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…
Mixing concert footage with the political upheaval that mark its early 70s timeline, One to One: John & Yoko opened in IMAX venues last weekend and is now on traditional screens. Kevin Macdonald, who made the Academy Award winning doc One Day in September and directed Forest Whitaker to a Best Actor Oscar for The Last King of Scotland, is behind the camera along with Sam Rice-Edwards.
The latest real-life exploration of John Lennon and Yoko Ono’s union hit the fest circuit last year in Venice and Telluride. Critics were generally pleased with 78% on Rotten Tomatoes and 82 on Metacritic. However, those ratings likely aren’t effusive enough to imagine this contending for Documentary Feature next year. My Oscar Prediction posts will continue…
As we do every year on this here blog, Oscar nominations lead to my Case Of series. What are they? Glad you asked. These are 35 posts covering the nominees for Picture, Director, and the four acting contests. For each one, I give you the case for the movie/director/actor winning and the case against it with a verdict tidying it up. It’s like a trial, but no one goes to prison.
It begins with the ten BP contenders and then alternates alphabetically between the hopefuls in the other five races. I’ve already covered six of the BP contenders and if you missed them, they are linked at the bottom of the post. Next up is I’m Still Here from Walter Salles.
The Case for I’m Still Here:
The Brazilian drama has been a critics favorite ever since it debuted in Venice where it won the Best Screenplay prize. The love is evidenced by the 95% Rotten Tomatoes score coupled with its 99% Audience Score on that site. It is a threat to win its other two nominations for International Feature Film and Actress (Fernanda Torres) based on the growing momentum.
The Case Against I’m Still Here:
It was unquestionably the surprise nominee on nomination morning that few (including me) predicted. Here missed the BP cut with precursors including the Golden Globes, Critics Choice, and BAFTA. While it was up for Foreign Film at the Globes, it lost to Emilia Pérez. This could just as easily go for 0 for 3 on Oscar night and I’d say it’s the frontrunner in none of its competitions. The 3 nominations is the second lowest of the 10 hopefuls (ahead of 2 for Nickel Boys). Salles hasn’t been nominated anywhere for his direction and that rarely bodes well for BP viability.
The Verdict:
While I’m Still Here is generating increased visibility, I’d say International Feature Film and not Best Picture is where it could emerge over Pérez (which has faced unwanted headlines in recent days due to Karla Sofia Gascón’s past social media history).
My final predictions for nominees at the 97th Academy Awards arrives this Wednesday, January 15th prior to the announcement on Sunday, January 19th. Before I make them, I’m taking a deeper dive into the six major categories (Picture, Director, the four acting derbies) with detailed thoughts on where I think each race stands.
Let’s begin with Best Actress as it might be the most tricky of all to figure out (though the supporting competitions are up there too). I believe there are three performers whose nominations you can write down in pen.
For months, I’ve had Mikey Madison (Anora) listed in 1st place for her work in Anora. She’s been nominated everywhere she needs to be – Golden Globes, SAG, Critics Choice, the BAFTA long list. The film is definitely in the top 5 of Best Picture hopefuls. In other words, she’s in.
That said, just yesterday, I slid her from 1st to 2nd in favor of Demi Moore in The Substance. That’s mainly because Moore was victorious over Madison at the Golden Globes in the Actress (Musical or Comedy) category. Furthermore, Hollywood loves a comeback story. That is present with Demi. She managed all the aforementioned precursors that Madison has and there’s a win in her favor. I do believe the Oscar could go to either of them, but this seems reminiscent of Best Actor in 2022. Austin Butler (Elvis) was the young upstart like Madison. Brendan Fraser (The Whale) was the once major movie star in a comeback vehicle that also involved heavy makeup work. Fraser got the gold.
I would put Moore and Madison’s chances of making the final five at 100% or at least 99.9999999%. The third “pen” pick is Karla Sofia Gascón in Emilia Pérez. She would make history as the Academy’s first trans nominee. Gascón also made the cut at the key precursors and shared a Cannes victory for Best Actress with her costars. Some prognosticators have started wondering whether she’s a guaranteed nominee. While she’s maybe not a total certainty like our previous actresses, I’d say it’s really close. After all, Emilia Pérez might get the most nominations of any picture this time around. I don’t see that occurring without Emilia Pérez being in contention.
And then… it gets complicated. Before we move to the several performers jockeying for two spots, let’s pour one out for these actresses whose campaigns never got off the ground. In some cases, the films underperformed significantly with critics and audiences. In others, their studios didn’t mount an offensive drive for their inclusion. Some examples are Florence Pugh (We Live in Time), Jodie Comer (The Bikeriders), Ryan Destiny (The Fire Inside), Daisy Ridley (Young Woman and the Sea), Regina King (Shirley), Lily-Rose Depp (Nosferatu), and Marisa Abela (Back to Black). Julianne Moore (The Room Next Door) and June Squibb (Thelma) received a little more attention. However, they failed to show up in any significant other awards lists.
