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Oscars 2022 Predictions: Best Picture and Director (Part 2)

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    Music Forever
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    #1204377180

    https://twitter.com/mavericksmovies/status/1422209976391569410?s=20
    About Don’t look up and how divisive it might be.

    I agree with one of the comments below, “Why do people read leaked scripts”? I understand some want to be ahead of the curve. But then don’t go online & spoil the story for others who want to be surprised.

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    kaziz
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    #1204377204

    Star power doesn’t equal good movie you can ask Kidman, Robbie, and Theron that for Bombshell.

    Yeah I agree, I was just really confused about the whole point of the “if they were in this how much buzz would it have” post lol

    FYC:
    Picture: The Power of the Dog, Passing, The Lost Daughter
    Director: Jane Campion, Rebecca Hall
    Actor: Benedict Cumberbatch
    Actress: Tessa Thompson, Olivia Colman
    Supporting Actress: Kirsten Dunst, Ruth Negga, Dakota Johnson, Jessie Buckley
    Supporting Actor: Kodi Smit-McPhee, Jesse Plemons

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    JV
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    #1204378067

    As it currently stands, “Blonde” would absolutely get an NC-17 rating. Netflix was absolutely horrified by the cut Dominik submitted to them. They want a new version of the film, Dominik doesn’t. The cut Netflix saw caught them completely off-guard. They were under the impression that this was an Oscar player when, in fact, it was this vague, obtuse arthouse film. Not sure what they expected from Dominik.
    World of Reel posted about Blonde, and then the link was removed.

    The World of Reel posted it and then removed it.

    I guess The Tragedy of MacBeth could end up having mixed reactions too. I have had this feeling that it will be too arthouse since Carter Burwell said the movie takes place in a “psychological reality”.

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    wolfali
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    #1204378076

    I think The Tragedy of Macbeth can get away with being too arthouse on the basis that it has such a respected pedigree (like Mank) behind it. But yikes about Blonde!

    Oscars FYC:
    "Shiva Baby" – in all categories especially Picture, Adapted Screenplay, Score
    "Together" – in all categories especially Actress (Sharon Horgan), Actor (James McAvoy), Original Screenplay
    "CODA" – in all categories especially Supporting Actor (Troy Kotsur)
    "Everybody's Talking About Jamie" – Supporting Actor (Richard E. Grant), Supporting Actress (Sarah Lancashire)
    "I'm Your Man" – International Feature
    "Summer of Soul" – Documentary Feature

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    George Ehret
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    #1204378100

    I think The Tragedy of Macbeth can get away with being too arthouse on the basis that it has such a respected pedigree (like Mank) behind it. But yikes about Blonde!

    While I agree that Mank is the ceiling for this film, the fact that this is apparently a “psychological reality” gives me major red flags. Almost like what David Lynch would make if he were given a Shakespeare project. I love David Lynch and the Coens, but the Coens already being kinda hit or miss with the Academy and not being fans of Lynchian styles (Directors’ branch aside of course) doesn’t exactly smell like good news

    FYC
    Best Picture: The Worst Person in the World
    Best Director: Jane Campion
    Best Actor: Benedict Cumberbatch
    Best Actress: Renate Reinsve
    Best Supporting Actor: Benedict Wong
    Best Supporting Actress: Kirsten Dunst
    Best Adapted Screenplay: The Power of the Dog
    Best Original Screenplay: The Worst Person in the World

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    LA26
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    #1204378107

    I think The Tragedy of Macbeth can get away with being too arthouse on the basis that it has such a respected pedigree (like Mank) behind it. But yikes about Blonde!

    I remember Dominik once saying in an interview Blonde was like a “fairytale.” I wonder what the reason was for delaying it. The Cannes festival director said he saw it, so it’s obviously finished. Netflix is known for giving their talent creative freedom, so the rumors of Dominik fighting for a final cut are strange.

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    kaziz
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    #1204378181

    While I agree that Mank is the ceiling for this film, the fact that this is apparently a “psychological reality” gives me major red flags. Almost like what David Lynch would make if he were given a Shakespeare project. I love David Lynch and the Coens, but the Coens already being kinda hit or miss with the Academy and not being fans of Lynchian styles (Directors’ branch aside of course) doesn’t exactly smell like good news

    Yeah, the Academy hasn’t really had much trouble snubbing Coen brothers’ movies outright, regardless of the talent involved. Burn After Reading Is a great dark comedy, but not enough of a “drama” to make it acceptable despite having the likes of Brad Pitt & McDormand?

    I still think the larger issue will be that no matter how innovative, it’s really hard for me to care about Macbeth. I can and maybe will immensely appreciate it as an innovative experiment, maybe even a highly successful one, but I just don’t have the emotional fealty to the material that pretty much any adaptation needs in order to do well. Masterful technical films can get acting nods and so maybe Washington & McDormand will be A-OK for nods but BP/Director/acting wins are hard to see in that scenario.

