With this year’s Academy Awards ceremony behind us, it’s time to take a look at how I did on my predictions for the winners in this annual competition, as first outlined in my previous blog, “Who Will Win This Year’s Oscars?”, posted on February 23.
And the result? Five out of six correct calls, with one miss. Here are the details:
Best Picture
Actual Winner: “The Shape of Water”
Result: Missed call (sort of)
This has become the most difficult category to call in recent years, largely because it’s been hard to discern the mind of the Academy voters. In years when it seems they’re going to play it safe, they go with something edgy and vice versa. This year, given all of the recent game-changing upheavals in the movie industry, and based on the results of many of this year’s previous awards competitions, it seemed as though voters were in a scrappy mood, which accounts for the many prior wins by “Three Billboards Outside Ebbing, Missouri,” an outcome I believed would carry over into the Oscars.
However, much to my surprise, on awards night, the statue went to “The Shape of Water,” a comparatively “safer” bet. Why? Perhaps Hollywood is ready to start putting the controversies of recent months behind it and get back to the business of making movies, and choosing this film as best picture was a way of starting that process.
Not that I’m disappointed with the choice; after all, “The Shape of Water” was the No. 3 film on my list of 2017’s top 10. However, I’m a little surprised at the shift in voters’ tone, given the wins by “Three Billboards” at the Golden Globes and the BAFTA Awards, where it bested “The Shape of Water,” and at the Screen Actors Guild Awards for best acting ensemble (often a bellwether indicator of the best picture at the Oscars), where “The Shape of Water” wasn’t even nominated.
To my own credit, ahem, I did say that “The Shape of Water” was probably the only picture that could seriously challenge “Three Billboards,” that it was part of a two-horse race for the top prize. So, given that this ended up being the case, I’ll gladly take a half-credit on this one (because I can!). Maybe I’ll get the mood of the voters right in future years.
Best Actor
Actual Winner: Gary Oldman, “Darkest Hour”
Result: Correct call
This was a no-brainer. Oldman won virtually everything all season long, and there was no reason to believe that this would change on Oscar night. It’s a deserving award for a deserving performance, one that, in my opinion, left virtually all of his competitors in the dust. Nice choice, Academy!
Best Actress
Actual Winner: Frances McDormand, “Three Billboards Outside Ebbing, Missouri” [http://content.brentmarchant.com/2017/11/29/three-billboards-explores-lengths-well-go-justice/]
Result: Correct call
This was another no-brainer. McDormand won virtually everything all season long, and, again, there was no reason to believe that this would change on Oscar night, even if she did have serious though largely unrecognized competition from Margot Robbie in “I, Tonya” and Sally Hawkins in “The Shape of Water.” Nevertheless, it’s another deserving award for another deserving performance.
Best Supporting Actor
Actual Winner: Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”
Result: Correct call
Yet another no-brainer. Rockwell won virtually everything all season long, and, again, there was no reason to believe that this would change on Oscar night, even though this category fielded considerable (though unrecognized) competition from all of its very deserving nominees (Willem Dafoe, “The Florida Project”; Woody Harrelson, “Three Billboards Outside Ebbing, Missouri”; Richard Jenkins, “The Shape of Water”; Christopher Plummer, “All the Money in the World”). It was good to see a deserving nominee finally receive the recognition he deserves.
Best Supporting Actress
Actual Winner: Allison Janney, “I, Tonya”
Result: Correct call
Perhaps the biggest no-brainer of all, Janney has been on fire all awards season long, taking home an Oscar for one of the best supporting actress performances in years. This was a very deserving win for a tailor-made role for an actress who has gone unrecognized for far too long. As in the supporting actor category, Janney had formidable (though unrecognized) competition from all of her fellow nominees (Mary J. Blige, “Mudbound”; Lesley Manville, “Phantom Thread”; Laurie Metcalf, “Lady Bird”; Octavia Spencer, “The Shape of Water”), but the right actress won – and deservedly so.
Best Director
Actual Winner: Guillermo del Toro, “The Shape of Water”
Result: Correct call
Rounding out the field of no-brainers, del Toro’s win for best director was easy to see coming, having taken top honors in virtually every contest up to Oscar night. The makeup of this category was indeed interesting, including a mix of veterans and newcomers, but the right candidate came out on top, while giving the veterans just recognition and the newcomers a down payment toward future consideration. Congratulations to the winner!
Oscar® and Academy Award® are registered trademarks of the Academy of Motion Picture Arts & Sciences.
Copyright © 2018, by Brent Marchant. All rights reserved.
Monday, March 5, 2018
How’d I Do on This Year’s Oscars?
