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Cinderella | The House Next Door | Slant Magazine
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Cinderella (#110 of 9)

Oscar 2016 Composite Winner Predictions

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Oscar 2016 Composite Winner Predictions

Warner Bros.

Oscar 2016 Composite Winner Predictions

This is a complete list of our predicted winners at the 2016 Academy Awards with links to individual articles.

Picture: The Revenant
Director: Alejandro González Iñárritu, The Revenant
Actor: Leondardo DiCaprio, The Revenant
Actress: Brie Larson, Room
Supporting Actor: Sylvester Stallone, Creed
Supporting Actress: Alicia Vikander, The Danish Girl
Original Screenplay: Spotlight
Adapted Screenplay: The Big Short
Foreign Language: Son of Saul
Documentary Feature: Amy
Animated Feature Film: Inside Out
Documentary Short: Last Day of Freedom
Animated Short: Sanjay’s Super Team
Live Action Short: Ave Maria
Film Editing: Mad Max: Fury Road
Production Design: Mad Max: Fury Road
Cinematography: The Revenant
Costume Design: Cinderella
Makeup and Hairstyling: Mad Max: Fury Road
Score: The Hateful Eight
Song: “Til It Happens to You,” The Hunting Season
Sound Editing: Mad Max: Fury Road
Sound Mixing: The Revenant
Visual Effects: Mad Max: Fury Road

Oscar 2016 Winner Predictions Costume Design

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Oscar 2016 Winner Predictions: Costume Design

Walt Disney Studios Motion Pictures

Oscar 2016 Winner Predictions: Costume Design

The intensity of Oscar’s love for The Revenant and Mad Max: Fury Road is most keenly felt here. Not that either film is undeserving of its nomination. Quite the opposite in the case of the latter’s Jenny Beavan, who after earning nine nominations and one win for hemming and lacing and draping stiff-lipped Brits in Merchant-Ivory period films and their descendants (Sense and Sensibility, The King’s Speech), utterly rebranded herself with a tour-de-force KISS tribute-band roadshow mashup of Lawrence of Arabia, The Last of the Mohicans, and The Adventures of Priscilla, Queen of the Desert. The audacious playfulness of her work, though, faces the same disadvantage that Jacqueline West’s mangy, desiccated duds in The Revenant’s do as well. Oscar flirts with leather like a curious, submissive pup-in-waiting, but almost always prefers to slip into something a bit more comfortable when he heads home for the night. It’s why the instantly iconic looks worn by Angelina Jolie in Maleficent fell short last year despite the category’s otherwise decent track record for rewardingly queenly fantasies.

Berlinale 2015 Cinderella

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Berlinale 2015: Cinderella
Berlinale 2015: Cinderella

Kenneth Branagh’s Cinderella is, for the most part, a straightforward retelling of the fairy tale, and the Walt Disney Pictures imprimatur ensures that the filmmaker forgoes the more violent moments in the Brothers Grimm version of the story (no one cuts their toes off here in order to fit into Cinderella’s glass slipper; to see that, you’d have to turn to Stephen Sondheim’s Into the Woods). Which isn’t to say that the film doesn’t have its own distinct virtues. Dante Ferretti’s color production design and Sandy Powell’s wide-ranging costumes (the black-with-green-stripes design on wicked stepmother Lady Tremaine’s dress offers an expressive contrast with Cinderella’s initial plain pink dress) are so intoxicatingly colorful that every shot has the immersiveness of a dream. But it’s the emotional reality with which Branagh, screenwriter Chris Weitz, and his cast ground this Cinderella that makes it as affecting as it is.

Douglas Carter Beane Talks About Burlesque, Gay History, and Cinderella

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Douglas Carter Beane Talks About Burlesque, Gay History, and Cinderella
Douglas Carter Beane Talks About Burlesque, Gay History, and Cinderella

Playwright Douglas Carter Beane says his inspiration to write The Nance, a Lincoln Center Theater production starring Nathan Lane currently on Broadway, came from a handful of burlesque sketches he once wrote for a benefit; Gay New York, the groundbreaking work by historian George Chauncey; and his screensaver that depicted the Irving Place Theatre, a now-demolished New York burlesque theater landmark. “I had all these things in my head when I was at a Sundance retreat in Wyoming. I wanted to write about gay identity, about self-loathing and about oppression and so I put them all together and came up with this play,” he explains.

Beane’s previous work includes the screenplay for To Woo Fong, Thanks for Everything! Julie Newmar, the Tony-nominated play The Little Dog Laughed, and the librettos for the Broadway musicals Xanadu and Lysistrata Jones. He’s represented this season on Broadway with The Nance as well the current production of Rodgers and Hammerstein’s Cinderella, for which he wrote a new book. At the end of this year, Beane will make his Metropolitan Opera debut with a new libretto for Johann Strauss’s Der Fledermaus, and early next year, Lincoln Center will produce his new autobiographical play, Shows for Days. We sat down with Beane in the historic Lyceum theater, one of Broadway’s oldest surviving venues and the current home of The Nance, to talk about his works now playing on Broadway.

Eisenstein and Prokofiev’s Sounds of War

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Eisenstein and Prokofiev’s Sounds of War
Eisenstein and Prokofiev’s Sounds of War

What happened when the Soviet Union’s greatest composer and its greatest filmmaker came together to produce two screen masterpieces? Alexander Nevsky and Ivan the Terrible remain among the greatest examples in cinema of the synthesis of visual imagery and music. To have managed to make such extraordinary films under the watchful eye of Stalin the Terrible was an achievement in itself. The fact is that the collaboration between the loftily intellectual, highly articulate, homosexual Eisenstein and Prokofiev, the down-to-earth, outspoken, rather naïve, married father of two, was astonishing in its synchronicity.

When they first joined forces in 1937, both Eisenstein and Prokofiev had been accused of “formalist tendencies.” While they had been gallivanting over Europe and the U.S., Stalin’s grip on the state had hardened and the Soviet Union was experiencing forcible collectivisation in agriculture and forcible proletarianism in the arts. By the end of 1932, the slogan “Socialist realism,” a phrase attributed to Stalin himself, was de rigueur in the arts. Socialist realism had a dialectical antithesis: formalism—in other words experimental or modern art.