#ampas

[citizenscreen]

Walt Disney was given an honorary Oscar "for the creation of Mickey Mouse" by the Academy of Motion Picture Arts & Sciences at the 5th Annual Academy Awards (held at the Ambassador Hotel in Los Angeles) #OnThisDay in 1932 #Oscars #Disney

[bonnettsbooks]

3/1/24 — Open 6-9p. Mask recommended. No open drinks, please.

From November 1979 LIFE magazine, "Barbie Turns 21." A walk through the first 2 decades of a toy line nearing 70 years of age. Now, in 2024, a wonderful & fun Oscar nominated movie. Good luck! A lot has changed over the years, but much has not.

[the-garbanzo-annex-jr]

by Shiryn Ghermezian

The Academy of Motion Picture Arts and Sciences (AMPAS) has responded to criticism of an Academy museum exhibit about the Jewish founders of Hollywood that has been accused of promoting antisemitic stereotypes.

“Some members of the Jewish community have come forward to express some concerns, and [we] are looking at how to address those concerns best while continuing to share an authentic understanding of these complex individuals and the time they lived in,” the Academy said in a statement to The Wrap. “As part of this process, we are continuing to engage with the community members who have come forward with constructive feedback and welcome these conversations. We hope to move quickly and thoughtfully in this process.”

The Academy Museum of Motion Pictures opened on May 19 in Los Angeles its first permanent exhibition, titled “Hollywoodland: Jewish Founders and the Making of a Movie Capital.” It focuses on how predominately Jewish filmmakers impacted the creation of the American studio film industry in the beginning of the 20th century, especially the Jewish founders of major film studios like Warner Bros., Columbia, Metro-Goldwyn-Mayer, and Paramount.

Prominent Jewish members of the Hollywood film industry sent letters to AMPAS critiquing the exhibit for perpetuating “antisemitic tropes” and pointing out the flaws of the Jewish founders with terms such as “oppressive” and “frugal,” according to The Wrap.

“The focus is not on the founder’s achievements, but on their sins,” read one such letter by Patrick Moss, co-chair of the WGA Jewish Writers Committee. “The words used to describe these men are the following: ‘frugal,’ ‘nepotistic,’ ‘harmful,’ ‘womanizing,’ ‘oppressive,’ ‘brash,’ ‘tyrant,’ ‘cynical,’ ‘white-washed,’ ‘predator,’ … and on it goes,” Moss added. “THIS VERY EXHIBIT IS COMPLICIT in the hatred of American Jews, by using antisemitic tropes and dog-whistles.”

The letter was addressed to AMPAS CEO Bill Kramer, former Academy Museum President Jacqueline Stewart, who resigned last week, and the exhibit’s curator Dara Jaffe. Others who wrote letters criticizing the exhibit reportedly included filmmakers Kimberly Peirce, who is a member of the museum’s inclusivity committee; Alma Ha’rel, a former member of the same committee; showrunner Keetgi Kogan; and television writer Michael Kaplan.

Kogan wrote in part that the exhibit seems to portray Jewish founders of the filmmaking industry as “grasping social-climbers who chose to assimilate into American society on the backs of exploited women and people of color.”

Kaplan told The Wrap: “I think there’s a certain amount of antisemitism, whether conscious or not, but also a presentism. Some of this is valid, but the double standard and lack of context is infuriating to many of us. This exhibit shows the villains. Every other part of the museum shows the victims.”

[dweemeister]

96th Academy Awards nominations reactions

Well, it wasn't doomsday. But it wasn't the best Oscar nomination morning I've ever experienced either!

And goodness me, the two major Best Picture contenders that have the most upwards momentum right now (Oppenheimer doesn't have upwards momentum, it's been top of the pack for the whole awards season) did well. And it just so happens, those two films are the ones I'm the most terrified to criticize.

Some thoughts:

From some of the talk going around and the lack of love from outside the United States, I'm a little concerned with Killers of the Flower Moon as it stands. It's my personal pick for Best Picture, jsyk. Ten nominations sure, but missing out on Adapted Screenplay and Best Actor for DiCaprio is not a good look, despite the surprise Original Song nomination. Certainly, AMPAS is majority/plurality American, so the story strikes deep chords for any of us who care a smidgen about the nation's history and racial injustice. But I have been seeing chatter - not gonna name nationalities - from outside North America saying how they're tired of American racial guilt movies. That is an aspect of KOTFM, but that completely flattens a morally complicated, beautifully made work. A near-miracle it was made in 2020s Hollywood. I think another part of it is that we are all now taking the Scorsese and Spielberg generation of filmmakers for granted. They've come full circle. Their films have done wretchedly at recent Academy Awards ceremonies as of late, and undeservedly so.

