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Alfonso Cuarón (#110 of 33)

56th New York Film Festival Unveils Main Slate: Barry Jenkins, Claire Denis, Alex Ross Perry, Jean-Luc Godard in Lineup

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56th New York Film Festival Unveils Main Slate: Barry Jenkins, Claire Denis, Alex Ross Perry, Jean-Luc Godard in Lineup

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56th New York Film Festival Unveils Main Slate: Barry Jenkins, Claire Denis, Alex Ross Perry, Jean-Luc Godard in Lineup

Today, the Film Society of Lincoln Center's New York Film Festival announced its main slate of films for this year's event. On July 18, the festival announced Roma, Alfonso Cuarón's first film since Gravity, as its centerpiece selection. Since then, Yorgos Lanthithos's The Favourite was announced as the opening-night film and Julian Schnabel's At Eternity's Gate, about the last days of Vincent van Gogh and starring Willem Dafoe in the leading role, as the festival's closer. Below is the full lineup of 30 films from 22 countries.

Oscar 2014 Composite Winner Predictions

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Oscar 2014 Composite Winner Predictions
Oscar 2014 Composite Winner Predictions

Below is a complete list of our predicted winners at the 2014 Academy Awards.

Picture: Gravity
Director: Alfonso Cuarón, Gravity
Actor: Matthew McConaughey, Dallas Buyers Club
Actress: Cate Blanchett, Blue Jasmine
Supporting Actor: Jared Leto, Dallas Buyers Club
Supporting Actress: Lupita Nyong’o, 12 Years a Slave
Original Screenplay: Her
Adapted Screenplay: 12 Years a Slave
Foreign Language: The Great Beauty
Documentary Feature: Twenty Feet from Stardom
Animated Feature Film: Frozen
Documentary Short: The Lady in Number 6: Music Saved My Life
Animated Short: Mr. Hubolt
Live Action Short: Helium
Film Editing: Gravity
Production Design: The Great Gatsby
Cinematography: Gravity
Costume Design: The Great Gatsby
Makeup and Hairstyling: Dallas Buyers Club
Score: Gravity
Song: “Let It Go,” Frozen
Sound Editing: Gravity
Sound Mixing: Gravity
Visual Effects: Gravity

Oscar 2014 Winner Predictions Editing

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Oscar 2014 Winner Predictions: Editing
Oscar 2014 Winner Predictions: Editing

In the absence of a de facto Best Picture frontrunner, the Oscar here usually goes to the slickest contender. This certainly explains the recent victories for The Bourne Ultimatum, The Social Network, and The Girl with the Dragon Tattoo, three films whose respective visual canvases hinged heavily on their varying ranges of unorthodox editing techniques. Given this trend, the weak Best Picture favorite in this year’s race, 12 Years a Slave, will likely not garner any attention for Joe Walker’s understated work. Likewise, the acting showcase Dallas Buyers Club gains little from its nondescript editing and can also probably be ruled out. By contrast, the frenzied rhythms of American Hustle’s editing, though stylistically derivative of the Martin Scorsese films to which the crime caper owes a significant debt, fit the mold of previous winners rather comfortably. An even stronger contender, however, is Christopher Rouse’s masterfully compact cutting for Captain Phillips. Coupled with his previous Oscar win for Paul Greengrass’s The Bourne Ultimatum, Rouse’s recent ACE Eddie Award triumph for dramatic feature editing would seem to present a solid case for him coasting to a victory here, particularly given how much Captain Phillips derives its tension from his maximum-impact cutting. Standing in his way, however, is the technical titan Gravity. Editing may not be the film’s primary showcase, but its fluidly breathless compositional sense is as much a credit to Alfonso Cuarón and Mark Sanger’s intuitive splicing techniques as any anything else. How far the film’s benchmark-defining pedigree will take it beyond the technical categories remains the million-dollar question, but it’s safe to say that the honors the Academy bestows on the film on Sunday will also encompass this one.

