Оскар 2025

[Haggard]

9 минут назад, EMoushen написал:

Похоже придется на Бруталиста ставить

Как будто там есть другие варианты. 

Вижу, что проталкивают в прессе конфиг Конклава с фильмом-сценарием-монтажем. Логика есть, но победа никому не нужного кина про унылого попа это прям ультимативная зевота. Хуже ничего быть не может. Так даже ни одной жопы не треснет. 

[New_Red]

На одном конце спектра - Конклав (самый нескандальный фильм года) и на другом - Перес (самый скандальный).

Бразилов большинство там думаю не видело всё равно.

[Брэнд]

8 минут назад, Haggard написал:

Как будто там есть другие варианты. 

Вижу, что проталкивают в прессе конфиг Конклава с фильмом-сценарием-монтажем. Логика есть, но победа никому не нужного кина про унылого попа это прям ультимативная зевота. Хуже ничего быть не может. Так даже ни одной жопы не треснет. 

Ну собрал Конклав больше Аноры в разы, оказывается был нужен даже в кинотеатрах.

 

[Egg]

2 минуты назад, New_Red написал:

Боб Дилан (самый нескандальный фильм года)

Исправил. В Конклаве вообще-то может немного подгореть от не то сына, не то дочери на новом папе.

[New_Red]

Только что, Egg написал:

Исправил. В Конклаве вообще-то может немного подгореть от не то сына, не то дочери на новом папе.

Ладно, сойдет.

[EMoushen]

Было много разговоров про то, как Эриво и Гранде пели live на съёмочной площадке Викед, но Шаламе между прочим тоже пел все живьём. 

[Haggard]

Какая вообще зрителю разница кто как пел. Смотрят законченный продукт, а не сырой материал с площадки. 

[Брэнд]

и Барбаро, и Холбрук, и Нортон

11 минут назад, EMoushen написал:

все живьём

 

[_Skywalker_]

2 часа назад, EMoushen написал:

Кажется за всю историю ни один хоррор не брал операторку. Похоже придется на Бруталиста ставить

Чем докажешь

Призрак оперы 1943 брал

[EMoushen]

48 минут назад, Haggard написал:

Какая вообще зрителю разница кто как пел. Смотрят законченный продукт, а не сырой материал с площадки. 

Не знаю за зрителей, но некоторым академикам это важно при оценивании перфоманса в оскаровской гонке. Собственно я свой пост писал после прочтения очередного анонимного бюллетеня, где Шаламе как раз хвалят, что научился играть на гитаре, научился петь, спел песни живьём на площадке и круто сыграл Дилана, само собой.

[DandyAndy]

Anonymous 2025 Oscar Ballot #8

Цитата

Best Picture:

1. “Anora” – I just thought this was such a fascinating story. It’s always interesting when a movie makes you feel something unexpected. When I left that movie, I thought she didn’t really have an arc– she’s literally back in the same place where she started. But as the viewer, I had experienced an arc. I felt like I had changed as far as my perception of people working in that industry, or people with tough backgrounds, who are really kind of stuck…a lot of movies kind of show you, rather than experience that, so it was nice to get to experience that arc within myself.

2. “The Brutalist” – Amazing performances and production design…I wish movies weren’t as long these days, but what are you gonna do?

3. “Emilia Pérez” – I’m generally not a fan of musicals, but I liked how it was so unexpected and used the songs creatively.

4. “Conclave” –  I particularly liked the editorial choices made in that film. It was very intelligent and deliberate, and I liked how the pace of that film made me feel. Obviously, the subject matter was fascinating, but I thought it was a movie, from an editorial pacing perspective, that really led me to feel something. 

5. “A Complete Unknown” – Mangold did a really good job making the music biopic formula feel fresh. I loved the performances of everyone involved. And Timothée is just amazing here.

6.  “Dune: Part Two” – It’s well made, and I admire the craft, but something is missing emotionally for me with these movies.

7. “Nickel Boys” – I respected the technical exercise, but it didn’t really work for me. 

8. “The Substance” – I do kind of like that this got nominated for Best Picture. It’s so out of line with what normallygets nominated, and Demi Moore was amazing, but I didn’t really enjoy the movie as a whole. 

9. “I’m Still Here” – It was a good drama but lacked something extra to push it over the line for me. I’m not sure. Perhaps it was how dragged out the third act felt? I don’t know. A part of me feels it peaked early and couldn’t maintain that energy throughout.

10. “Wicked” – I understand why some people like it…but like I said, I’m not a fan of musicals. I thought it could’ve resonated more, and I thought the VFX was lacking throughout.

