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Three Films by Alain Resnais: Je T’aime, Je T’aime, Stavisky…, & Mon Oncle d’Amérique

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Three Films by Alain Resnais: Je T’aime, Je T’aime, Stavisky…, & Mon Oncle d’Amérique

Back in August, when I first heard about the re-envisioning/discontinuation of LACMA’s film program, I met the news with a heavy heart and resounding guilt. I’d been living in Los Angeles for the good part of nearly two years, but due to my aversion or, um, blind fear of driving in the city (it really is as bad as it seems), I rarely found the nerve to get on the I-10 and make my way over to the Miracle Mile. But in learning that LACMA’s film program was about to be shut down, I resolved to finally bite the bullet and take advantage of the repertory scene in the city, while I still could. Thankfully, due to the diligence of Save Film at LACMA and public outcry, the program will continue for at least another year.

I spent the first two weekends in October sitting in the Bing Theater for the Alain Resnais retrospective, and was pleased to see that the theater was at least half full (a healthy mix of college-age and older generations), a far cry from the hey-day, but still, it’s something. The Resnais series is set to travel to other repertory houses in the country into 2010. Out of the films shown, Je t’aime, je t’aime (1967), Stavisky… (1974), and Mon Oncle d’Amérique (1980) are not readily available on DVD or otherwise easy to procure, and are thus are the ones I wound up seeing. Although vastly different in terms of genre—Je t’aime, je t’aime (sci-fi), Stavisky… (crime) and Mon oncle d’Amérique (documentary/drama)—all three films contain a similar obsession with the deconstruction and fragmentation of time (a Resnais hallmark), wrapping these later films within the same thematic cloak as Hiroshima mon amour (1959) and, of course, Last Year at Marienbad (1961).

There are hundreds, thousands, of cinematic treasures that have yet to be granted a second life via DVD resuscitation. To bewail one is to mourn them all. But I find it particularly disheartening that Je t’aime, je t’aime, a masterpiece by one of the living gods of cinema has yet to be extended such grace. From the very beginning, the film was beset by release problems. It was set to premiere at the 1968 Cannes film festival, but due to the sociopolitical tumult of that May, along with filmmakers’ solidarity with the students/workers, the festival was called off. When finally released, it was a major commercial flop.

The story is fairly simple: Claude (Claude Rich) attempts suicide, fails, and is then recruited by a group of scientists experimenting in time travel. They have figured out a way to send mice back in time for a minute, so the next logical step is a human specimen. Claude agrees to serve as a test case because, heck, he doesn’t much care for life anymore. But something goes wrong, and he starts continuously looping back in time. Through the relived fragments of the past we see the last decade of his life and are slowly able to put the fractured pieces together, tracing the rapturous highs and turbulent lows of his relationship with his girlfriend Catrine (Olga Georges-Picot).

Claude Rich has a face that was meant for cinema, not because it is stunningly handsome, but because it is so intensely human. He does not have the chiseled physique of an Alain Delon or a Pierre Girard, but as random a stroke of genetic luck as good looks are, so too are the faces whose muscles seem attuned to expressing every crease of their beholder’s being. Rich’s face is a gateway beyond the flesh and bone, to the throbbing, pained center of humanity at his core. In the beginning, Resnais keeps Claude from view (there are two notable conversation scenes that eschew shot/reverse-shot editing—when Claude speaks it cuts back to a wide-shot in which he’s placed at a 3/4 turn or with his back completely to the camera), maybe because a man who is determined to die has but a limited presence in this world. But by the time he decides to undergo the experiment, and then goes into the memory/past, he has a resolute on-screen presence.

Claude is a man in the present reliving the past, tragically locked into experiencing the same petty arguments, the mistakes, and the tragedy that drove him to suicide. While Claude is literally stuck in the past, this touches upon a greater truth of humanity. For don’t we all, through the course of the day, reflect upon what happened yesterday, last week, ten years ago? And don’t we flash back to painful personal moments, once again giving momentary life to our most egregious mistakes, wishing like hell that we would have acted differently? Like Claude, whose actions may or may not have caused a terrible accident that he can never take back, we’re all haunted by something, trapping ourselves in the past. I won’t give away the details of the ending, but suffice to say that past and present collide with dire results. We must be willing to forgive ourselves and let go if we are to truly live and move forward.