The (imo) overperformance of Poor Things makes the Gladstone v Stone matchup look like it may be slowly tipping away from Lily Gladstone. I don't think I will be writing on the film on this blog but, suffice it to say, I didn't enjoy it. Yorgos Lanthimos is a director that has never truly clicked with me, largely due to his earlier, very cynical work. Poor Things is not as cynical, but I didn't care for the messaging at all (yes, Victorian men were sexual hypocrites and miscreants - how self-congratulatory, I found it) or its sense of humor. I guess some can say that I'm just another puritanical American prude, as well. But I thought the sex was getting into the male gaze-y territory, and the sex work subplot was way waaayyy too sanitized. I also despised the atonal score by Jerskin Fendrix, which was very close to stuff me and my orchestra mates might do if we were messing around in rehearsal (disclosure: I was taught classical piano and violin, have studied music theory up to the college level, played in various orchestras up to a decent level in high school, and am a massive film score fan).

It looks like Oppenheimer is running away with this. I just don't see how anything can stop it in Best Picture. I can respect an Oppenheimer Best Picture winner, even if I'm not even sure if it cracks my top three and Nolan is certainly not one of my favorite filmmakers.

I don't think Oppenheimer is getting Best Actor, though. Rooting for Paul Giamatti for The Holdovers on that one. Shame Dominic Sessa couldn't join him in Supporting Actor, but Da'Vine Joy Randolph has essentially got the Oscar in the bag - despite my reservations on how her character essentially disappears in the last third of the film.

But what about Barbie? It's a movie I respect, deeply. But I never thought it in the caliber of Best Picture nominee one bit. The America Ferrera nomination in Supporting Actress I don't support one bit. Gosling? Sure. Robbie? Had a better case than Ferrera, but I understand why she didn't get it. Gerwig? I'm on the fence over her exclusion in Director.

Sensational stuff for Justine Triet and Anatomy of a Fall. It's probably my #2 vote in Best Picture. I just wish Milo Machado Graner was in for Supporting Actor. This is a dark horse, folks, more than capable of pulling off an upset or two come Oscar night. And a damned good movie, too...

... But its success appears to have come at the expense of Trần Anh Hùng's The Taste of Things. And as the Artistic Director of Viet Film Fest in Orange County, California, that stings, as he's VFF alumni. When France passed over Anatomy of a Fall for The Taste of Things in Best International Feature, there was a lot of outrage directed at Taste by people who had and had not seen the film. Perhaps the damage was already done. A massive shame if that was the case.

Other than Poor Things, the other movie with tons of upward momentum right now is Jonathan Glazer's The Zone of Interest. For the record, I think, on its face, you can still make a morally responsible movie about the Holocaust from a Nazi point of view - which I think Glazer mostly does. But my criticism comes from elsewhere. Glazer, in interviews, has said how he wanted to 1) make the movie not primarily about the 1940s, but about our time and our complicity in atrocities and 2) make a film shorn of cinematic artifice to absorb us into the setting. I think his messaging never evolves beyond the basics on the first point; I think he utterly fails on the second. Cases in point: the use of nightvision cameras that only serve to remind the audience they are watching an artistic exercise, the horrific score from Mica Levi that too many film critics (who don't know better, most notably David Ehrlich at IndieWire - really, everyone at IndieWire), and a weird sound mix that reminds me of when stage plays play off-stage sound effects or background noise but that audio doesn't sound sufficiently "far away" enough.

A slight underperformance by Past Lives. It was never going to get a boatload of nominations. But it appears Greta Lee was squeezed out (I have nothing constructive to say about Annette Bening and Jodie Foster in Nyad as I haven't seen the film) and there was scarcely a campaign for Teo Yoo.

American Fiction is, I think, going home empty-handed. Its nominations are the win, and I think it's a decent satire well worth watching.