    FYC:
    Picture: The Power of the Dog, Passing, The Lost Daughter
    Director: Jane Campion, Rebecca Hall
    Actor: Benedict Cumberbatch
    Actress: Tessa Thompson, Olivia Colman
    Supporting Actress: Kirsten Dunst, Ruth Negga, Dakota Johnson, Jessie Buckley
    Supporting Actor: Kodi Smit-McPhee, Jesse Plemons

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    #1204378261
    This post was found to be inappropriate by the moderators and has been removed.
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    kaziz
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    #1204378271

    Now that we know Blonde wasn’t rejected by Venice but pulled by Netflix in the battle for final cut, I have a feeling there has to be more to the story behind The Tragedy of Macbeth as well—one that maybe doesn’t have anything to do with its quality. Not because TTOM can’t be bad, but because Venice really has no compunction with premiering bad films. I don’t know obviously, it may be because it’s bad but the Blonde news gives us reason to think there’s more to the story.

    FYC:
    Picture: The Power of the Dog, Passing, The Lost Daughter
    Director: Jane Campion, Rebecca Hall
    Actor: Benedict Cumberbatch
    Actress: Tessa Thompson, Olivia Colman
    Supporting Actress: Kirsten Dunst, Ruth Negga, Dakota Johnson, Jessie Buckley
    Supporting Actor: Kodi Smit-McPhee, Jesse Plemons

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    fefface
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    #1204378311

    Now that we know Blonde wasn’t rejected by Venice but pulled by Netflix in the battle for final cut, I have a feeling there has to be more to the story behind The Tragedy of Macbeth as well—one that maybe doesn’t have anything to do with its quality. Not because TTOM can’t be bad, but because Venice really has no compunction with premiering bad films. I don’t know obviously, it may be because it’s bad but the Blonde news gives us reason to think there’s more to the story.

    The guy who posted about Macbeth is extremely credible and never claimed that Blonde had been rejected, just that it wasn’t going. A lot of people made the assumption but it was never part of what was said.

    A Venice slot is a much bigger deal (even OOC) than opening NYFF. The film is finished. Coen has a strong history with Venice. If it had gotten in, it would be going IMO.

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    Tick Tock
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    #1204378326

    Now that we know Blonde wasn’t rejected by Venice but pulled by Netflix in the battle for final cut, I have a feeling there has to be more to the story behind The Tragedy of Macbeth as well—one that maybe doesn’t have anything to do with its quality. Not because TTOM can’t be bad, but because Venice really has no compunction with premiering bad films. I don’t know obviously, it may be because it’s bad but the Blonde news gives us reason to think there’s more to the story.

    Actually, the same guy outright said that Macbeth was rejected by Venice.

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    Elsa Korr
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    #1204378333

    The Story behind Macbeth and Venice is interesting because if they think its bad, Several mediocre-to-bad films like The Laundromat had also premiered there. Its weird.

    Could it mean that Coen/A24/Apple wanted In Competition Screening but Venice rejected IC Screening but allowed Out of Competition Screening yet They opted to not going to Venice at all??

    FYC-Nightmare Alley in All Categories (Best Picture, Guillermo Del Toro for Best Director, Bradley Cooper for Best Actor, Cate Blanchett for Best Actress, Rooney Mara for Best Supporting Actress, Richard Jenkins for Best Supporting Actor)

    FYC-Last Night in Soho (Edgar Wright for Best Director, Thomasin McKenzie for Best Actress, Anya Taylor Joy for Best Supporting Actress, Edgar Wright and Krysty Wilson Cairns for Best Original Screenplay)

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    fefface
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    #1204378362

    The Story behind Macbeth and Venice is interesting because if they think its bad, Several mediocre-to-bad films like The Laundromat had also premiered there. Its weird. Could it mean that Coen/A24/Apple wanted In Competition Screening but Venice rejected IC Screening but allowed Out of Competition Screening yet They opted to not going to Venice at all??

    If they did that they shot themselves in the foot because OOC Venice is a way better premiere slot than opening NYFF.

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    LA26
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    #1204378376

    If they did that they shot themselves in the foot because OOC Venice is a way better premiere slot than opening NYFF.

    Does that OOC Venice premiere slot apply to Macbeth only, or just in general? And why is it better than opening NYFF?

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    gorman
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    #1204378407

    The Story behind Macbeth and Venice is interesting because if they think its bad, Several mediocre-to-bad films like The Laundromat had also premiered there. Its weird. Could it mean that Coen/A24/Apple wanted In Competition Screening but Venice rejected IC Screening but allowed Out of Competition Screening yet They opted to not going to Venice at all??

    Yeah this is the aspect I don’t get. Unless it’s atrocious, there must be at least something else to it than quality. Festivals accept poorly received films quite often. In the OOC slot at Venice 2019 you had The King, The Burnt Orange Heresy and Seberg, all of which received muted reviews and have long been forgotten about. 2018 had quite a few divisive films on that slate and Driven in OOC that was pretty poorly received. Not that I’m ruling out that Macbeth is somehow even worse than that (baffling as it would be given the talent involved), but it feels like there’s something more to it at least. I know they can’t base it on much more than the organiser’s response to the film but I do find it hard to believe they’d reject a Coen-McDormand-Washington-Shakespeare film even if it wasn’t that great.

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