Best Picture Countdown #3: Roma

“We are alone. No matter what they tell you, we women are always alone.”Marina de Tavira as Sofía in Roma (2018)

Alfonso Cuarón’s semi-autobiographical drama Roma has become the Awards season darling over the last few months, racking up heaps of praise from critics and audiences alike – though many viewers never had the chance to see it on the big screen. Despite a limited theatrical run, Roma, currently streaming on Netflix, has dominated the awards circuit and steamrolled over films once considered favorites for Oscar night. Though, as someone who had to watch it in her living room, perhaps a film that is so personal and evocative is best seen in a more intimate setting.

Roma_theatrical_poster

Roma is a film that looks simple on the surface – following the life of a housekeeper and her interactions with the family she works for in Mexico from 1970 to 1971 – but, as it unfurls onscreen, develops into a deeply nuanced film with a multi-tiered message that audiences are free to interpret how they see fit. Some might relate to Cleo’s struggles, some to Sofía and her troubled marriage, some to Teresa as a concerned spectator in the lives of loved ones, some as the children who are unaware, yet so intrinsically involved in events they have no control over.

The only reason this film doesn’t rank higher for me personally is that I found parts of the narrative to be aimless – naked hotel-room martial arts included. I mean, I’m all for films that don’t follow a standard story structure, as it allows for a more thorough exploration for the viewer, but this film didn’t hit quite as hard for me as other Best Picture nominees. Still, after the credits rolled, I fund my mind dissecting and rolling over the events of the film, trying to piece together moments I might have missed, and lining up motivations that perhaps evaded my notice, so, even if it wasn’t my favorite, Roma lingered in my mind in a profound manner. So much of this film is revealed through subtleties and in what is left unsaid. The screenplay’s universality, crafted with love and precision by Cuarón drawing on events from his own childhood, makes it a front-runner for the Best Original Screenplay award.

Newcomer Yalitza Aparicio’s performance as Cleo is a triumph, as she exudes an earnestness that makes the character both sympathetic and relatable. Keeping the character grounded gives her an honest quality, one that makes her compelling to watch, and invests the viewer in her journey. However, facing Gaga, Colman, and Close will be a tough battle to win, though Aparicio, if she walks away with the gold on Oscar night, is 100% deserving. Same goes for de Tavira, who gives an understated performance as the suffering matriarch who aims to keep her family together as she feels her life falling apart.

However, since I interpreted the writing as one of the strongest facets of this film, I also found myself connecting more with the “behind the scenes” efforts. The cinematography is excellent, as is the production design, and I won’t be surprised if it nabs trophies for both. It might sound superficial, but a film that is already beautiful in its writing and performances is often buoyed even more when it looks beautiful, too, and Roma is no exception to that. And Cuarón, the favorite for Best Director, wholly deserves to take home that honor for the extensive work he put in to make this project what it is.

Whether or not it takes home the Best Picture gold – and I’m pretty sure it will – Roma is basically a shoo-in for Best Foreign Language Film, and is virtually guaranteed to score multiple awards on Oscar night. Seeing a project that Cuarón put so much effort into earn so many accolades is rewarding in itself, especially because he is a filmmaker who comes across as someone who connects deeply with, and is steadfastly dedicated to his craft. And the fact that this film was made for Netflix count have a big impact on the way films made for streaming are treated by the Academy. As it currently stands, I believe this stunning film will go 5 for 10, but I won’t be surprised if it takes home even more.

Oscar Nominations: 10
Best Picture
Best Director (Cuarón)
Best Actress (Aparicio)
Best Supporting Actress (de Tavira)
Best Original Screenplay
Best Foreign Language Film
Best Cinematography
Best Production Design
Best Sound Editing
Best Sound Mixing

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Best Picture Countdown #7: Vice

“I can feel your recriminations and your judgment, and I am fine with that. You want to be loved, go be a movie star. The world is as you find it. You got to deal with that reality, and there are monsters in this world.”Christian Bale as Dick Cheney in Vice (2018)

 Of all the films nominated for Best Picture at this year’s Oscars, Vice, directed by Adam McKay, might be the most divisive. Depicting the rise to power of former Vice President Dick Cheney and his involvement in several critical moments in American political history, this film is at parts an illuminating look into the elusive “perhaps this happened” and also a bleak, almost nihilistic approach to exposing corruption of power when it is placed in the hands of a “monster.”

Vice_(2018_film_poster).png I personally went into Vice not expecting to see “true events” depicted verbatim, especially considering the film is classified as a “dramedy,” not a straight-up biopic. Treading the line between fiction and reality is precarious for filmmakers, and that seems to be what much of the criticism of this film is based on. Obviously, since Cheney himself was not involved in the making of the film, the audience needs to take it with a grain of salt and an open mind, regardless of political affiliation. But watching it, I found parts of it eerily compelling in the same vein as a car wreck – because, although we may never know exactly what went on behind closed doors, the very possibility is terrifying. I might dare to suggest many elements came across as plausible, though that might just be a testament to McKay’s writing, which is deservedly nominated. Films do not need to be “accurate” to be “true.” And maybe, some folks don’t like exploring the mere possibility that our elected officials have hidden agendas. But, I don’t want this to turn into a political tirade, so…

Much like Bohemian Rhapsody, this film is buoyed by a transformative performance by leading man Christian Bale, who is at times utterly unrecognizable as Cheney, with no small thanks to the makeup and hairstyling team, which are a front-runner for the Oscar. It looks to be a two-horse race between Malek and Bale for the Best Actor gold, with Bradley Cooper a semi-distant dark horse, but I won’t be disappointed by either result. Amy Adams turns in a sharp performance as Lynne Cheney, but, as much as I’d love to see her take home a victory for Supporting Actress, I think the odds are stacked against her this year. Sam Rockwell as George W. Bush is riveting (and almost cartoonish) to watch, but it is not likely enough to elevate him above the fierce competition in the supporting actor category.

Now, the real strength of Vice shines in the editing. Some critics may not agree, but Hank Corwin masterfully maneuvers this film through rapid switches in tone (there’s a Shakespearean exchange between the Cheneys, a marvelous scene where political officials are ordering “dinner,” and important conversations inter-cut with scenes of Cheney fishing) in order to keep the film from flying off the rails. Precise editing also prevents the film from losing the messages it’s trying to deliver, and when placed in conjunction with McKay’s writing, the combination makes the editing a standout. It’s already gotten a BAFTA for editing, so that momentum might carry over to the big night.

As much as I personally enjoyed Vice, as a critique, an exploration, and an artistic approach to uncovering “truth,” I won’t deny that it is problematic for valid reasons, and, as a result, I doubt it will take home the ultimate prize come Oscar night. However, I am predicting Vice will take home two awards, and end up going 2/8.

Oscar Nominations: 8
Best Picture
Best Director
Best Actor (Bale)
Best Supporting Actor (Rockwell)
Best Supporting Actress (Adams)
Best Original Screenplay
Best Film Editing
Best Makeup and Hairstyling

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