In Stavisky…, it is not the past and present that converge, but the present and future. The film is based on the true story of the rise and inevitable fall of Stavisky (Jean-Paul Belmondo), a Russian-Jewish émigré who runs money laundering schemes and has quite a few of France’s police officials in his back pocket and some on his back. He is married to the lovely Arlette (Anny Duperey), a waif-like beauty, and is surrounded by a dogged group of business assistants as well as the Baron (Charles Boyer).

The story unfolds largely in the present (Stavisky lives large and conjures up ways to get rich while being tracked by a skillful cop played by Claude Rich), but is sometimes interrupted by flashbacks and jumps to the future. By the end, the scenes set in the future of Stavisky’s friends testifying about his actions before a court of law become the present. So really, the present is actually the past and what we thought of as the future is the present. By that logic, fate has sealed tomorrow before we have even lived through today.

Belmondo, an expert if there ever was one at playing the too-cool crooked man, refrains from the general gangstery affectations. No sneers or spitting words out through clenched teeth. His performance is naturalistic, and although Stavisky is a passably interesting character, he does not belong in the pantheon among the Dillingers or the Bonnie and Clydes. My on-and-off interest with Stavisky… may have to do with the fact that, prior to watching the film, I had no clue that he even existed. So the built-in cultural myth and legend of a Jesse James is not there to round out the character/performance; there is no allure in seeing a legend take the shape of a man. Although Belmondo does his best, the character never rises above being a mildly-amusing hypochondriac with a case of megalomania.

The entire narrative is rather flaccid: no tension or suspense. And with the exception of the Baron all of the periphery characters are flat and dull. I was never able to engage with this film on an emotional level, to really be invested in the outcome of Stavisky’s schemes or plight. Some of the narrative coldness could have been remedied by a more-present score. As I always arrive way too early for screenings (because what if the clock at the theater is fast or my watch slow? Yes I’m paranoid, but Saul Bass taught me the importance of opening credits), I had ample time to pick up on snippets of conversation. There were at least three hushed dialogues expounding upon the brilliance of Stephen Sondheim’s score. Since Sondheim is big news, I was quite excited: unfortunately, needlessly so. Resnais largely holds the score at bay, so where emotionality could have been engendered by orchestral sweeps, we are left with silence. Stavisky… works on the level of an experiment in time, but as a rousing crime story, not so much.

Mon Oncle d’Amerique seamlessly interweaves fiction and documentary. The documentary portion is comprised of interviews with physician and philosopher Henri Laborit as he discusses theories on human behavior and brain function. These theories come to inform and enrich the fictional narrative. The lives of the three protagonists—Janine (Nicole Garcia) an actress, Jean (Roger Pierre) a TV network developer/writer and René (Gérard Depardieu) a factory manager—intersect: Janine and Jean are lovers, while Janine and René engage in business dealings. The film begins by briefly highlighting the major moments as well as trivialities of each character’s life; then we are brought back to the beginning and actually get to watch what was previously mentioned come to life.

One of the film’s most delightful elements is that each person closely identifies with a different French cinema star: Janine with Jean Marais, Jean with Danielle Darrieux, and René with Jean Gabin. In moments of tension Resnais frequently cuts to scenes from those actors’ films, their gestures perfectly mirroring and evoking the feelings of the protagonists. An angry René, just about to lose his cool, cuts to a raving Jean Gabin. Sometimes when we can’t express our emotions it’s best to leave it to our cinematic alter-egos—they can handle life so much more artfully.

Near the end of the film, Laborit discusses a theory on behavior (in response to negative stimulus we either change our environment, fight against those that are trapped in the situation with us, or are totally passive, which leads to physical ailments) that is alternately illustrated by intercutting electric-shock experiments on lab rats and previous scenes from the characters’ lives in which they too exemplify the applicability of the theory. Laborit also proposes that, from the moment we are born, we are programmed on how to behave and function within society. Thus the lines between the past and future are tenuous; not only through the non-linearity of the film’s storytelling, but via the suggestion that our personal past, as well as the collective and assimilated past of humanity, pre-programs and in a way limits our future. Unless we can attain some sort of self-awareness and gain perspective on our brain functions then, to use another rodent metaphor, we will forever be hamsters spinning aimlessly on wheels.

The Alain Resnais series is now playing at Berkeley’s BAMPFA. Click here for more information.