 

Best Director:
Brady Corbet. Everything in “The Brutalist” was so precise. You see him taking this chaotic world and shaping it with that level of precision that you don’t see with many actors turned directors. It’s just outstanding.

 

Best Actress:
Mikey Madison. She’s so relatable. She spent all this time working on this accent that was really perfect to signal where she came from from a socioeconomic perspective, but it wasn’t too in your face where you kinda didn’t believe it. She did such a good job riding this line between where you want her to succeed, and you can tell this guy does not totally fool her, but she needs anything to get out of this place she’s in, so she kinda tricks herself…that kind of self-deceit is hard for actors to show. Lying to the audience is one thing; convincingly lying to yourself is another.

 

Best Actor:
Timothée Chalamet, of course. I thought Adrien Brody obviously did an amazing job. And all this chatter about the AI of it all doesn’t weigh into this at all. Actors have had different people ADR for them in foreign languages, and nobody has ever said anything about it. So that sort of voice of it all is another tool in the toolbox for filmmakers. That performance is still Adrien’s. He did a fantastic job, and nothing should take away from that. So it really was a coin toss for me between those two. The way Timothée immersed himself in the role and all the stuff they’re doing live, there’s no “Hey, let’s record this after” they’re doing it on set. It’s really impressive work.

 

Best Supporting Actress:
Zoe Saldana. She’s just a badass in that movie. Everybody in that movie did an excellent job, but she was the lone grounded, believable character. Everyone else in that movie is kind of a caricature, but Zoe’s character felt real and guided us through that movie.

 

Best Supporting Actor:
Kieran Culkin. He just had this unbelievable blend of humor and heartbreak. He delivered a nice layered performance. It’s classic Supporting Actor stuff. I really like everything he’s in.

 

Best Original Screenplay:
I went with “Anora.” As I said, Sean Baker really took me on a journey, one that I won’t forget any time soon.

Best Adapted Screenplay:
“Conclave.” This was a super dense novel, and as far as movies go, when you’re taking a dense novel and compressing it and still keeping all the novel’s suspense, that’s not easy. Much of the pacing and character work was in the editing, but that was definitely in the writing.

 

Best Animated Feature:
“The Wild Robot” gave me all the feels. As a parent, it made me so emotional, and it really stayed with me.

 

Best Documentary Feature:
I abstained after not seeing all of the nominees.

 

Best International Feature Film:
“Emilia Pérez.” If you can convince me to like a musical, I have to give you some credit.

 

Best Cinematography:
“The Brutalist.” I really liked them bringing out Vistavision for this. It made it feel special.

 

Best Costume Design:
“Dune: Part Two,” “Nosferatu,” and “The Brutalist” were my favorites from an overall design perspective this year, and I couldn’t vote for the other two in this category, so “Nosferatu” wins by default.

 

Best Film Editing:
“Conclave” for the same reasons stated above.

Best Makeup & Hairstyling:
“The Substance” was gnarly, gnarly stuff. Obviously, it’s supported by a great performance from Demi Moore, but that makeup took that performance to a whole other level.

 

Best Production Design:
This was a tough one. I was waffling between “Dune: Part Two,” “Nosferatu,” and “The Brutalist” but I went with “Dune: Part Two“ because I’m a sucker for science fiction and how you have to create new worlds from scratch.

 

Best Original Score:
As I said, “The Wild Robot” led me through some really emotional places, and the music was a huge part of that.

 

Best Original Song:
I went with “El Mal” from “Emilia Pérez.” It had the most energy and stood out from the others; Saldana did a great job with it.

 

Best Sound:
For this one, I chose “Dune: Part Two.” That movie was just an insane assault on the senses. If you’re gonna put something on to demo your home theater system, it would be that.

 

Best Visual Effects:
“Kingdom of the Planet of the Apes.” That whole series has been chronically underrated from a VFX perspective because it looks so good and is so naturalistic. Anyone who has been to the zoo or in nature and seen monkeys and apes is just like, “Yeah, that’s what they look like,” but to achieve these synthetic versions of these characters in worlds they wouldn’t normally be found in and not be able to tell where reality starts and stops? That’s hard. With “Dune: Part Two,” you see him riding a worm, and it looks great, but there’s never a moment where you think, “Oh my god, this is real.” But these fuzzy characters are so believable, and they’re almost a victim of being too good because you’re not even thinking about it the whole time you’re watching. In this one, I was especially impressed with how they worked with some of the elements, such as the hair interacting with the water. The VFX team has written all their own software to have these things called “coupled simulations” for fur and water interaction, and it’s just extraordinary work.

