Oscar Watch: The French Dispatch

Wes Anderson’s The French Dispatch was supposed to premiere at Cannes in 2020 before the COVID-19 pandemic altered that plan. One year later, the auteur’s latest has screened in the French Riviera and it’s probably the most eagerly awaited debut of the festival. The film boasts an ensemble that is to be expected from the filmmaker and it reads like a who’s who of his frequent collaborators and several other previous awards nominees: Benicio del Toro, Adrien Brody, Tilda Swinton, Timothee Chalamet, Frances McDormand, Lyna Khoudri, Jeffrey Wright, Mathieu Amalric, Bill Murray, Owen Wilson, Elisabeth Moss, Liev Schrieber, Edward Norton, Willem Dafoe, Saoirse Ronan, Christoph Waltz, Jason Schwartzman (who shares a story credit with Anderson and others), Bob Balaban, and Anjelica Huston. Yeah, I know.

Early reviews indicate that this anthology (out stateside on October 22) is a loving ode to journalism and that could be right up the alley of Academy voters. Yet some buzz is also indicating this isn’t among his strongest efforts. One thing seems certain: Dispatch is a visual feast that should easily assert itself in several technical categories. That certainly includes Production Design, Costume Design, Alexandre Desplat’s Original Score, Cinematography, and perhaps Makeup and Hairstyling (though that race in particular could be packed this year).

What do all those races have in common? They were all nominations received for Anderson’s 2014 pic The Grand Budapest Hotel, which scored nine mentions (winning for Costume Design, Makeup and Hairstyling, Score, and Production Design). Don’t be surprised if this is a major hopeful in those same categories.

As for the massive amount of actors, here’s a fun fact: no performance from an Anderson production has ever been nominated. That seems hard to believe, but his casts often make it tricky to pick a favorite or two to mount a campaign for. Del Toro, Chalamet, Wright, and McDormand have been singled out in some write-ups already. I suspect none will emerge to make the Oscar cut. Chalamet has hope in lead actor for Dune and the same can be said for McDormand with The Tragedy of Macbeth (time will tell).

Now to the biggest derbies. Will The French Dispatch manage Best Picture, Director, and Original Screenplay nods? The latter seems most possible. And while some European chatter indicates the other two could be out of reach, it’s important to remember that it took a little time for Budapest Hotel to become the Academy player that it turned out to be.

Bottom line: the future is cloudy for Dispatch when it comes to the most high-profile competitions. Some Academy love down the line in the tech races already seems highly likely. My Oscar Watch posts will continue…

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.