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Review: The Turning’s Horror Elements Add Up More to Insult Than Ambiguity

It casts its source as a delusional fantasy through which to enact the effects of possible traumas that go completely unexplored.

1.5

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The Turning
Photo: Universal Pictures

The cultivation of ambiguity has long been integral to the successful horror narrative. The oppressiveness of our fears is always somehow diminished following the explication of their source, and nowhere is this more true than in the subgenre of psychological horror, reliant as these stories are on our ability to trust the perspective of a particular protagonist. We see the world only through their eyes, and therefore we must decide what to believe is true about what has otherwise been presented to us as reality.

Henry James’s 1898 novella “The Turn of the Screw,” previously adapted in 1961 by Jack Clayton as The Innocents and revisited now by Floria Sigismondi as The Turning, is a ghost story that revels in a sense of doubt on behalf of its audience. The novella tells the story of a young and inexperienced governess called upon to care for two children named Flora and Miles, following the death of their parents, in a sprawling mansion called Bly that may or may not be haunted. This is a straightforward premise that offers sinister delights because of our bearing witness to its narrator’s slippage—either into delusion, or into a world where the dead actually walk among us as spectral presences aiming to possess the innocent.

The Turning’s camera often tracks and frames its subjects in purposeful, often striking shots that manage to convey the bigness and intricacy of Bly without sacrificing intimacy with the characters. And the production design is steeped firmly in the tradition of haunted house films, every room and mantelpiece creepily cluttered with dolls and mannequins, gothic mirrors in every corner threatening to expose unseen inhabitants of dark and dusty rooms. The walls along Bly’s claustrophobic and seemingly endless hallways close in on the governess, Kate (Mackenzie Davis), like a vice. Sigismondi brings to the screen a lush and stylish perspective to her material, an attention to detail cultivated in her photography and music video work. And as Flora and Miles, the haunted children who Kate has come to educate and oversee, Brooklynn Prince and Finn Wolfhard deliver sophisticated performances that delicately suggest the inner turmoil of children who have been faced too soon with death.

There’s a pivotal moment around the middle of The Turning where Kate receives a package containing a sheaf of menacing paintings created by her mentally ill mother (Joely Richardson), delivered from the hospital where Kate visited her before leaving for her new post at Bly. The mansion’s stern housekeeper, Mrs. Grose (Barbara Marten), already skeptical of Kate’s merits, has clearly rifled through the artwork and taken note of its sender. Before leaving Kate to examine the paintings alone, Mrs. Grose archly raises aloud the question of whether Kate might have inherited any of her mother’s supposed madness, and this kernel of suspicion regarding the veracity of Kate’s observations about the house and its inhabitants unfortunately serves as conspicuous foreshadowing to the film’s careless conclusion.

In her book of essays The Collected Schizophrenias, which lays bare the experience of mental illness and the various stigmas associated with its diagnosis in contemporary culture, Esmé Weijun Wang writes, “Schizophrenia and its ilk are not seen by society as conditions that coexist with the potential for being high-functioning, and are therefore terrifying.” And it’s no wonder that the horror genre has plumbed the narrative possibilities of instability so completely, presenting countless protagonists over the years whose relative grip on reality provides a story with necessary tension. But the best of these examples use the destabilization provided by a possibly mentally ill character to make broader connections, speaking often, for example, to the subjugation of women in a patriarchal society, such as with the “madwoman in the attic” trope explored by Charlotte Perkins Gilman in “The Yellow Wallpaper.”

Here, though, without any evidence aside from genetics to suggest the possibility of Kate’s cognitive disintegration, The Turning casts its source narrative—the psychosexual haunting of the house by a deceased former governess and valet who had once watched over the children—as a delusional fantasy through which to enact the effects of possible traumas that go completely unexplored. The film’s abrupt ending succeeds only at undercutting and cheapening everything that came before, dressing a vague yet potentially resonant paranoia about sexual violence and male predation as a simple case of undiagnosed mental illness, with no hint at all of the origins of these particular points of stress in its protagonist’s psyche. This kind of ambiguity—not about whether or not Kate has gone mad, but rather about why it actually matters—is a cop out rather than a display of control.

Cast: Mackenzie Davis, Finn Wolfhard, Brooklynn Prince, Barbara Marten Director: Floria Sigismondi Screenwriter: Chad Hayes, Carey W. Hayes Distributor: Universal Pictures Running Time: 93 min Rating: PG-13 Year: 2020

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Oscar 2020 Winner Predictions: Animated Short

Another year, another reminder to take our prediction in this category with a grain of salt.

