Anora Takes the Cannes

The Cannes Film Festival of 2024 is complete and, as always, it made the Oscar picture a little clearer with potential nominees as well as films that won’t be on the radar screen based on their French buzz.

One picture that did itself the most favors is Sean Baker’s Anora. The latest dramedy from The Florida Project drew raves and was named the Palme d’Or recipient (the highest Cannes prize). Three of the past four Palme winners (Parasite, Triangle of Sadness, Anatomy of a Fall) ended up with a BP nod from the Academy.

The film’s leading lady Mikey Madison did not take Best Actress. That instead went to a quartet of performers (Karla Sofia Gascón, Selena Gomez, Adriana Paz, Zoe Saldaña) from Jacques Audiard’s Emilia Pérez, which also entered the BP conversation. It is uncertain at this point whether Gascón or Saldaña, in particular, will be slotted in lead Actress or supporting come Oscar time. I currently have Gascón in the latter and Saldaña in the former and both have solid shots at inclusion.

In addition to Madison’s legit chances for an Actress recognition from the Academy, Demi Moore announced herself as a hopeful for her first nom in the heralded body horror tale The Substance from Coralie Fargeat. She is your Cannes honoree for Best Screenplay.

Anora‘s Sean Baker did not take Best Director (Cannes spreads the love). Miguel Gomes took that prize for the period drama Grand Tour. I wouldn’t pencil him in for a Director nom from the Academy. You have to go back to Pawel Pawlikowski and Cold War in 2018 for the previous Cannes winner who nabbed an Oscar mention. That is the only example in the 21st century.

Jesse Plemons is the Best Actor from Kinds of Kindness. Yorgos Lanthimos’s latest got its share of appreciative notices and I do believe it could contend for two or three Oscars. Plemons might be one of the benefactors.

As far as other acting possibilities, The Apprentice didn’t pick up any hardware. I do think Sebastian Stan (as Donald Trump in the 70s and 80s) and Jeremy Strong (as his mentor Roy Cohn) entered the Actor and Supporting Actor discussion. I also wouldn’t discount Nykiya Adams and Barry Keoghan in Actress and Supporting Actor for Andrea Arnold’s Bird.

Of course not all Cannes debuts lead to high praise. Francis Ford Coppola’s Megalopolis, Kevin Costner’s Horizon: An America Saga – Chapter 1, and Paul Schrader’s Oh, Canada all lessened their viability moving forward.

Keep an eye on the blog for new post Cannes projections in the six major races!

Oscar Predictions: Anora

Mikey Madison is best known for the Scream reboot two years ago, but awards voters seemed poised to become more familiar with her thanks to Anora. From The Florida Project and Red Rocket writer/director Sean Baker, Madison is the title character Brooklyn escort who enters into a romance and business situation with a Russian oligarch played by Mark Eydelshteyn. The supporting cast includes Yuriy Borisov, Karren Karagulian, Vache Tovmasyan, and Darya Ekamasova.

Its premiere at Cannes has drawn some of the best word-of-mouth of any film at the festival with 100% on Rotten Tomatoes. The two leads are being heralded with Madison especially being singled out for a breakout role. I have not had her in the mix in my Best Actress projections. That is going to change and do not be surprised if she’s in my high five when I update predictions this weekend. Baker, who probably came close to an Original Screenplay nod in 2017 for Florida, could contend.

Best Picture could be a stretch though Madison has immediately vaulted into the conversation as critics should be screaming her name throughout the season. My Oscar Prediction posts will continue…

Scream (2022) Review

Landline phones are looked upon by the new kids of Scream like they’re phonographs, but some things never change with this fourth sequel to the 1996 original. Unlike other horror franchises, I would say there hasn’t been a bad Scream follow-up nor has one come close to approaching the quality of the first. My reception for parts II-IV are fairly similar – passably entertaining and ultimately forgettable. Part V – call it Scream if you want but it’s Scream 5 – is no different and a tad more underwhelming since its new characters add little.

When the ’96 version of Scream came out, Wes Craven and screenwriter Kevin Williamson deftly satirized the slasher genre while also making a scary movie. It’s why Scary Movie four years later didn’t work for me – it was trying to parody something that had already cleverly done it. The rest of the Scream efforts have struggled with the mix as it continually invents new family connections to reveal new Ghostface killers.

In this Scream, Sam (Melissa Barrera) fled the town of Woodsboro five years ago. She makes a hasty return when her high school age sister Tara (Jenna Ortega) is attacked by the now iconic villain. With Sam’s boyfriend Richie (Jack Quaid) and Tara’s student clique as potential suspects, we soon see familiar faces besides Ghostface. Dewey (David Arquette) is divorced from Gale Weathers (Courtney Cox) and no longer the sheriff in town. He reluctantly accepts Sam’s offer to get involved. Sidney (Neve Campbell) has no desire for a hometown return but we know that won’t last.

Sam’s genealogy allows for some slightly more surprising cameos as we try to deduce who the killer(s) are this time around. Some of Tara’s schoolmates fill the Scream bingo card. There’s the Jock, the Movie Buff, and the Virgin. Some of the roles are given a modern update (one of the guys is given the potentially fatal shower scene).

Of course, these characters talk endlessly about sequels and reboots and “requels”. This was a pretty fresh concept a quarter century ago (even if Craven had mined similar territory in New Nightmare). Now there’s precious little more meta to mine. Like the sequels, there’s also the fact that this Scream just isn’t a very scary movie.

Matt Bettinelli-Olpin and Tyler Gillett take over the reigns as Craven passed in 2015. They clearly have reverence for the series and especially part one. That’s understandable. So did the other ones. Some of them landed their plot points with more precision (Scream 4 managed to have a decent killer reveal and fun third act). All of them were duller cuts and this one strains to properly explain its reason for being despite endless attempts.

** (out of four)