На предимно скучна, на моменти „кринджава“ церемония, за 94-ти път Американската академия за театрално и филмово изкуство връчи своите награди „Оскар“.

За най-добър филм (изненадващо, а за някои и напълно незаслужено) беше избран „Coda“, който също така беше отличен и в категорията за най-добър адаптиран сценарий и поддържаща мъжка роля на Трой Коцур. Наградата за режисура отиде при сочената за фаворитка Джейн Кемпиън за „Power of the Dog” – това остана и единственият „Оскар“ за филма, при все рекордните му за годината 12 номинации.

Другият фаворит в номинациите (с цели 10) „Дюн“ на Дени Вилньов спечели 6 статуетки, но в по-второстепенни категории – най-добър оператор, монтаж, музика, сценография, звук и специални визуални ефекти.

„Оскарът“ за оригинален сценарий беше спечелен от Кенет Брана за „Belfast”.

Наградите за главна мъжка и женска роля отидоха при Уил Смит за „Методът Уилямс” и Джесика Частейн за „The Eyes of Tammy Faye”, а за поддържаща роля при жените спечели Ариана ДеБос за „Уестсайдска история“.

За най-добър чуждоезичен филм беше избран чудесния „Drive My Car“ на Рюсуке Хамагучи, който все още може да бъде гледан на голям екран на 26-и София Филм Фест.

Вижте пълния списък с победителите:

Best Picture
Belfast
Coda
Don’t Look Up
Drive My Car
Dune
King Richard
Licorice Pizza
Nightmare Alley
The Power of the Dog
West Side Story

Best Director
Kenneth Branagh – Belfast
Ryusuke Hamaguchi – Drive My Car
Paul Thomas Anderson – Licorice Pizza
Jane Campion – The Power of the Dog
Steven Spielberg – West Side Story

Best Actor in a Leading Role
Javier Bardem – Being the Ricardos
Benedict Cumberbatch – The Power of the Dog
Andrew Garfield – Tick, Tick…Boom!
Will Smith – King Richard
Denzel Washington – The Tragedy of Macbeth

Best Actress in a Leading Role
Jessica Chastain – The Eyes of Tammy Faye
Olivia Colman – The Lost Daughter
Penelope Cruz – Parallel Mothers
Nicole Kidman – Being the Ricardos
Kristen Stewart – Spencer

Best Actress in a Supporting Role
Jessie Buckley – The Lost Daughter
Ariana DeBose – West Side Story
Judy Dench – Belfast
Kristen Dunst – The Power of the Dog
Aunjanue Ellis – King Richard

Best Actor in a Supporting Role
Kodi Smit-McPhee – The Power of the Dog
Troy Kotsur – Coda
Ciaran Hinds – Belfast
Jesse Plemons – The Power of the Dog
J.K. Simmons – Being the Ricardos

Best International Feature Film
Drive My Car
Flee
The Hand of God
Lunana
The Worst Person in the World

Best Adapted Screenplay
Sian Heder – Coda
Ryusuke Hamaguchi, Takamasa Oe – Drive My Car
Jon Spaihts – Dune
Maggie Gyllenhaal – The Lost Daughter
Jane Campion – The Power of the Dog

Best Original Screenplay
Kenneth Branagh – Belfast
Adam McKay – Don’t Look Up
Zach Baylin – King Richard
Paul Thomas Anderson – Licorice Pizza
Eskil Vogt, Joachim Trier – The Worst Person in the Worst

Best Cinematography
Greig Fraser – Dune
Dan Laustsen – Nightmare Alley
Ari Wegner – The Power of the Dog
Bruno Delbonnel – The Tragedy of Macbeth
Janusz Kaminski – West Side Story

Best Film Editing
Joe Walker – Dune 
Peter Sciberras – The Power of the Dog
Hank Corwin – Don’t Look Up
Tick, Tick… Boom! – Andrew Weisblum, Myron I. Kerstein
Pamela Martin – King Richard

Best Original Score
Nicholas Britell – Don’t Look Up
Hans Zimmer – Dune
Germaine Franco – Encanto
Alberto Iglesias – Parallel Mothers
Jonny Greenwood – The Power of the Dog

