Jason Travis
Columbia College Chicago film graduate and published Chicago Tribune journalist who has a passion for the Oscars and bigger passions for connecting with other fanatics. One day you WILL see me on the Red Carpet talking to the stars about their Oscar chances. Oh yes, it Will Happen!
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Has anyone seen In the Absence?
Description (from Academy’s website): When the MV Sewol ferry sank off the coast of South Korea in 2014, over three hundred people lost their lives, most of them schoolchildren. Years later, the victims’ families and survivors are still demanding justice from national authorities.
I remember reading about this when it happened and being utterly devastated by it. Everyone has Learning to Skateboard in a Warzone (including myself), but I am tempted to switch to In the Absence simply because it seems more voters would be able to warm up to it’s enticing story – and tragedy that is still be investigated.
Also I know this isn’t part of the shorts, but Sasha recently switched to Honeyland in Documentary, as did a few others in the Top 24. I originally had American Factory for the Obama angle, but it’s just their production company. For Sama won the BAFTA over American Factory and seems to have the more powerful story. Honeyland, too, seems more personal. It also helps the latter is nominated for Foreign Language Film- perhaps more broad support? Anyone have insights?
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Ford v Ferrari won the Cinema Audio Society award for Best Sound Mixing- though I don’t know how accurate they are vs. the Oscars.
I have Ford v Ferrari winning Film Editing and Sound Mixing; 1917 wins Sound Editing. This is risky, but for now thats where I see it playing out.
I keep going back and forth between The Lion King and 1917 for Best Visual Effects. Regarding the latter, yes the effects are great but they are very subtle (regarding the camera tricks). Will voters take notice? War films don’t win Visual Effects/usually sound and cinematography- sometimes production design. The Lion King has been doing a LOT of advertising on the making of the effects, and they are a sight to behold. It reminds me of when The Jungle Book won.
Then there’s still the business of The Irishman. If voters want to reward the Scorsese epic with anything, this seems to be the closest bet. But again, like 1917, the effects are subtle- and some complain that even if they made the faces look younger, the bodies weren’t able to be saved.
1917 could be a Gravity and just get name checked in all the tech categories.
Oh what a mess my mind gets a week before the ceremony!
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In addition, lately BP has gone to the movie that “feels thematically/socially important” something 1917 doesn’t have; at the end of the day 1917 is just a spectacle movie about two dudes overcoming all sort of obstacles to deliver a message and that’s it.
While I agree with your assessment on BAFTA not being a recent strong indicator for the best picture Oscar, 1917 is most certainly socially important and DEF feels thematic (I saw it in Dolby Theaters specifically for the reasons of being immersed in that universe).
It’s more than just “two dudes delivering a message”. The message that prevented MAJOR casualties that could have made World War I even bloodier. The message where one man has to endure panic, heartbreak, courage and ultimately heroic boundaries.
Follow Me on YouTube: https://www.youtube.com/jasonmovieguy
13K Subscribers, 29 Million ViewsFYC: Derbyite of the Year, 2017