Thursday, March 1, 2018
‘The Insult’ searches for resolution in a world on the edge
“The Insult” (“L’insulte”) (2017). Cast: Adel Karam, Kamel El Basha, Camille Salameh, Diamond Bou Abboud, Rita Hayek, Talal Jurdi, Christine Choueiri, Julia Kassar, Carlos Chahine, Georges Daoud, Elie Njeim, Rifaat Torbey. Director: Ziad Doueiri. Screenplay: Ziad Doueiri and Joëlle Touma. Web site [http://cohenmedia.net/films/theinsult]. Trailer [https://youtu.be/QEQDZL6bAXo].
Oftentimes, when people quarrel, they’re not really debating about what they claim they’re arguing about. In many instances, there are issues beneath the surface that are the actual source of the conflict, most of which are far removed from the problem at hand. These proxy disputes provide a buffer against the real issue coming out, either because we don’t recognize the true root of the disagreement or because we’re not ready to deal with it. However, if genuine resolution is to come about, it’s imperative to cut through the clutter to get to the heart of the matter, an undertaking explored in the new Lebanese drama, “The Insult” (“L’insulte”).
In a Lebanese Christian neighborhood of Beirut, a dispute arises when Yasser Salameh (Kamel El Basha), a Palestinian refugee contractor hired to fix building code violations, runs afoul of Toni Hanna (Adel Karam), a local resident, by repairing a faulty drain pipe extending from the occupant’s balcony. With the contractor having acted without his consent, Toni is insulted, demonstrably smashing the repair work and calling Yasser a vile name. Toni then angrily approaches Talal (Talal Jurdi), the contractor’s boss, demanding an apology. Yasser’s boss seeks to smooth things over, but Toni will have none of it until he gets his apology.
Not long thereafter, Talal encourages Yasser to give Toni what he wants. He informs Yasser that there’s more at stake than his pride, including the prospects of future work. And so, Yasser reluctantly agrees to meet with Toni for a street-level summit organized by Talal. However, when the combative parties meet, Toni’s hatred becomes obvious, prompting Yasser to pull back from his promise to apologize. As the tension mounts, Toni lets loose with a racially charged disparagement of Yasser’s Palestinian heritage, an insult that could be construed as a hate crime. Toni’s words anger Yasser so much that he punches his opponent in the stomach, breaking several ribs and necessitating a hospital visit.
The conflict lands the two men in court before a judge (Carlos Chahine) who has little patience for the combatants. When he asks each party for specific evidence about their contentions, they either hedge their answers or refuse to divulge what they know, prompting the judge to dismiss the case and acquit Yasser.
Unsatisfied, however, Toni presses on, appealing his case to a higher court and hiring one of the Christian community’s most prominent prosecutors, Wajdi Wehbe (Camille Salameh), to represent him. In turn, Yasser retains a young lawyer, Nadine Wehbe (Diamond Bou Abboud), an idealist who happens to be Wadji’s daughter and who strongly believes that Palestinian litigants don’t receive fair treatment in the Lebanese judicial system. Presiding over the case is a panel of three judges led by chief justice Collette Mansour (Julia Kassar), who intends to maintain a tight leash over proceedings that obviously have the potential to get out of hand, especially now that the dispute has begun to receive increased public attention.
Outside of court, circumstances quickly begin to spiral out of control. Issues arise involving the plaintiff’s health, which runs into complications during his recovery, and his relationship with his pregnant wife, Shirine (Rita Hayek), who subsequently develops serious obstetric challenges. On top of that, the case soon becomes a media circus, with racially charged sentiments spilling over into the streets, leading to protests, heated arguments and even riots, events that trap innocent parties in the crossfire.
Meanwhile, inside the courtroom, the ante is continually upped, especially when the parties’ counselors introduce evidence and conduct lines of questioning that delve into the litigants’ personal histories and backgrounds. These tactics, though somewhat questionable, nudge the real issues at the heart of their conflict to the surface, most of which have causes that extend back far beyond their misunderstanding about the drain pipe, some of which are rooted in the combating parties’ experiences in the Lebanese Civil War. With these issues exposed, painful memories emerge, with anguish that becomes exacerbated when Toni and Yasser see what their skirmish is doing to their country, opening old wounds and threatening to make them worse – for everybody. Quietly, the litigants begin to reconsider their positions, but, publicly, even the heartfelt reconciliation pleas of a prominent politician (Rifaat Torbey) seem to go unheeded as the country descends deeper and deeper into chaos.
Will Lebanon save itself before tearing itself apart? Will the quarreling parties get to the root of their disagreement and resolve it, setting an example for their increasingly contentious countrymen? Or is the nation’s fate irretrievably sealed, becoming yet another casualty of the uncontrolled, inflexible emotional and political sentiments sweeping across so many countries these days? This is a potent cautionary tale with implications that can be writ both large and small, given that the bedrock on which they rest is the same in both cases – and just as shaky in each instance.