Maestro doesn't deserve a Best Picture nor its screenplay nomination, but I'm not happy with some of the accusations of Bradley Cooper Oscar-thirsting that's flying around. You folks are taking it much too personally. Did he defecate on your kitchen table or something? Calm. Down.

And speaking about disrespect, there has been a ton of disrespect towards John Williams' nomination for Indiana Jones and the Dial of Destiny. Again, we're coming full circle to an iconic figure of late twentieth century cinema. Especially from fans of Daniel Pemberton's score to Spider-Man: Across the Spider-Verse (who I agree should have been nominated in Score). No, Indy 5 was not great. No, Williams' score to the film was not the best score in the series. No, I don't think Williams should win this year. But did you listen to the score? Helena's theme was gorgeous and its integration across the score was the work of a master. The interplay between the Nazi and Dial themes is something lesser composers just simply cannot replicate. And for those complaining that Williams simply reuses material the entire time, I get the feeling you haven't seen the film or listening to the score by itself (or understand how themes can develop). Yes, I know melody is on its way out in film scores (see: Hans Zimmer, his acolytes, and any composer who thinks that orchestras should be used like drums) and pop music in general in favor of texture and a beat. But I bet you many composers will sell their souls to piece together something half as good as a lesser John Williams score. It's a great score, worthy of its nomination.

Where is Robot Dreams, Neon? This movie's been on my radar for some months now, but radio silence! Do you guys not know how to distribute an animated film? Flee (2021, Denmark) had this same problem! I'm so glad it's in, though.

That nomination for Nimona, though? Dreadful. Again, tumblr won't like I'm going to say this, but I thought it was gratingly written, poorly voice acted, and its humor and character behaviors are going to date like milk.

And a massive congratulations to Godzilla Minus One for its Best Visual Effects nomination. After 38 films in the series, the big fella with atomic breath is heading to the Academy Awards!

No Disney in Animated Short for Once Upon a Studio. Surprising, but not completely so. I'm excited for a slate of independent animated shorts when the short film categories come around!

The Live Action Short slate is rather disappointing. I like the category best when it's full of no-name directors and actors. Without having seen anything else, this is going to Wes Anderson isn't it?

Most prioritized films I haven't seen: all short films, Elemental, Io Capitano, Perfect Days, Robot Dreams, Rustin, Society of the Snow, 20 Days in Mariupol

[brian-in-finance]

Vanity Fair Oscars Party • 2017 • Designer: Alberta Feretti

Vanity Fair Oscars Party • 2019 • Designer: Dundas Couture

Academy Awards • 2020 • Designer: Valentino

Vanity Fair Oscars Party • 2020 • Designer: Prabal Gurung

Academy Awards • 2022 • Designer: Louis Vitton

Vanity Fair Oscars Party • 2022 • Designer: Louis Vitton

Photo: Vanity Fair Slideshow • Other Photos: Getty Images

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Remember… fashion you can buy, but style you possess. The key to style is learning who you are, which takes years. There's no how-to road map to style. It's about self expression and, above all, attitude. — Iris Apfel

Seem like only 319 days ago…

[thejewofkansas]

Awards Season 2023-24: The 96th Academy Awards

I got some very cool stuff at the Oscar party I attended, but perhaps the most photogenic was this lovely poster for Past Lives. Is Al Pacino okay? Serious question. That concern aside, it was a pretty good night. Kimmel’s hosting was hit-and-miss, but I’ve certainly seen worse. I liked how they presented the acting awards. Would’ve been cool if they’d done that with a couple other categories,…

[jontheblogcentric]

2023 Oscars Best Picture Review: The Zone Of Interest

Sandra Huller plays the wife of a top Nazi in Auschwitz in the haunting The Zone Of Interest. It would be naturally impulsive to dismiss The Zone Of Interest as ‘another Holocaust film.’ If you watch it, you will see it’s about more than just the Holocaust. Many people will say that Holocaust films have done countless times before. Even if it is true, there are many angles one can see the…

[destinyc1020]

Some Austin news

https://twitter.com/popcrave/status/1674125201313878042?s=46&t=MsTyyZBGy5t6aYtbstg3fg

X

Yay!! This is great news! I'm happy for him. 🥰 He's a huge film/movie enthusiast too, so this would be good for him. 🙂 I know for sure he would have voted for Angela lol 😤

It makes sense since he's an Oscar nominee, and that's usually one of the ways that you're able to get an invite into The Academy membership.