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Memorable
Photo: Vivement Lundi

Another year, another reminder to take our prediction in this category with a grain of salt. Since 2002, when we first started predicting the Oscar winners, we’ve guessed correctly in this category only eight times, and five of those were in the aughts, when one or more Disney shorts consistently lost to considerably more outré productions. It was a long dry spell for the studio between For the Birds taking the prize in 2002 and Paperman doing so in 2012. Disney now perseveres more times than not, which is why we’re given pause by the fact that, even though this is only the third time since 2002 that the studio doesn’t have a film in the lineup, two nominees here could be described as “Disney-adjacent.”

One of those, Matthew A. Cherry and Karen Rupert Toliver’s charming and poignant Hair Love, had us busting out the hashtags (#OscarsSoWhite, #EverythingIsSoWhite, #WhiteWhiteWhiteIsTheColorOfOurCarpet), wondering if the guilt that AMPAS has about its diversity problems may be a victory-securing source of momentum. That Issa Rae, who saltily congratulated the men in the best director category when she announced this year’s Oscar nominees alongside John Cho, provides the voice for this short about a black father who learns to style his daughter’s hair in the absence of the girl’s mother feels as if it can only help.

At the same time, each day since the Oscar nominations were announced last week seems to bring one of those dreaded articles in which some anonymous academy member is asked about their picks ahead of deadline, and Michael Musto’s recent chat with one such voter has us convinced more than ever that guilt isn’t the average academy member’s chief motivator. Besides, Hair Love faces stiff competition from another Disney-ish, hit-‘em-in-the-feels candidate, Kitbull, which concerns the unlikely kinship that forms between a cat and a dog. It certainly tugged at our heartstrings, and in spite of the short’s bug-eyed cat at times alternately, and distractingly, reminding us of a mouse and an inkblot.

Perhaps inevitably, we found ourselves drawn to the more outré nominees. Siqi Song’s beautifully textured Sister doesn’t lack for memorable images, but my favorite is the one where the brother at the center of the short pulls on his giant baby sister’s outie-cum-Silly-String-umbilical-cord until the child shrinks down to size. This is an at once idiosyncratic and somber meditation on China’s one-child policy, but it left one of us wondering, in the wake of Nanfu Wang and Jialing Zhang’s One Child Nation being snubbed this year by the academy, if it would resonate with enough voters, and two of us certain that a sizeable portion of the academy’s more liberal members would take more than just the “I had fingerprints four weeks after conception” bit as something akin to a big pro-life billboard.

Remember this old Sesame Street bit? Eric sure did while watching Daughter, a striking rumination about the emotional distance between a father and daughter. Daria Kashcheeva’s expressionistic use of stop motion is haunting, even if the short, amid so much abstraction, doesn’t always evoke believable people. More approachable is Memorable, where the very nature of what can be believed and remembered is the governing principle. All the way until its stunning finale, Bruno Collet and Jean-François Le Corre’s confluence of styles (there are shades here of the “psychorealism” that won Chris Landreth an Oscar in 2005 for Ryan) is in profound conversation with the idea of dementia as a destructuring agent. We’re no strangers to wrongly betting on our favorite short persevering on Oscar night, but Disney consistently loses in years where it has more than one film gunning for this award, so we’re betting that the two Disney-ish shorts will split the vote and pave the way for a Memorable victory.

Will Win: Memorable

Could Win: Hair Love

Should Win: Memorable

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Review: The Last Full Measure Trades Institutional Critique for Hero Worship

The film largely evades any perspectives that might question the institutions that put our soldiers in harm’s way.

1.5

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The Last Full Measure
Photo: Roadside Attractions

Speaking about the time when Air Force pararescue medic William “Pits” Pitsenbarger descended from a helicopter to aid wounded soldiers trapped in an ambush during the Battle of Xa Cam My, a former soldier, Kepper (John Savage), says, “I thought I saw an angel. There he was right in front of me, all clean and pressed.” Pits’s courageous actions during one of the Vietnam War’s bloodiest battles, where he saved nearly 60 lives and perished after refusing to board the last chopper out of the area so he could continue helping out on the ground, are certainly deserving of the Medal of Honor that he was denied for over 30 years. But writer-director Todd Robinson’s hagiographic The Last Full Measure is frustratingly limited in its scope, stubbornly fixating on the heroism of one man and the grateful yet tortured men he saved while largely evading any perspectives that might question the institutions that needlessly put those soldiers in harm’s way in the first place.