After that lengthy group, there’s a next level. These are actresses who may have shown up in some precursors or long lists, but aren’t expected to materialize in the Oscar quintet. Their chances aren’t completely out of reach like those in the previous paragraph. Yet it’s close. I would put Julianne Moore’s The Room Next Door costar Tilda Swinton in this class. Same with Zendaya (Challengers) and Saoirse Ronan (The Outrun).
This leaves us with eight performances vying for two spots: Amy Adams (Nightbitch), Pamela Anderson (The Last Showgirl), Cynthia Erivo (Wicked), Marianne Jean-Baptiste (Hard Truths), Angelina Jolie (Maria), Nicole Kidman (Babygirl), Fernanda Torres (I’m Still Here), and Kate Winslet (Lee). Let’s walk through them one by one, shall we?
Amy Adams has the narrative of being long overdue for an Oscar. Despite six nominations, she’s yet to hear her name called. On paper, this seemed like a strong possibility but so-so reviews for Nightbitch have not helped. Despite a Globe nod and being in the BAFTA long list, I have her 8th of these 8 possibilities.
I might be more inclined to put Anderson in my five if it weren’t for Demi Moore’s comeback narrative. The Baywatch starlet is getting career best notices for this indie drama even if the film itself is drawing more mixed reactions. Her Globe nomination in Actress (Drama) wasn’t a huge surprise. The SAG nod this week was and it does increase her viability. I have her 5th of these 8 possibilities.
Cynthia Erivo is starring in one of the year’s largest blockbusters with Globe, SAG, Critics Choice, and the BAFTA long list preceding a potential Oscar nod. If she were to win, Erivo would achieve EGOT status as she already has an Emmy, Grammy, and Tony on her resume. The only question mark is whether the amount of performers could squeeze her out. I doubt it. Erivo is ranked 1st of these 8 possibilities.
Marianne Jean-Baptiste is receiving plenty of critics prizes for her role in Mike Leigh’s Hard Truths. Critics Choice and the BAFTA long list are in her corner though she notably missed SAG and the Globes. Leigh has a history of getting his actors nominated. Seeing her in the eventual quintet would not surprise, but she’s 4th of my 8 possibilities at press time.
Angelina Jolie’s inclusion for Pablo Larrain’s Maria seemed assured at one point after the picture premiered in Venice. In hindsight, the troubling signs could have been evident immediately. She did not take Best Actress at that festival. Since then, she’s missed SAG and the BAFTA long list while competing for the Globe and being nominated for Critics Choice. Her most notable blow came at the Globes. She was favored to win Best Actress in a Drama but fell short to Fernanda Torres. I still think she could get in though I have her just on the outside looking in and 3rd of my 8 possibilities.
For her performance in Babygirl, Nicole Kidman did win Best Actress at Venice and Globe and BAFTA long list spots followed. The recent snubs at Critics Choice and SAG are hard to ignore. She’s 6th among these 8 possibilities.
Fernanda Torres in I’m Still Here had no major other precursors to her credit besides the Globe. No BAFTA long list. No Critics Choice. And no SAG attention this week. That win at the Globes, though, looms large and it occurred just as Academy voting was underway. That’s why she’s 2nd of these 8 possibilities.
Finally, Kate Winslet as Lee showed up at the Globes and BAFTA long list. Reviews for the project itself aren’t overly impressive. Winslet could get in because, well, she’s Kate Winslet. Nevertheless she’s 7th of these 8 possibilities.
Whew. OK. There you have it. My microscope analysis of Best Actress for the 97th Academy Awards. Let’s see how it shakes out Wednesday when I do my final picks. I’ll have a dive into Supporting Actor up next!
Following its Venice Film Festival premiere to mostly strong reviews early in the fall, Babygirl is delivered to theaters on Christmas Day. The steamy thriller casts Nicole Kidman and Harris Dickinson in a Fatal Attraction scenario. Halina Reijn directs with a supporting cast including Sophie Wilde and Antonio Banderas.
The A24 release has generated some Oscar buzz for Ms. Kidman. The Rotten Tomatoes meter is at 85% with 80 on Metacritic. Babygirl hopes to bring in a female crowd over the holidays but its appeal could be limited. Look for a mid single digits output from Friday to Sunday and throw in $2-3 million more when factoring in the 25th and 26th.