Best Production Design
Dune
Nightmare Alley
The Power of the Dog
The Tragedy of Macbeth
West Side Story

Best Costume Design
Cruella
Dune
Nightmare Alley
West Side Story
Cyrano

Best Sound
Belfast
Dune
The Power of the Dog
West Side Story
No Time to Die

Best Makeup & Hairstyling
Coming 2 America
Cruella
Dune
The Eyes of Tammy Faye
House of Gucci

Best Visual Effects
Dune
Free Guy
No Time to Die
Shang-Chi
Spider-Man: No Way Home

Best Animated Feature Film
Encanto
The Mitchells vs. the Machines
Flee
Luca
Raya and the Last Dragon

Best Original Song
„Be Alive“ – King Richard
„Dos Orugitas“ – Encanto
„Down to Joy“ – Belfast
„No Time to Die“ – No Time to Die
„Somehow You Do“ – Four Good Days

Best Documentary Feature
Ascension
Attica
Flee
Summer of Soul
Writing With Fire

Documentary Short Subject
Audible
Lead Me Home
The Queen of Basketball
Three Songs for Benazir
When We Were Bullies

Best Animated Short Film
Affairs of the Art
Bestia
Boxballet
Robin Robin
The Windshield Wiper

Best Live-Action Short Film
Ala Kachuu- Take and Run
The Dress
The Long Goodbye
On My Mind
Please Hold

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13 Comments

  1. Очакваше се CODA, с всички награди на гилдиите преди това. Иначе че има много повече кино в други филми – факт. И според мен не заслужава.

    Но да обърнем внимание, че сульо и пульо взе оскари, а божеството Пол Томас Андерсън още чака. Това е скандалното за мен в случая 😀

    1. Пол Томас Андерсън е твърде голям за миризливия оскар, не заслужава такава обида. А и нито е жена, нито с подходяща цветова гама на кожата, че и ние да се тюхкаме баш по тея времена.

  2. Оперативни кучки, капе ви кръв от некадърните гъзета сега, а? Подигравахте ми се като хвалех КОДА и сплатена пяна на уста възхваляхте драмата на един ненаебан пендел в Силата на кучета.Сега Дринов- Иванов да си направят 69, а Зузи да отиде пред министерството на земеделието да се научи на занаят, където може да бъде по способна.Вземете си сменете професията, защото и дори платени не струвате.ЛК.КОДА Е ВЕЛИК ФИЛМ!

  3. The New York Times
    We Aren’t Just Watching the Decline of the Oscars. We’re Watching the End of the Movies.
    Ross Douthat, March 25, 2022

    Everyone has a theory about the decline of the Academy Awards, the sinking ratings that have led to endless Oscar reinventions. The show is too long……..The movies are too woke……………Hollywood makes too many superhero movies…………..

    My favored theory is that the Oscars are declining because the movies they were made to showcase have been slowly disappearing. The ideal Oscar nominee is a high-middlebrow movie, aspiring to real artistry and sometimes achieving it, that’s made to be watched on the big screen, with famous stars, vivid cinematography and a memorable score. It’s neither a difficult film for the art-house crowd nor a comic-book blockbuster but a film for the largest possible audience of serious adults — the kind of movie that was commonplace in the not-so-distant days when Oscar races regularly threw up conflicts in which every moviegoer had a stake: “Titanic” against “L.A. Confidential,” “Saving Private Ryan” against “Shakespeare in Love,” “Braveheart” against “Sense and Sensibility” against “Apollo 13.”
    ……………………………
    This year’s nominees offer their share of famous actors, major directors and classic Hollywood genres. And yet, for all of that, almost nobody went to see them in the theaters. When the nominees were announced in February, nine of the 10 had made less than $40 million in domestic box office. The only exception, “Dune,” barely exceeded $100 million domestically, making it the 13th-highest-grossing movie of 2021.

    A long time coming …

    That ending doesn’t mean that motion pictures are about to disappear. Just as historical events have continued after Francis Fukuyama’s announcement of the End of History, so, too, will self-contained, roughly two-hour stories — many of them fun, some of them brilliant — continue to play on screens for people’s entertainment, as one product among many in a vast and profitable content industry.