 

***This voter, a member of the visual effects branch, abstained from voting in the shorts as they didn’t get around to all of the nominees in time this year.***

[Milenali]

Вот этот аноним более адекватен, чем предыдущие, типо не дадим Оскар Файнсу, потому что у него уже есть один… не смотрел дюну, ибо это скучно лол и прочие бредни. Здесь как-то более по фактам и с объяснениями. 

[DandyAndy]

[DandyAndy]

[Egg]

Навернул, что было и остался жив.

Самый правдивый (мой) топ перед Оскаром:

1. Субстанция

2. Злая: Сказка о ведьме Запада

3. Дюна: Часть вторая

4. Конклав

5. Анора

6. Боб Дилан: Никому не известный 

7. Бруталист

8. Я всё ещё здесь

9. Мальчишки из «Никеля»

10. Эмилия Перес

 

Прям говно только Перес. Никель и бразильцы - слип. Но в этом году даже болеть не за кого.

[drongoryachiy]

9 часов назад, _Skywalker_ написал:

Конечно так и не очухался Оскар со времен 2019:

Просто для интереса, сколько собирали номинанты 2020 церемонии:

Паразиты - 250 млн

Кролик Джоджо - 90 млн

Маленькие женщины - 218 млн

Джокер - 1 млрд

Форд против Феррари - 225 млн

Однажды в Голливуде - 374 млн

1917 - 384 млн

Ирландец и Брачная история - релиз на нетфликсе

Еще можно взять Достать ножи - 310 млн. Который, теоретически, попал бы в номинанты, будь 10-ка ЛФ

Итого: около 2,5 млрд весь лайн-ап ЛФ собрал. 

А если глянуть средний зрительские рейтинги, так вообще, один из самых народных Оскаров был.

Скоро ли такое будет? За каких-то пять лет уровень катастрофически упал.

Во-первых, такие сильные года, как 2019, в целом редко случаются, и до него были слабые сезоны, например, прошлый перед ним 2018 - прям такой себе. 2010 тоже был отличнейшим, а вот 2011 подкачал и так далее. Во-вторых, если говорить о сборах, то вообще-то за 2022 были Топ Ган 2 и Аватар 2, которые суммарно собрали больше, чем все номинанты 2019 года. Всё везде и сразу собрал крутую кассу для инди-кино, остальных лень смотреть, но и они не сущие копейки брали. В этом году не очень большие сборы у номинантов, но опять же, год на год не приходится.

8 часов назад, Egg написал:

Осталось посмотреть бразильский шедевр. Это лучшая версия, что есть в сети? (там еще и русский закадровый) :

Я забил на качество и прям так посмотрел

[Milenali]

2 часа назад, Egg написал:

Навернул, что было и остался жив.

Самый правдивый (мой) топ перед Оскаром:

1. Субстанция

2. Злая: Сказка о ведьме Запада

3. Дюна: Часть вторая

4. Конклав

5. Анора

6. Боб Дилан: Никому не известный 

7. Бруталист

8. Я всё ещё здесь

9. Мальчишки из «Никеля»

10. Эмилия Перес

 

Прям говно только Перес. Никель и бразильцы - слип. Но в этом году даже болеть не за кого.

У меня с вами 2 последние совпали. Эмилия такой сумбур, что можно только как рофл смотреть. Мальчишки могли быть намного сильнее, если бы не эта рваная режиссура. Этот pov мне не понравился, сценарий достаточно хорош, не зря много, где отметили. В моем идеальном мире, лучшим фильмом года должна стать дюна. Но конечно, знаю что она не получит, к сожалению. Брутал у меня на 8, а я все еще здесь на 7м. Брутал слишком сильно реж старался показать все и сразу, и претендовал на великость, в итоге скучный первый акт, слишком много всего показано, не всегда ясно зачем, ветки многих персонажей не доведены до конца, зачем нам персонажей показывали не ясно, видимо, чтобы время потянуть. Ну про конец, уже много говорили, что это шок ради шока. Хотя, актеры и операторская работа, безусловный плюс фильма. Я все еще здесь - хороший фильм, но просто хороший, не шедевр. 

[DandyAndy]

The Academy Did This to Itself

The overt internationalization of the Oscars, while cool in many ways, has fundamentally altered the taste of the awards body, and it threatens to further niche-ify the lucrative telecast when it most needs a shot of populism.

