Yesterday the Oscar nominations were released, signaling the beginning of the Academy Awards season! There’s a small subset of us who love this time of year; in the months leading up to it (beginning in December), my ears perk up to see what’s opening — especially in limited release — to get a bead on what studios hope to qualify for an award. I collect accolades from the Golden Globes, the Screen Actors’ Guild, the Directors’ and Producers’ Guild of America, and best-of lists from major critics to see how the race is shaping up; it’s interesting watching movies rise and fall from the pack, and after a few weeks you hear the same actors, directors and films again and again.
Then, some magical early morning in late January, the nominations are released and we begin the breathless conjecture about the surprises and snubs, who will win and who should win, or why certain baffling choices were made. The Oscars are a big deal for cinephiles, is what I’m saying, and this year is shaping up to be really interesting based on the nominees alone.
The first big shock is the film that received the most nominations — The Shape of Water. Guillermo del Toro’s indie fantastic romance got 13 nods, including Best Picture, Best Director, Best Actress (for Sally Hawkins), Best Supporting Actor AND Actress (Richard Jenkins and Octavia Spencer), Best Screenplay and a bevy of technical nominations. Christopher Nolan’s Dunkirk, a summer blockbuster I slept on earlier last year, came in second with 8 (including Picture, Director, and Score). An interesting fact! Christopher Nolan has NEVER been nominated for Best Director before, despite four nominations from the Directors’ Guild of America for previous work.
I did not see The Shape of Water coming. My understanding of the chatter was that del Toro would likely get in for Best Director and Sally Hawkins was a dark horse for Best Actress, but the amount of love the movie got on Tuesday morning was really something. I haven’t gotten a chance to see it yet, but I’ve heard nothing but great things — it’s definitely bumped up several notches on my ‘must-see’ list. It’s really cool to see a movie like this become a flag-bearer for quality cinema in 2017, and I’d like to think diversifying the voting body of the Academy had a lot to do with it.
Get Out, the ground-breaking horror film from Jordan Peele, was nominated for four Oscars — Best Picture, Director, Actor and Screenplay. Peele is only the third person ever to have nominations for Best Picture, Director and Screenplay after their first movie, which is mind-blowing to think about. In fact, the whole Best Director field is a crazy one this year. Greta Gerwig is only the *fifth* woman to be nominated for the award (Lady Bird, which also has a Best Picture nomination); there’s Nolan and del Toro picking up his first nominations; and then there’s Paul Thomas Anderson with his second nomination for The Phantom Thread. It’s truly strange to have such an accomplished group of neophytes, especially where two white guys feel like underdogs.
Denzel Washington, the Greatest Actor of All Time Period, picked up his eighth nomination for Roman J. Israel, Esq. (who?) while Daniel Kaluuya picked up his first nomination for Get Out; this is the first time two black actors have been nominated in the category since 2001, when Denzel beat Will Smith (Ali) for his performance in Training Day.
Octavia Spencer is joined in the Best Supporting Actress race by none other than Mary J. Blige(!!!) for Mudbound, a Netflix film that serves as the streaming channel’s breakthrough to the big dance. Mudbound also boasts the first woman ever nominated for Best Cinematography (Rachel Morrison, who also filmed Dope, Fruitvale Station, and BLACK PANTHER), as well as the first black woman ever nominated for multiple awards in the same year — that’s right, Mary J. picked up another nomination for Best Original Song. Fun fact! Rachel Morrison, in addition to being my new favorite cinematographer, is in a same-sex family with her wife and son.
There are so many other nominations to be excited about. While The Big Sick only picked up one nomination, it netted a big one: Best Original Screenplay for Pakistani-American Kumail Nanjiani and his wife, Emily V. Gordon. Gary Oldman might finally get his long-overdue award for his turn as Winston Churchill in Darkest Hour; Willem Dafoe has his third nomination for The Florida Project; Allison Janney and Laurie Metcalf scored Best Supporting Actress noms with portrayals of difficult mothers; Logan(!!) picked up a Best Adapted Screenplay nomination, making history as the first screenplay adapted from a comic book to do so.
I’m really looking forward to watching as many of the Oscar-nominated movies as I can, speculating on what will win, debating which movies I like best with my husband and friends, and hosting a party to watch the ceremony in just over six weeks. I’m deliriously happy that our activism for diversifying the Oscars — both the Academy membership AND the nominations and awards — is starting to pay off with exciting filmmakers being recognized for telling exciting, unique stories. There’s still a long way to go, mind — representation for Asian, Native American, LGBQT (ESPECIALLY trans people), and people with disabilities is still an issue that needs to be addressed. But this year the nominations aren’t a parade of period pieces or biographies; the Best Picture line-up of the last several years have really broadened to reflect the best (and even most popular) films of the year.
Over the next few weeks, I’ll post thoughts about the Oscar race, especially as I see more and more films. I hope you don’t mind me geeking out about movies, because that’s what’s happening next.