When your movie is opening December 12th and the review embargo lifts December 10th, consider that a sign that the studio (20th Century in this instance) doesn’t consider it an awards contender. Such is the case with Ella McCay which marks the first feature from James L. Brooks in 15 years. The 2008 set political dramedy stars Emma Mackey in the title role with a supporting cast including Jamie Lee Curtis, Jack Lowden, Kumail Nanjiani, Ayo Edebiri, Julie Kavner, Spike Fearn, Rebecca Hall, Albert Brooks, and Woody Harrelson.
Brooks is, of course, a legendary figure in TV and motion pictures. In addition to co-creating The Mary Tyler Moore Show, Taxi, and The Simpsons, his cinematic debut as writer/director Terms of Endearment is 1983’s Best Picture winner. Subsequent efforts Broadcast News (1988) and As Good As It Gets (1997) also scored BP mentions and numerous other nods.
The auteur’s output in the 21st century has been limited to Spanglish (2004) and How Do You Know (2010), neither of which were Oscar players. McKay is saddled with a Rotten Tomatoes score of 29% and 41 on Metacritic. That’s why it’s no surprise it didn’t show up anywhere in the Critics Choice or Golden Globe ballots and the same will hold true with the Academy. My Oscar Prediction posts will continue…
Jafar Panahi’s political thriller It Was Just an Accident was a bit of a surprise Palme d’Or victor at Cannes over Joachim Trier’s Sentimental Value. However, its writer/director is no stranger to festival love. His 2000 work The Circle took top prize at Venice while 2015’s Taxi won highest honors in Berlin.
With a cast led by Vahid Mobasseri, Mariam Afshari, Ebrahim Azizi, and Hadis Pakbaten, Accident is a co-production between Panahi’s native Iran, France, and Luxembourg. Panahi has drawn headlines in recent years due to conflicts with the Iranian government including arrests. While his works are banned in his homeland, his filmography has drawn acclaim everywhere else and this is no exception. The Rotten Tomatoes score is 100% with Metacritic at 88.
Either France or Luxembourg could submit Accident as their pick for International Feature Film at the Oscars. If the former doesn’t, the latter almost certainly would. The French have seen lots of their selections win or be nominated. Luxembourg would be vying for its first ever nominee. I also wouldn’t discount Panahi contending in Director and Original Screenplay. If a combination of those nods occurred, Best Picture is not off the table. After all, four of the last five Palme recipients have made final cut in the biggest category of them all. My Oscar Prediction posts will continue…
No one can do Cannes like Neon. The indie film production company has ruled the French festival for six years straight when it comes to the Palme d’Or winner. That list consists of Parasite, Titane, Triangle of Sadness, Anatomy of a Fall, and Anora. The first and last movies in that quintet went onto win Best Picture at the Oscars with Triangle and Anatomy nabbing nominations.
Neon once again had contenders to spare at this year’s competition and many assumed the grand prize would go to Joachim Trier’s Sentimental Value. That acclaimed family drama immediately established itself as an Oscar contender. Yet the Cannes jury (headed by Juliette Binoche) instead chose another Neon property in Jafar Panahi’s It Was Just an Accident. It marks another festival triumph for the Iranian filmmaker. His 2000 feature The Circle took top honors in Venice while 2015’s Taxi was awarded best of at the Berlin Fest. Accident now enters the conversation for a BP mention from the Academy and it certainly is a major contender for International Feature Film.
As for the more favored Value, it settled for the Grand Prix designation which is basically runner-up (it went to BP nominee The Zone of Interest in 2023). As mentioned, Neon has high hopes for its future in the coming months.
The Jury Prize (which Emilia Pérez took last time around) was shared between Spanish/French coproduction Sirât from Oliver Laxe and Mascha Schilinski’s German generational tale Sound of Falling (which is also a sturdy hopeful in IFF).
Another major player for Neon is The Secret Agent, the 1970s set Brazilian political thriller. Kieber Mendonça Filho received the Director trophy while Wagner Moura is Best Actor. Look for Agent to have a potential presence in IFF while Moura’s lead campaign could be a real threat for Academy inclusion.
Nadia Melliti is your Best Actress for the French coming-of-age drama The Little Sister. The young actress emerged over heavy hitter Jennifer Lawrence from Die, My Love. Nevertheless Lawrence did strengthen her shot at a fifth Oscar play months down the road.
Some had pegged Richard Linklater’s Nouvelle Vague (which recounts the shooting of French classic Breathless) for some Riviera prizes, but it wasn’t to be. Other high profile premieres not found among the victors are Iranian drama Woman and Child (where Parinaz Izadyar was considered viable in Actress), Wes Anderson’s The Phoenician Scheme, and Julia Ducournau’s Titane follow-up Alpha.
Keep an eye on the blog as I continue to write individual posts for movies screened at Cannes. I hadn’t even gotten to Accident yet! As for next year, look to see what Neon’s backing when figuring out the favorites…
For his brief but memorable appearance as an eccentric granduncle in Steven Spielberg’s The Fabelmans, Judd Hirsch is next up in my Case Of posts for the Supporting Actor nominees.
The Case for Judd Hirsch:
From TV shows Taxi and Dear John to movies including Ordinary People and Independence Day, Hirsch has been a fixture on screens small and large for decades. His inclusion here comes 42 years after a nod in the same category for Ordinary People and that stands as the longest gap between recognitions in Oscar history. Besides that cool storyline, he scored a Critics Choice mention and managed to get in over his more favored costar Paul Dano.
The Case Against Judd Hirsch:
Hirsch was omitted at the Golden Globes, SAG, and BAFTA for individual honors. He’s only in the film for about 10 minutes and that’s brought some gripes about whether he should be in the quintet at all. Most importantly, Ke Huy Quan (Everything Everywhere All at Once) is probably the sturdiest frontrunner in any of the acting competitions.
Previous Nominations:
Supporting Actor (Ordinary People; 1980)
The Verdict:
Hirsch was a real question mark to make the cut. There’s not much mystery about his chances to win as they’re basically non-existent.
My Case Of posts will continue with Ruben Östlund’s direction for Triangle of Sadness!
For my other posts covering the Supporting Actor contenders, click here:
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