Цитата

This year’s Academy nominees reception and class photo event was an understandably muted affair. Due to the L.A. fires, the usual boozy lunch during the Oscars voting window—an annual showcase for enthusiastic, face-to-face politicking, and the occasional dog stunt—became a more casual cocktail hour on Tuesday night after voting closed, and before the individual branch dinners. Still celebratory, but Appropriate with a capital A, as Academy president Janet Yang has been meticulously messaging this season.

 

The nominees I chatted with were as pumped as ever, of course. But with everything going on, it’s hard not to observe the hoopla leading up to Sunday’s Oscars through the lens of diminishing relevance and the financial and cultural realities that are transforming Hollywood into a quaint vestige of its former self. The Oscars, which were conceived by the original 1920s movie moguls as a grand promotion for the nascent art of American filmmaking, have always mattered so much inside the industry because they have always mattered outside, too. People in the Real World care about this stuff, we always told ourselves. But with the exception of last year’s social media–fueled Barbenheimer phenomenon, which led to a slight uptick in ratings, the box office and cultural relevance of the nominated films have been in decline for some time, as has the TV audience.

 

We all know the reasons: the end of monoculture; the Academy’s stubborn unwillingness to evolve its broadcast for the times, as the Grammys have; and, most of all, I think, the divergence in the taste of mainstream American audiences and the people who make movies—especially movies outside the U.S. As a result, even as the nominees congratulated each other on Tuesday over mini pizzas and squash fritters (delicious, by the way), it was hard not to wonder why the Academy wasn’t doing more to evolve its own organization in ways that can reinvent and supercharge its signature asset: the Oscars show.

 

After all, it’s sort of the only thing that matters. AMPAS made $147 million in 2024 from the Oscars and “related activities” like the Governors Ball, the vast majority of the overall income for the nonprofit group. As viewership for the show has dipped below 20 million, and as the expiration of the current Disney/ABC deal nears in 2028, Academy C.E.O. Bill Kramer has become concerned enough about the possibility of a haircut in its next broadcast deal that he launched a separate fundraising drive. In short, it’s crunch time for the Oscars. I’ve already written about how to improve the annual telecast, and why an organization with 55 members on its board of governors is set up for indecision and chaos. But an underappreciated—and, yes, potentially controversial— aspect of the Academy’s problem lies in the makeup of the organization itself: At this point, there are too many foreign members.

 

The Inclusion Push

 

Hear me out. I swear this is not an anti-D.E.I. screed, and I’m not trying to land a spot in the Trump-approved White House press corps. As we know, the Academy has been adding members at a furious pace over the past decade. The organization, which counted around 6,100 voting members in 2014, now boasts nearly 10,000. For reasons including racism and cronyism, the Academy was overwhelmingly white, male, and older, and it tended to produce nominees that were white, male, and older. In 2015, the organization finally recognized the severity of its problem. But to diversify without kicking elderly members out and prompting mob riots at the Motion Picture & Television Fund home, it added members. As a result, both the makeup and the nominees changed a bit. A 2023 study by USC found that 8 percent of Oscar nominees between 2008 and 2015 were from underrepresented racial or ethnic groups. Between 2016 and 2023, that number increased to 17 percent.

 

That’s better. The Academy still has a diversity problem, but its steps to rectify that issue have been slowly working. Beyond the inclusion push, I’d argue the overt internationalization of the Oscars, while cool in many ways, has fundamentally altered the taste of the Academy, and it threatens to further niche-ify the Oscars telecast right when it needs to pivot toward the mainstream. 

 

Over the past 10 years, as many as 40 percent of the invites went to new members from outside the U.S. In contrast with the diverse new members from America, or those who appear more regularly in television shows, these foreign invitees are often not actors or filmmakers who regularly work within the U.S. film industry. A typical recent invite is someone like Rima Das, an Indian filmmaker whose 2017 coming-of-age drama Village Rockstars was India’s submission in that year’s foreign language film category. An achievement, for sure, but Village Rockstars was not nominated, and Das has never made a film released in the U.S., according to IMDb. Jayro Bustamante, another recent invite, is a Guatemalan filmmaker whose Ixcanul was the country’s submission in that category in 2015 (it also wasn’t nominated). His only film to get a U.S. release, according to Box Office Mojo, was the 2019 thriller Tremors, which grossed just $24,000 in this country and $122,000 worldwide from two territories. Despite their disconnection from mainstream filmmaking, Das and Bustamante are now both Oscar voters.