    No, what looks finished is The Movies — big-screen entertainment as the central American popular art form, the key engine of American celebrity, the main aspirational space of American actors and storytellers, a pop-culture church with its own icons and scriptures and rites of adult initiation.

    The late 1990s were this cultural order’s years of twilight glow. Computer-generated effects were just maturing, creating intimations of a new age of cinematic wonder. Indie cinema nurtured a new generation of auteurs. Nineteen ninety-nine is a candidate for the best year in movies ever — the year of “Fight Club,” “The Sixth Sense,” “The Talented Mr. Ripley,” “Election,” “Three Kings” and “The Insider,” so on down a roster that justifies not just a Top 10 but a Top 50 list in hindsight.

    Tellingly, Oscar viewership actually rose from the late 1980s onward, peaking in 1998, when “Titanic” won best picture, which (despite its snobbish detractors) was also a victory for The Movies as a whole — classic Hollywood meeting the special-effects era, bringing the whole country to the multiplex for an experience that simply wouldn’t have been the same in a living room.

    To be a teenager in that era was to experience the movies, still, as a key place of initiation. I remember my impotent teenage fury at being turned away from an R-rated action movie (I can’t recall if it was “Con Air” or “Executive Decision”) and the frisson of being “adult” enough to see “Eyes Wide Shut” (another one of those 1999 greats — overhyped then, underrated now) on its opening weekend.

    Just another form of content?

    What happened next was complicated in that many different forces were at work but simple in that they all had the same effect — which was to finally knock the movies off their pedestal, transform them into just another form of content.

    The happiest of these changes was a creative breakthrough on television, beginning in earnest with “Sopranos”-era HBO, which enabled small-screen entertainment to vie with the movies as a stage for high-level acting, writing and directing.

    The other changes were — well, let’s call them ambiguous at best. Globalization widened the market for Hollywood productions, but the global audience pushed the business toward a simpler style of storytelling that translated more easily across languages and cultures, with less complexity and idiosyncrasy and fewer cultural specifics.

    The internet, the laptop and the iPhone personalized entertainment and delivered it more immediately, in a way that also widened Hollywood’s potential audience — but habituated people to small screens, isolated viewing and intermittent watching, the opposite of the cinema’s communalism.

    ………………………………………
    ………………………………………

    Over time, this combination of forces pushed Hollywood in two directions. On the one hand, toward a reliance on superhero movies and other “presold” properties, largely pitched to teenage tastes and sensibilities, to sustain the theatrical side of the business. (The landscape of the past year, in which the new “Spider-Man” and “Batman” movies between them have made over a billion dollars domestically while Oscar hopefuls have made a pittance, is just an exaggerated version of the pre-Covid dominance of effects-driven sequels and reboots over original storytelling.) On the other hand, toward a churn of content generation to feed home entertainment and streaming platforms, in which there’s little to distinguish the typical movie — in terms of casting, direction or promotion — from the TV serials with which it competes for space across a range of personal devices.

    Under these pressures, much of what the movies did in American culture, even 20 years ago, is essentially unimaginable today. The internet has replaced the multiplex as a zone of adult initiation. There’s no way for a few hit movies to supply a cultural lingua franca, given the sheer range of entertainment options and the repetitive and derivative nature of the movies that draw the largest audiences.

    The possibility of a movie star as a transcendent or iconic figure, too, seems increasingly dated. Superhero franchises can make an actor famous, but often only as a disposable servant of the brand. The genres that used to establish a strong identification between actor and audience — the non-superhero action movie, the historical epic, the broad comedy, the meet-cute romance — have all rapidly declined.

    The televised serial can establish a bond between the audience and a specific character, but the bond doesn’t translate into that actor’s other stories as easily as the larger-than-life aspect of movie stardom did. The great male actors of TV’s antihero epoch are forever their characters — always Tony Soprano, Walter White, Don Draper, Al Swearengen — and recent female star turns in serial entertainment, like Jodie Comer in “Killing Eve” or Anya Taylor-Joy in “The Queen’s Gambit,” haven’t carried their audiences with them into their motion-picture follow-ups.
    ……………………………………….
    ……………………………………….
    Streaming productions are still a different kind of thing from The Movies as they were — because of their reduced cultural influence, the relative smallness of their stars, their lost communal power, but above all because stories told for smaller screens cede certain artistic powers in advance.

