concentracionário where the hardness of the daily is total. The film is very strong, now just highlighted.
But let’s not forget the four appointments of “Fences”, the latest foray Denzel Washington in the realization, mainly because they occur all in the so-called categories noble (Best Film, Best Adapted screenplay, best Actor and Best Actress Secondary). Premiere of between us at the end of next month.
However, with fourteen nominations – two of which are in the category of Best Song – “La La Land” stands out vividly in the list of the movies in the pipeline for the Oscars. It is confirmation of a love story that began in its world premiere at the Venice film Festival (he had one of the most vibrant ovations among those that have heard this year in the Serenissima), and continued with the seven Globes of Gold that caught in the beginning of the year, not forgetting the fundamental success of the public. For a production valued at 30 million dollars (27.9 million euros), amounted to almost us $ 90 million (83,8 million euro) in the american market and nearly another both in the international market, being sure that it continues to collect in large around the side.
Deserves such a big fuss, so overwhelming affirmation? To say that it is a tape that has as well, that celebrates the cinema and Hollywood with some sparkle, that proves that Damien Chazelle, the director, has studied well the lessons and seized conscenciosamente. However is a few light-years “Eve” Mankiewicz (1950) or the “Titanic” of James Cameron (1977), the films sharing the glory of being the most nominated of all time.
Other films accumulate appointments numerous (“The First Meeting” by Denis Villeneuve – eight; “Hacksaw Ridge Mel Gibson – six; “Manchester by the Sea” by Kenneth Lonergan – six; “Lion – The Long Road Home” Garth Davis – six), but to highlight a few, the minority, that leave a sweet taste in the mouths of moviegoers.
The first is that of Isabelle Huppert, a candidate for the award for Best Actress in “Elle” of the Paul Verhoeven – so much so that the film is not in the nominees for Best Foreign Language Film, in that it is one of the scandals of the year (the other is the absence of the “Juliet” of Almodóvar, in the same category). The interpretation of it is unforgettable and only the effect of drag may be lost.
A second reason of happiness is to pay attention due to a small and very good independent film – “Hell or High Water – no matter what the Cost!” de David Mackenzie: four nominations, including Best Film and Best Actor Secondary to the veteran Jeff Bridges). Already out of view in Lisbon, but if there is going to be a exhibitor with boldness, reset it at this time Oscar was able to be interesting.
A final reason for rejoicing is the naming of the Greek Yorgos Lanthimos and Efthimis Filippou for the argument of “The Lobster”, a work of provocative and unexpected, those that, in principle, seem to be off the radar of the Academy. Error of vision of those who so think.
A shadow looms: “The Silence” Scorsese was only noticed by the picture (nomination for Rodrigo Prieto). Mind-boggling! Many years say that 2017 was the year in which awarded the more easy and if olvidou that went deeper. I bet, the simple one against bent: in 2030 “La La Land” will be forgotten, “The Silence” is still to be seen, remembered and discussed.
But one tradition remains firm: a ceremony of the Oscars that Meryl Streep didn’t show up named, only if it were in another world. This year there is, with the esfuziante interpretation of “Florence, A Diva out of Tom,” directed by Stephen Frears. And no one will say that is more.
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