 

This isn’t an artistic point, or even a complaint about the “qualifications” of these international invites. But when voters have no connection to the Hollywood film industry—or, in some cases, even an interest in the kinds of movies that are shown in U.S. theaters—how can the Academy expect them to nominate movies that appeal to the American audience that consumes mostly Hollywood films and might want to watch the Oscars on a Sunday night? As one film sales agent pointed out to me, many of the overseas filmmakers actively dislike the U.S.-based industry or view it as imperialistic. It’s pretty easy to join the BAFTAs, but they aren’t exactly falling over themselves to invite more U.S. members. Neither are Spain’s Goyas, or France’s César awards. Only AMPAS has decided to become a global film organization yet also try to maintain the large U.S. audience for an Oscars telecast that serves as the greatest promotional platform ever conceived—and also pays the bills.

 

To be fair, whenever I bring this topic up with Academy members, they convincingly defend the expansion overseas. Today I was emailing with producer Michael Shamberg, a frequent critic of the Oscars, and he argued that “more foreign Academy members reinvigorate the Academy and expand its global brand.” Like with the NBA or MLB, what professional talent wouldn’t want to compete against the best in the world? 

 

A good point. But this is kinda different. Sports leagues welcome the most talented athletes; they don’t let them vote on who wins MVP—or whether to put teams in Berlin or Budapest. Even Shamberg admits that “smaller foreign films like I’m Still Here are just as worthy of nominations as American indies, but they have less awareness for the American audience.” And the Academy can welcome foreign talent with at least tenuous connections to the U.S. film industry without going to 40 percent of invites. As Oscar-ologist Scott Feinberg noted back in 2015, the Academy has been somewhat welcoming to foreign members for most of its history.

 

Another argument: If the Oscars want to further diversify away from old white men—and they should—there simply aren’t enough legitimately diverse U.S. film professionals to invite. The foreign selection pool is larger, and fishing in that ocean leads to a more qualified and, honestly, more sophisticated electorate. True, and the board of governors might feel better about inviting a global membership. But we then need to accept that the Oscars will no longer be a populist broadcast in this country when six of the 10 films nominated for best picture are niche art house titles; two are in a foreign language; and all but Wicked and Dune: Part Two have little connection to the broader culture. The Oscars will become the Tonys.

 

Maybe that’s fine with the average AMPAS member. But with so much on the line, and so many pressures on the continued power and relevance of the Oscars, it’s increasingly difficult for the Academy to have it both ways.

[WhiteOleander]

9 часов назад, DandyAndy написал:

Anonymous 2025 Oscar Ballot #8

Цитата

She did such a good job riding this line between where you want her to succeed, and you can tell this guy does not totally fool her, but she needs anything to get out of this place she’s in, so she kinda tricks herself…that kind of self-deceit is hard for actors to show. Lying to the audience is one thing; convincingly lying to yourself is another.

Классно подмечено

 

[Prunea]

бурталист>>субстанция>>флоу>>никель>>анора

все остальные не достаточно голодные поэтому болеть за них не вижу смысла. хороший год, не знаю чего все так бубнят 

[WhiteOleander]

Я, видимо, глупость спрошу, но 

был ли со времён "Амадея" байопик о музыканте, получивший ЛФ на Оскаре?

[Брэнд]

1 час назад, Prunea написал:

бурталист>>субстанция>>флоу>>никель>>анора

все остальные не достаточно голодные поэтому болеть за них не вижу смысла. хороший год, не знаю чего все так бубнят 

для ньюловеров каждый год 21 века - хороший

[Prunea]

41 минуту назад, Брэнд написал:

для ньюловеров каждый год 21 века - хороший

то как ты активно дикрайдишь один из самых скучных фильмов из шортлиста в этом году многое говорит о тебе. факт того что ты смотришь старые фильмы и кококо на каждом углу об этом не отменяет полное отсутсвие у тебя вкуса 

[ORANGE'71]

------------------------------------------

Oscars 2025: Who Will Win, Who Should Win By Scott Feinberg, David Rooney

Picture: Anora
Directing: Sean Baker
Original Screenplay: Anora
Adapted Screenplay: Conclave

Actor: Adrian Brody
Actress: Demi Moore
Supporting Actor: Kieran Culkin
Supporting Actress: Zoe Saldana

International Film: I'm Still Here
Animated Film: The Wild Robot
Documentary: Porcelain War

Cinematography: The Brutalist
Production Design: Wicked
Costume Design: Wicked
Editing: Conclave
Score: The Brutalist
Song: "Like a Bird"/Sing Sing
Sound: Dune
Visual Effects: Dune
Makeup: The Substance

Documentary Short: Death by Numbers
Animated Short: Yuck!
Live-Action Short: The Last Ranger

[MysteryMan]

У клэйтона дэвиса какой-то рофл с росселлини)