Following Scott Huffman (Sebastian Stan), an up-and-coming Pentagon staffer assigned to investigate a Congressional Medal of Honor request for Pits three decades after his death, The Last Full Measure takes on the point of view of an indifferent outsider who doesn’t understand the value of awarding a posthumous medal. Unsurprisingly, as Scott travels the country to meet with several of the soldiers whose lives Pits saved, he slowly comes to revere the man and the lasting impact of his actions. In the roles of these wounded survivors, Ed Harris, William Hurt, Samuel L. Jackson, and Peter Fonda each offer glimpses at the feelings of guilt and mental anguish that continue to haunt the men. Yet before we can get a hold of just what eats away at the former soldiers, and what living with their pain is really like, Robinson repeatedly whisks us via flashback to a dreadfully familiar-looking scene of combat, attempting to uplift the spirits with scene after scene of Pits (Jeremy Irvine) saving various men, all with the cool-headedness and unflappable bravery one expects from an action movie hero.

Throughout numerous walk-and-talk scenes set inside the Pentagon, The Last Full Measure manages to convey some of the countless bureaucratic hoops that must be jumped through to get a Medal of Honor request approved. But the murky subplot involving Scott’s boss, Carlton Stanton (Bradley Whitford), and a supposed cover-up of Operation Abilene, the mission that led to the ambush in the village of Cam My, does nothing but pin the blame for all wrongdoing on a mid-level Pentagon director. And even in that, the film’s only qualms are with a cover-up that prevented Pits from being properly recognized, with no thought whatsoever given to the disastrous wartime decisions that were also being hidden from the public.

In the end, Robinson’s portrayal of a scheming Washington insider suppressing the actions of an infallible, almost angelic fallen soldier lends the film a naively simplistic morality. By fixating on the good that came out of a horrifying situation, and painting institutional corruption as a case of one bad apple, The Last Full Measure practically lets the state off the hook, all the while mindlessly promoting nationalistic ideals of unquestioned duty and honor.

Cast: Sebastian Stan, Christopher Plummer, Samuel L. Jackson, Bradley Whitford, Ed Harris, Diane Ladd, Jeremy Irvine, Michael Imperioli, Alison Sudal, Peter Fonda, William Hurt Director: Todd Robinson Screenwriter: Todd Robinson Distributor: Roadside Attractions Running Time: 115 min Rating: R Year: 2019

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Oscar 2020 Winner Predictions: Sound Editing

It’s not difficult to rationalize picking the same film to win both sound editing and sound mixing.

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Ford v. Ferrari
Photo: 20th Century Fox

The movement to merge the two Oscar categories for sound into just one is finally picking up some steam after an academy subcommittee favored consolidation in December, but we regret to inform you that the exceptionally rational decision hasn’t yet been ratified, and thus won’t spare us one more year of double-feature kvetching. While the nominating members of the sound branch might know the exact difference between sound mixing and sound editing, and while compulsory Oscar blogging has forced us to know the exact difference as well, numerous academy members clearly don’t.

Case in point: Last year they awarded Bohemian Rhapsody its expected award in sound mixing, where musicals always have an advantage, but also an upset win in sound editing. Unless voters metabolized Singer’s violent blitzkrieg of a film and simply misremembered hearing explosions throughout, that’s not the vote of an informed electorate.

From our perspective as prognosticators, though, it’s not difficult to rationalize picking the same film to win both awards, especially in the absence of a musical. While there have been plenty of years we’ve carbon-copied our predicted winner in both categories only to see them split (even three ways, as in 2012, when Les Misérables took sound mixing, and Skyfall and Zero Dark Thirty tied for sound editing), getting one prediction right is better than getting none at all, especially in a year like this where, to judge from both slates, sound equals fury.