I'm really glad the Academy has been adding younger members over the years.

Thanks for sharing Anon! 👍🏾 I didn't know this.

And before anyone asks, yes, Tom and Zendaya are also members of the Academy lol. 😄

[ffactory]

[haute-lifestyle-com]

The Academy of Motion Picture Arts and Sciences announced today the newest acquisitions to its expansive Academy Collection—the largest film-related collection in the world, comprising more than 52 million items of film-related objects and materials

[citizenscreen]

In January 1941, Bette Davis became the first female president of the Academy of Motion Picture Arts and Sciences. She resigned after two months. #DailyBette

[carabanchelnet]

📌Del “boicot” a la “apropiación”: tensión entre asociaciones y Ayuntamiento de Madrid por los festejos populares 📌En Carabanchel se asfaltaran 20 calles dentro de la Operación Asfalto 2024 📌¿Qué decisiones puede tomar Pedro Sánchez tras amagar con dimitir? 📌Hoy jueves 25 de abril, Carabanchel se manifesta en sus calles en defensa de la Sanidad Pública 📌… Y MÁS …. https://carabanchel.net

[rabbitcruiser]

On February 29, 2004 The Lord of the Rings: The Return of the King won at the 76th Academy Awards all eleven awards for which it was nominated: Best Picture, Best Director, Best Adapted Screenplay, Best Art Direction, Best Costume Design, Best Film Editing, Best Makeup, Best Original Score, Best Original Song for "Into the West", Best Sound Mixing, and Best Visual Effects, therefore tying the record for the most Academy Awards won by a single film and holding the record for the highest clean sweep at the Oscars.

[kosher-toasty]

wake up babe, new Oscars category just dropped

[dweemeister]

Sending out Oscar nomination eve vibes

First things first, as a fan of the human chaos that is the Academy Awards, viewing films primarily through the prism of awards is one of the most myopic ways to look at movies. That there is a whole sub-industry of journalism dedicated to awards horse racing and campaigning never ceases to amaze me - even though I must admit to consuming said journalism (or "journalism").

Going into and out of a screening with "I wonder what this could get nominated for?" as the first thing in your mind is not how anyone should absorb and analyze a film. Awards are for the industry, sure, but they're also markers of taste for a certain group of people at a moment in time. They're good entryways into budding film buffs. Awards are fun; don't try to get too emotionally involved in them.

Okay, putting that aside and fully realizing some of the below will sound hypocritical, I begin with some extremely unlikely stuff I would like to see tomorrow morning, but probably won't happen at all...

That despite the highly questionable 2017 move to take away sole nominating power for Best Animated Feature from the Short Films and Feature Animation Branch (I'm guessing the Academy at-large got sick and tired of the category featuring films they hadn't seen/refused to see), I hope those who opted into voting on Best Animated Feature nominees looked beyond the major American and Japanese animation studios. Did Robot Dreams catch their eye (this was a major hit in its native Spain and France)? Maybe Perlimps (directed by Ale Abreu, who did Boy & the World)? Ernest & Celestine: A Trip to Gibberitia (which I admit I truly enjoyed, although I still hold the original in much higher esteem)? My Love Affair with Marriage? What about The Peasants (directed by the same team who gave us Loving Vincent)? I hope they took the time to give those films a watch, their due justice. If they don't get nominated because they didn't deserve, that's okay. But I want voters (and everyone out there) to realize the world of animation is much more than Disney/Pixar/DreamWorks/Illumination/Netflix/Sony and Studio Ghibli/Toei/Toho Company. There is so much more out there.

That Justine Triet is nominated for Best Director for Anatomy of a Fall. Give us Milo Machado Graner as a Supporting Actor nominee, too.

Another child actor in the acting categories, please. No one pins a 30-year-old Asian American male as a fan of Are You There God? It's Me Margaret. I read the book (one of the few major Judy Blume books I had never read) last year, and adored the film adaptation. But, in realization that I don't think the film is good enough for Best Picture... how about a Best Actress nod for Abby Ryder Fortson? She embodies Margaret beautifully, and strengthens this adaptation with a mature performance. She deserves it solely for escaping the Ant-Man series and not being involved in Quantumania. On another note, Rachel McAdams has taken all of the headlines for Margaret. She's fine, but I completely disagreed with her character's expanded presence in the film, as it took away from Margaret (Blume's book is entirely from Margaret's perspective).