Oscar 2014 Winner Predictions Sound Mixing

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Oscar 2014 Winner Predictions: Sound Mixing
Oscar 2014 Winner Predictions: Sound Mixing

This past weekend, Gravity claimed the Live Action Film award for sound mixing from the Cinema Audio Society, one more precursor voting body whose results could prove prescient when it comes to Oscar’s March 2nd endgame. But, really, even if the CAS had tossed a lifesaver to Captain Phillips, or a dollar into the hopelessly lightweight guitar case of Inside Llewyn Davis, it still wouldn’t have changed our opinion that this statuette belongs to Alfonso Cuarón’s minimalist, outer space-set spectacle, which is poised to pick up more technical Oscars than any film since The Lord of the Rings: the Return of the King. Had the Coen brothers’ folksy ode to failure had more rafter-shaking pizazz (a la Les Misérables, Dreamgirls, and other musicals served well by this category), and had Captain Phillips had the hyperkinetic technical muscle of Paul Greengrass’s three-time Oscar winner The Bourne Ultimatum, there might be arguments worth having here. But there really seems to be no stopping Gravity’s craft-category onslaught, and its victories in the sound races in particular will prove that, in the cinematic silences of space, everyone can hear you scream, breathe, howl, “detach!” and hurtle toward rebirth.

Oscar 2014 Winner Predictions Director

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Oscar 2014 Winner Predictions: Director
Oscar 2014 Winner Predictions: Director

It’s a good thing the Best Director category didn’t go the way of Best Picture to accommodate more nominees, because this year’s campaign has only ever been a three-man race even in its most competitive stages. The two non-contenders are Alexander Payne (Nebraska) and Martin Scorsese (The Wolf of Wall Street), who’ve each enjoyed a nearly spotless recent track record for landing in the category. Payne has received nods for his last three films, while five of Scorsese’s last six non-documentary films have earned the legendary director an aisle seat at the ceremony. But with only one win between the two filmmakers (Scorsese’s The Departed) in that stretch, their nominations likely speak more to the compulsory voting habits and pre-digested tastes of Academy voters than to the merits of either Nebraska or The Wolf of Wall Street. And though David O. Russell has been on a nomination hot streak of late, with American Hustle capping a trio of Best Director nominations over the last four years for the filmmaker, his chances, which seemed much higher back when his crime caper stormed onto the scene last December, have since fizzled along with the film.

Oscar 2014 Winner Predictions Visual Effects

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Oscar 2014 Winner Predictions: Visual Effects
Oscar 2014 Winner Predictions: Visual Effects

Although the conclusion is foregone, this year’s visual effects category reveals some hard truths about the current state of big-budget moviemaking, with a normative platoon of weightless, synthetic images pervading four of the five nominees. But the deadening effect of their digital artifice is not fully illuminated until watching the final and only real contender of the lot. With Gravity, director Alfonso Cuarón channels the early days of CGI, when even flawed digital creations seemed to exist within the photographic world of a film. Gravity resonates powerfully in spite of its flaws (namely its transparent narrative mechanics) because Cuarón keeps the focus on his star and emotional anchor (an excellent Sandra Bullock), all the while orchestrating gorgeously sustained images of chaos and destruction, courtesy of cinema’s latest technologies. His seamless employment of visual effects is strictly a means of transmitting the film’s compact, immediate story of survival. Moreover, that the technical marvel is secondary to the overall experience is a testimony to the very tools that made it possible. Gravity not only sets a new high-water mark for visual effects, but also implicitly rebukes the hollow spectacle of modern mainstream cinema. Unlike the sensory blur that its fellow nominees conjure, there’s poetry in Gravity’s images.

Oscar 2014 Nomination Predictions Director

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Oscar 2014 Nomination Predictions: Director
Oscar 2014 Nomination Predictions: Director

The most pleasant surprise of this awards season has been the widespread embrace of Her, a film that seemed a bit like a bland “Oscar movie” in its marketing, didn’t feel like one at all amid the actual experience of watching it, then wound up something of a guild darling with a heap of critical support. Both the Producers Guild and the Writers Guild have shown their love for this swoony, very-near-future heartbreaker, and it’s wildly admired by everyone from the National Board of Review to the Hollywood Foreign Press, who tossed it a Best Screenplay trophy at Sunday’s Golden Globes. But what of its adorably odd director, Spike Jonze? Having been snubbed by the Directors Guild, whose members nominated Alfonso Cuarón (Gravity), Paul Greengrass (Captain Phillips), Steve McQueen (12 Years a Slave), David O. Russell (American Hustle), and Martin Scorsese (The Wolf of Wall Street), can Jonze still sneak into Oscar’s final five? He’s done it once before, with 1999’s Being John Malkovich, and if he is indeed this category’s spoiler, he has the benefit of statistics behind him: Director nods from the DGA and Oscar have only matched up three times in the last 15 years, thanks to overlapping, but differing, voting bodies that number more than 10,000 and fewer than 400, respectively. A work of personal, consummate vision, Her may be the film whose maker shakes up this race come Thursday morning.