One thing’s fairly certain: You can probably go ahead and count out Star Wars: The Rise of Skywalker. Not only has the new trilogy failed to add any more Oscar wins to the franchise, never once has a Star Wars film won an award for its sound effects, not even the first one (that year, a special award was given to Close Encounters of the Third Kind). Episodes seven and eight lost to, respectively, a chase movie and a war movie, and this year’s top two contenders here are arguably the exact same pairing. While 1917 is still considered by many to be a frontrunner for best picture, we’re pretty sure the onslaught of vintage motors roaring for the climactic quarter-hour of Ford v. Ferrari will get voters right in the dad spot.

Will Win: Ford v. Ferrari

Could Win: 1917

Should Win: Ford v. Ferrari

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Review: Guns of the Trees Wears Its Looseness as a Badge of Honor

The film is but one deliberately imperfect piece of a vast slipstream.

2.5

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Guns of the Trees
Photo: Anthology Film Archives

Jonas Mekas establishes the tone of 1961’s Guns of the Trees with a director’s statement, declaring that the “mad heart of the insane world” has prevented him from finishing the film. What follows, Mekas asserts, is “a sketchbook,” a “madhouse sutra,” “a cry.” And such a description aptly articulates the film’s melodramatic, self-pitying sense of yearning, which is driven by Mekas’s career-spanning need to contexualize the divide of artifice that separates artist from audience. To Mekas, sketch-like scenes represent a refutation of staid, insidious craftsmanship that can smooth out rougher and more resonant contours.

In the case of the quasi-fictional Guns of the Trees, Mekas follows a handful of young people in New York City as they hang out and grapple with the state of modern existence, decrying America’s involvement in Cuba, the development of the atom bomb, and various other atrocities that underscore the awfulness of the imperial machine. Occasionally, Allen Ginsberg reads his poetry over the soundtrack, his scalding free-associational verse conjuring an anger that the film’s characters can’t quite articulate, while providing Guns of the Trees with another element of the literary. A little of Ginsberg’s poetry goes a long way. What is the “hunger of the cannibal abstract” and why can’t man endure it for long?

Ginsberg’s bebop phrasing complements Mekas’s fragmentary images, which are alternately ludicrous and lovely. In keeping with the sketchbook concept, the film wears its unevenness and looseness as aesthetic badges of honor. A framing device in which two businessmen in white mime makeup wander a cabbage patch in near hysteria, in all likelihood embodying the ageless corruption of man, is self-consciously oblique and edgy, feeling like an earnest film student’s pastiche of 1920s-era avant-garde tropes. Other scenes, however, poignantly detail life in the early ‘60s, such as when a woman sits her husband down in a chair in their loft and cuts his hair, or when a man tries to talk his drinking buddy down from an intoxicated rant. These scenes have the humor and behavioral specificity of John Cassasvetes’s films, evoking the comforting rhythm of the little moments that come to define us.

Guns of the Trees belongs to an easily mocked beatnik era, when people discussed whether to conform or be free while listening to folk music and reading Ginsberg and smoking grass. At times, even Mekas seems to be on the verge of ribbing his subjects’ sincerity. For all their thrashing about, these people seem prosperous and more interested in speaking of revolution than in truly sparking it. Ben (Ben Carruthers) sells life insurance, prompting the film’s funniest line, when a potential client asks, “Don’t you still believe in death?” A young woman named Barbara (Frances Stillman) is gripped by authentic depression though, and her suicide haunts Ben, Gregory (Adolphus Mekas), and Ben’s wife, Argus (Argus Spear Julliard).

If the beatnik navel-gazing dates Guns of the Trees, Mekas’s docudramatic eye memorably revels in poetic details throughout. His protagonists wander through fields, which suggest the rice fields of Vietnam, and junkyards that testify both to the beauty and the waste of mainstream society. The play of light off the twisted metal of the trashed cars suggests found sculpture, while indirectly conjuring the wreckage wrought by the wars the characters protest. Such images, which include profoundly intimate close-ups of the characters’ faces, also anticipate the rapture offered by future Mekas “sketchbook” films such as Walden.

Mekas would go on to pare away the preachiness of Guns of the Trees from his subsequent work, as he increasingly honed a personal style that would make ecstasy out of the commonplace, utilizing multimedia and a restless syntax to suggest how memory intricately shapes life. Guns of the Trees is but one deliberately imperfect piece of a vast slipstream.

Cast: Adolfas Mekas, Frances Stillman, Ben Carruthers, Argus Spear Juillard, Frank Kuenstler, Louis Brigante Director: Jonas Mekas Screenwriter: Jonas Mekas Running Time: 86 min Rating: NR Year: 1961

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Oscar 2020 Winner Predictions: Animated Feature

Forky rules.