Dominic Sessa. Supporting Actor for The Holdovers. Make it happen, please.

I haven't seen it. And this is a bit self-serving, professionally. But as the Artistic Director for Viet Film Fest, if Trần Anh Hùng's The Taste of Things is indeed deserving of a Best International Feature nomination (which, by looking at reviews, surely sounds like the case), I hope that voters do not punish the film for taking France's spot in Best International Feature instead of Anatomy of a Fall. I think the French believed that The Taste of Things represented French culture better than Anatomy of a Fall, and wanted to spread the love among potential Oscar contenders. Nevertheless, there's been a kerfuffle since France announced Trần Anh Hùng's film as their International Feature pick. Let's put that controversy aside, please.

That actors reward performances that are "showy" and nuanced. I feel like the Discourse over the last two years have been to reward maximalist performances in maximalist movies.

That voters in the music branch stop giving into the trends of amelodic, atonal, and minimalistic film scores (I'll even thrown in film scores that prioritize a "vibe" or "beat" over anything else, truly any score that is meant "not to be noticed"). We're in a moment now where younger directors (and certain auteurs who clearly have limited knowledge in the power of great melodic film music) are telling their composers - some of whom are incredibly capable artists, others not so much - that melody is old-fashioned, has no place in modern "realistic" cinema, and belongs only in musicals and animation. As a pianist/violinist who isn't that good at all and was classically trained through high school, this hurts deep. Don't be so afraid of a gorgeous melody and what it can provide to even movies aiming for realism. If the reactions as I was leaving The Zone of Interest and Poor Things the other nights were any indication, I'm becoming a endangered minority. Perhaps they should ship me to a museum so I can listen to my outdated film scores.

Am I still hurting from the sonic trash that was All Quiet's Best Original Score win last year? You bet.

Godzilla Minus One shocks us all and gets a nomination. Somewhere. Anywhere. Visual Effects? Yes please. Best Picture? Ehh, probably not, but if somehow made it, this kaiju fan would be very happy.

Okay, now for more likely things that'll happen. Some vibes need to go that way too, even if I'm a little more comfortable about the following.

That Killers of the Flower Moon can weather what appears to be a lack of support outside the United States - I get it, many non-Americans are tired of American cinema's racial reckonings on-screen - and solidly find its nominations for Picture, Director, Actress (Gladstone), Supporting Actor (De Niro), Screenplay, Cinematography, Editing, Costume Design, Production Design. Anything beyond that is a luxury to me - I waffle on the deservedness of Leonardo DiCaprio's performance and I disapprove recent trends in how AMPAS perceives what constitutes a worthy score.

That even though I personally don't think Barbie deserves to be nominated for any of the big awards, I hope it does well in the technical categories it deserves (Cinematography, Editing, Song, Costume Design, Production Design, and Visual Effects). Even if it gets nominated for Best Picture (which I think is a 90% chance right now), I don't mind at all.

Past Lives love. Celine Song? Greta Lee? Teo Yoo?

I think American Fiction is dancing 50/50 on all of its potential nominations right now. At least get Jeffrey Wright in for Actor and Cord Jefferson for Screenplay. Picture and anything else a luxury.

That the Short Film and Feature Animation Branch doesn't confuse professionally edited home movies with a worthy documentary short. Please stop.

For the record, yours truly is on Team Killers of the Flower Moon. And right now? I'm expecting the film to perform like Scorsese's The Irishman (2019) on Oscar night.

There's... a major contender of a film or two out there I'd like to see not do so well on nominations because I did not care for them (Oppenheimer is not one of them, as I think it mostly deserves the nominations that appear to be headed its way... winning those boatload of nominations, though? hmm). Those one or two films shall go nameless so as not to jinx anything. But perhaps you already parsed them out by reading the above.

[brian-in-finance]

Video 📹 from ABC (USA)

Remember… this story is the search for joy and hope in the face of violence and loss. We will never forget all of those lost in the heartbreaking, heartwarming, human story of that amazing city of Belfast on the fabulous island of Ireland. — Sir Kenneth Branagh, accepting the Oscar for Best Original Screenplay