Babygirl opening weekend prediction: $4.2 million (Friday to Sunday); $6.9 million (Wednesday to Sunday)
Academy hopeful Conclave materializes in theaters on October 25th. Based on the Robert Harris novel, Ralph Fiennes headlines the thriller as a cardinal in charge of selecting the new Pope. Stanley Tucci, John Lithgow, Sergio Castellitto, Isabella Rossellini, and Lucien Msamati costar. Edward Berger, following up his nine-time Oscar nominee All Quiet on the Western Front from 2022, directs.
With 93% on Rotten Tomatoes and 78 on Metacritic, Conclave is expected to vie for multiple awards races including Best Picture. That buzz could assist in bringing in an adult audience. I wouldn’t be surprised if it starts out in the mid to possibly high single digits as it hopes for meager declines in later weekends. This forecast could change based on its final released screen count.
Conclave opening weekend prediction: $4.8 million
For my Venom: The Last Dance prediction, click here:
Kiyoshi Kurosawa (no relation to Akira) premiered his latest feature Cloud at the Venice Film Festival and he’s had good luck there before. His 2020 effort Wife of a Spy took the Silver Lion (equivalent to Best Director). This psychological thriller is garnering mostly decent reviews and Japan has selected it as their pick for International Feature Film.
The nation has seen a handful of their selections nominated for the prize in the 21st century. That includes two winners (2008’s Departures, 2021’s Drive My Car) in addition to 2003’s The Twilight Samurai, 2018’s Shoplifters, and Perfect Days from last year.
With 83% on Rotten Tomatoes and a 70 Metacritic score, I’m not confident the acclaim is strong enough for Japan to make the race this time. If Cloud manages to make the shortlist, however, it could sneak in. My Oscar Prediction posts will continue…
Vermiglio premiered in its native country at the Venice Film Festival before making it to North America at Toronto’s fest. Written and directed by Maura Delpero, the drama stars Guiseppe De Domenico, Tommaso Ragno, Martina Scrinzi, and Roberta Rovelli.
The period piece has been announced at Italy’s hopeful for International Feature Film as they hope it’s their fifth pic to make the final five in the 21st century. The only winner in that time frame is 2013’s The Great Beauty while 2005’s The Beast in the Heart, 2021’s The Hand of God, and 2023’s lo capitano also vied for the prize.
With two nods in the three years, Vermiglio‘s chances are decent but far from assured. The Rotten Tomatoes score is 90% with 77 on Metacritic. Right now it seems like there will be plenty of pics fighting for the fourth and fifth spots in IFF behind Emilia Pérez, The Seed of the Sacred Fig, and I’m Still Here (though I should note this branch can be unpredictable). My Oscar Prediction posts will continue…
Arriving five years to the day behind its billion plus grossing predecessor, Joker: Folie à Deux dances into multiplexes on October 4th. Todd Phillips is back in the director’s chair with Joaquin Phoenix reprising his Oscar-winning role as Arthur Fleck. Lady Gaga’s Harley Quinn joins the musical mayhem alongside Catherine Keener, Brendan Gleeson, Zazie Beetz, Harry Lawtey, and Steve Coogan.
A half decade ago, Joker decimated expectations and set records with a $96 million opening on its way to $335 million domestically. Worldwide it amassed a haul of just over one billion bucks and garnered 11 Academy Awards nominations including Phoenix’s victory.
Like the original, Deux was first seen at the Venice Film Festival where reaction was decidedly mixed. The Rotten Tomatoes meter is at 63% with 54 on Metacritic. Tracking suggests the sequel might not be the phenomenon of what we witnessed in 2019.
This is not expected to top the starting number of Joker. The question is how far it falls under. I suspect the so-so buzz could mean mid 50s and that’s a far cry from its predecessor.
Joker: Folie à Deux opening weekend prediction: $54.3 million
Adapting the 1967 novel by Emmanuelle Arsan and arriving 50 years after the first cinematic rendering of the adult romance source material, Emmanuelle is the opening selection of the San Sebastián International Film Festival. It is Audrey Diwan’s follow-up to 2021’s Happening which won the Golden Lion at the 2021 Venice Film Festival. Noémie Merlant, Naomi Watts, Will Sharpe, and Jamie Campbell Bower lead the cast.
Following the fest premiere, Emmanuelle hits French screens later this week. The reviews trickling out of Spain are lukewarm. There was some intrigue about which movie France would pick as its hopeful for International Feature Film. The speculation centered on Emilia Pérez and The Count of Monte Cristo with Emmanuelle seen as a dark horse. Pérez ended up as their choice. Based on the early buzz for this, it’s easy to see why this was not a viable option. My Oscar Prediction posts will continue…
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