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Toy Story 4
Photo: Walt Disney Studios

Completist-prone Oscar prognosticators were dealt a merciful hand last week when the Oscar nominations were announced and Frozen II didn’t show up in this category. But the winning hand belongs to Toy Story 4, which likely lost the Golden Globe to Missing Link as a result of a vote split between the two Disney properties. Sentiment to reward the American-based production studio Laika is brewing, and the fitfully droll Missing Link will, like Kubo and the Two Strings before it, probably find favor at the BAFTAs, but Laika’s latest and most expensive production to date dramatically bombed at the box office. And while no one will be weighing between the film and I Lost My Body, a singularly and actively morose and creepy film that won’t appeal to the academy at large, this category’s short history tells us that the Mouse House is only vulnerable to the biggest money makers. Also, Forky rules.

Will Win: Toy Story 4

Could Win: Missing Link

Should Win: I Lost My Body

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Oscar 2020 Winner Predictions: Supporting Actor

Pitt winning here will seem like the stars are lining up given what went down when he was first nominated in 1995.

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Once Upon a Time...in Hollywood
Photo: Columbia Pictures

We didn’t predict Anthony Hopkins to get nominated here, thinking that the Golden Globes’s enthusiasm for The Two Popes was a fluke. We were wrong, and he ended up becoming the elder statesman in an acting lineup that contains, on average, by far the oldest nominees. The person we predicted to get in instead, Marriage Story’s Alan Alda, is a year older than Hopkins, so we certainly weren’t betting the farm on any male ingénues.

On the other hand, it sure feels like spry 56-year-old Brad Pitt, who opened his acceptance speech at last night’s SAG Awards with a joke about having a Tinder profile, had this award in the bag the moment his Marlboro Man-ish handyman hopped atop his buddy’s roof to fix the antenna in Once Upon a Time… in Hollywood, whipping off his shirt to reveal a tawny, fully-abbed torso that scarcely seems to have aged in the nearly 30 years since he seduced the country in Thelma & Louise. He, as Leonardo DiCaprio’s co-lead, has a lot more to do throughout than just doff tees, but the “I’m still here” virility of that moment embodies the entire film’s love letter to old-guard masculinity in Tinseltown.

Not that anyone’s reading too deeply into it, not when there’s good old-fashioned awards numerology to fall back on. Within minutes of the nominations being announced, Oscar Twitter jumped on the fact that the best supporting actor slate this year is composed of acting winners from 1990 (Joe Pesci), 1991 (Anthony Hopkins), 1992 (Al Pacino), and 1993 and 1994 (Tom Hanks). Fewer pointed out that Pitt was also a nominee in 1995 for 12 Monkeys, losing out to the now-canceled Kevin Spacey. Which makes it seem all the more poetically like the stars are lining up when Pitt wins for a film whose finale proposes a rousing bit of alternate, corrective history in which the “good” guys obliterate the “bad” ones.

Will Win: Brad Pitt, Once Upon a Time… in Hollywood

Could Win: Joe Pesci, The Irishman

Should Win: Tom Hanks, A Beautiful Day in the Neighborhood

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Awards

Oscar 2020 Winner Predictions: Documentary Feature

Every film nominated in this category grapples with the nature of freedom in a world gripped by war and shaped by technology.

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For Sama
Photo: PBS

Few Oscar categories are bigger snub magnets than this one. And while the failure of Apollo 11 to secure a nomination this year was indeed surprising, it was not as telling as the omission of The Biggest Little Farm, a handsomely, if conspicuously, sculpted “pop” documentary that’s very much in the academy’s wheelhouse. It was almost as if the committee responsible for selecting the nominees here was sending a message by embracing, at a time of increased global instability, five documentaries that looked only outward: not at mankind’s possibilities, but at the ways in which we’ve become our own worst enemy.

When discussing the potential winner in this category, Eric and I were pulled in two different directions. “Doc will go American Factory and, by extension, the Obamas, right?” Eric asked. “Honeyland notched an Oscar record by being the first documentary to also be nominated for international feature. That has to mean something?” I asked. Which is to say that he and I, no strangers to this Oscar-predicting process, were sacrificing ourselves to rigamarole, forgetting that, at the end of the day, academy members vote with their hearts above all else.