    First, they cede the expansive powers inherent in the scale of the moviegoing experience. Not just larger-than-life acting but also the immersive elements of the cinematic arts, from cinematography to music and sound editing, which inherently matter less when experienced on smaller screens and may get less attention when those smaller screens are understood to be their primary destination.

    Just to choose examples among this year’s best picture nominees: Movies like “Dune,” “West Side Story” and “Nightmare Alley” are all profoundly different experiences in a theater than they are at home. In this sense, it’s fitting that the awards marginalized in this year’s rejiggered Oscars include those for score, sound and film editing — because a world where more and more movies are made primarily for streaming platforms will be a world that cares less about audiovisual immersion.

    Second, the serial television that dominates our era also cedes the power achieved in condensation. This is the alchemy that you get when you’re forced to tell an entire story in one go, when the artistic exertions of an entire team are distilled into under three hours of cinema, when there’s no promise of a second season or multiepisode arc to develop your ideas and you have to say whatever you want to say right here and now.

    Restoration and preservation
    So what should fans of that perfection be looking for in a world where multiplatform content is king, the small screen is more powerful than the big one and the superhero blockbuster and the TV serial together rule the culture?

    Two things: restoration and preservation.
    ………………………………..
    Restoration doesn’t mean bringing back the lost landscape of 1998. But it means hoping for a world where big-screen entertainment in the older style — mass-market movies that aren’t just comic-book blockbusters — becomes somewhat more viable, more lucrative and more attractive to audiences than it seems to be today.
    ………………………………….
    The more important potential shift, though, might be in the theatrical experience, which is currently designed to cram as many trailers and ads as possible in front of those billion-dollar movies and squeeze out as many ticket and popcorn dollars — all of which makes moviegoing much less attractive to grown-ups looking for a manageable night out.
    ………………………..
    ………………………..
    One of my formative experiences as a moviegoer came in college, sitting in a darkened lecture hall, watching “Blade Runner” and “When We Were Kings” as a cinematic supplement to a course on heroism in ancient Greece. At that moment, in 1998, I was still encountering American culture’s dominant popular art form; today a student having the same experience would be encountering an art form whose dominance belongs somewhat to the past.

    But that’s true as well of so much else we would want that student to encounter, from the “Iliad” and Aeschylus to Shakespeare and the 19th-century novel and beyond. Even if the End of the Movies cannot be commercially or technologically reversed, there is cultural life after this kind of death. It’s just up to us, now, to decide how abundant it will be.

  4. Едно време новините за оскарите предизвикваха сериозни полемики и дискусии в операционната с много коментари и мнение…. Сега оскарите се превърнаха в такава дивотия, че никой дори не иска да ги коментира. Може би защото са от върховно безразличие за всички ни продиктувани от новата глобална олигофренска мода… Единствено както обикновено Мелбата се е издрискал яко този път… стръсил е трактора и много мерише… Но за него си знаем, той толкова си може педала….

    1. Heinrich,
      this is copy paste from an article in New York Times.
      It will do you unfathomable good if you were to read it – I mean the title alone says what you yourself are saying in the singularly beautiful way in which you normally speak….

    2. Мелбич знам много много добре, че е копи пейст… ти толкова не може да пишеш.. нито на български нито на английски. Нямаш толкова акъл…

    3. Сещам се, че май последния „Оскаров“ филм, около който имаше някаква по-сериозна полемика и доста мнения и коментари беше „Бохемска рапсодия“. Иначе- тотално безинтересна церемония за тотално безинтересни (в по-голямата си част) филми се превърнаха тия „награди“ „Оскар“.

    4. То вече наградите Икар станаха по-интересни…

  5. Абе вие още ли се занимавате с тази джедъро либераска извратения…….

    1. Не, ама си чешеме езиците за да дразним мелбата