Every film nominated in this category grapples with the nature of freedom in a world gripped by war and shaped by technology. American Factory specifically takes the closing of a Chinese-owned factory in Ohio as a jumping-off point for a study of the wiles of global capitalism, and it’s every bit as smart as you might expect from a film produced by the Obamas. A more sobering reminder of how the global order of the world has been cataclysmically disrupted in the last four years is another Netflix documentary, The Edge of Democracy, about Brazil’s own national(ist) sickness. It’s a harrowing lament, but it offers the viewer no sense of escape.

Which isn’t to say that the The Cave and especially For Sama, both filmed in Syria and in the midst of war there, are escapist. The two most viscerally powerful documentaries in the category confront us with the chaos of imperial domination. Both films center the female experience of war, but For Sama does so more shrewdly, positing itself not just as a chronicle of war, but an act of remembrance. In a film that doesn’t lack for gut-wrenching images of the dead, one particularly stands out: of a child, after being pulled from its wounded mother’s womb via C section in the wake of a bombing, being brought back to life. Combined with the scenes depicting the citizens of war-torn Aleppo finding humor in the midst of conflict, the film attests not only to the perseverance of the Syrian people, but to the possibility that the country might still be brought back from the edge of oblivion.

Will Win: For Sama

Could Win: The Cave

Should Win: For Sama

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Awards

Oscar 2020 Winner Predictions: Makeup and Hairstyling

There doesn’t seem to be much standing in the way of the triumph of the red, white, and blue neo-Juggalo.

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Joker
Photo: Warner Bros.

We couldn’t really say it any better than Odie Henderson, who recently scoffed: “Who wins the Costume Design Oscar for Joker? The Goodwill? Who wins the Makeup Oscar for Joker? A blind Mary Kay consultant?” While we think the Academy will stop short of awarding the motley threads of Todd Phillips’s risible throwback machine in the costume category, the fact that they were nominated at all over, say, the imaginatively garish ‘70s finery that Ruth Carter created for Dolemite Is My Name indicates a level of affection for Joker that no one who doesn’t use the word “snowflake” on a daily basis seems prepared for.

While, to us, Joaquin Phoenix’s Joker looks like nothing so much as Marge after sitting still for a makeup gun, as Homer put it best, “Women will like what I tell them to like.” From his lips to the Academy’s ears (and face). And given this category’s expansion didn’t add more multicolored prosthetic creations along the lines of Maleficent: Mistress of Evil, but instead more invisible character augmentation along the lines of Judy and Bombshell, there doesn’t seem to be much standing in the way of the triumph of the red, white, and blue neo-Juggalo.

Will Win: Joker

Could Win: Judy

Should Win: Maleficent: Mistress of Evil

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Awards

Oscar 2020 Winner Predictions: International Feature Film

Parasite is a pervasive presence in the news cycle, and at just the right time.

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Parasite
Photo: Neon

Bong Joon-ho’s Parasite is a pervasive presence in the news cycle, and at just the right time. As I write this latest prediction for Slant’s rolling Oscar coverage, the top article on the front page of Rotten Tomatoes is a ranking, by Tomatometer, of the nine films nominated for best picture this year. Number one? Parasite. Immediately next to that article is a callout to readers to vote for their favorite film of 2019 that uses Song Kang-ho’s face from Parasite’s poster as the featured image. Regarding that poster, in simply placing black bars over the actors’ faces, it succinctly, eerily, perfectly underlines the film’s obsession with social strata. And you don’t need to look far beyond the aggregate site to land on some article praising the perfectly lit and designed architectural purgatory that is the film’s main setting.

Perfect. That’s a funny word. There are no objectively measurable criteria for perfection, but given how many times I’ve heard Bong’s film described as being “perfect” since it premiered at the Cannes Film Festival, where it won the Palme d’Or, you’d think that there were. Still, the impulse to use it to describe this particular film, so balanced and attuned to the ties that both bind and separate us, evident in everything from the dimensions of Bong’s aesthetic, to his actors’ faces, to their words, makes a certain kind of sense. Quick, can you name the other four films nominated in this category? How apt if you can’t, as this is a film profoundly obsessed with the subterfuge that can be weaponized during class warfare. Or awards campaigns.

Will Win: Parasite

Could Win: Pain and Glory

Should Win: Parasite

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