To realistically solve these issues, Toni and Yasser must take a good hard look at their beliefs, for they drive the conscious creation process, the means that forms the basis of their respective realities. And this is true whether or not each party fully recognizes the authentic nature of those beliefs, a circumstance that can prove to be quite problematic when those underlying intents involve volatile matters, as is very much the case here.
Given that their conflict appears to be rooted in beliefs that originated in the past, their current situation clearly demonstrates the power and persistence of these notions. It’s as if the beliefs are operating on autopilot, subtly but continually manifesting conditions related to their nature, no matter how beneficial or detrimental they may ultimately be. And, as becomes apparent as the film plays out, they carry the potential for reigniting old hatreds and inciting a new round of troubles, issues that the country had thought (or, more precisely, would like to have thought) it had put behind it.
If circumstances are ever to change, Toni and Yasser will need to begin with changing their beliefs, not just for themselves, but also for the Lebanese population. In many ways, the conflict between the two combatants is metaphorical of a larger, national problem, a microcosmic materialization of beliefs that have gone unrecognized and unaddressed for a long time, despite recent events.
The scenario depicted here also illustrates the power of co-creation at work. Even though the fight begins with two individuals, it quickly escalates into a melee involving a much larger contingency, with each participant contributing his or her energy and belief support to the unfolding drama, be it knowingly or unwittingly. Again, if resolution is to occur, a change in beliefs is in order, though this time on a much larger scale.
Change is possible, though, as long as the parties to this dispute – both personally and collectively – are willing to make the effort to analyze what’s driving their existence and to consider previously untried options for altering their reality. This takes thinking outside the box, pushing past preconceived limitations and devising inventive solutions that can bring about meaningful and acceptable resolution. It would seem that all parties involved have their work cut out for them, but, given that conscious creation makes all probabilities possible, a solution is by no means out of the question. If more of us were to take such an approach in both our personal and public disputes, we would almost assuredly have considerably fewer problems in the world today.
Though sometimes a little shrill and overly dogmatic in its tone and a little formulaic in its narrative format, “The Insult” nevertheless serves as an effective metaphor for many of humanity’s ills these days. Excessive polarization, a desire for vengeance rather than justice and an unwillingness to compromise all take front-row seats in this drama about the sometimes-futile quest to find balance and reconciliation when those qualities are virtually nonexistent. A knowledge of Middle Eastern history and politics would certainly help aid the viewing experience of this film, but, even with not knowing all the details, the essence of the conflicts – and the picture’s central message – still come through loud and clear (sometimes a little more so than one might want). Yet, for its efforts, the picture has received an Oscar nomination for best foreign language film.
As this film illustrates, it would be in our best interests to face up to what the real issues are in our lives, be it on a personal or national scale. To put it off only prolongs the pain and the length of the resolution process. But it’s not impossible. “The Insult” shows what it means to make the effort and to search for a solution before the pot boils over.
Copyright © 2018, by Brent Marchant. All rights reserved.
Wednesday, February 28, 2018
Choose Positive Living
What were the best and worst movies of 2017? And which pictures will take home Academy Awards this weekend? Find out by listening to the latest edition of Choose Positive Living radio with Sara Troy and yours truly, available by clicking here.
Tuesday, February 27, 2018
Conscious Creation Goes to the Oscars
Don't miss today's edition of Smart Women Talk Radio with host Katana Abbott and yours truly. We'll discuss this year's Oscar-nominated films and the role that conscious creation plays in making them great viewing. Tune in at 3 pm ET by clicking here. Or catch the archived podcast later for on-demand listening.
Monday, February 26, 2018
This Week in Movies with Meaning
Reviews of "The Insult" and "Black Panther," as well as previews of four radio shows, are all in the latest Movies with Meaning post of the web site of The Good Media Network, available by clicking here.
Sunday, February 25, 2018
‘A Fantastic Woman’ sets powerful examples of courage, compassion
“A Fantastic Woman” (“Una mujer fantástica”) (2017). Cast: Daniela Vega, Francisco Reyes, Luis Gnecco, Aline Küppenheim, Nicolás Saavedra, Amparo Noguera, Trinidad Gonzáez, Néstor Cantillana, Sergio Hernández. Director: Sebastián Lelio. Screenplay: Sebastián Lelio and Gonzalo Maza. Web site. Trailer.
Saying goodbye is never easy. The pain and sorrow can be a lot to bear, even under the “best” of circumstances. But, when the situation becomes burdened by considerations that have no business intruding upon such a difficult process, the result can be unendurable. Such are the conditions addressed in the compelling new Chilean drama, “A Fantastic Woman” (“Una mujer fantástica”).
Businessman Orlando Onetto (Francisco Reyes) leads what appears to be a fairly comfortable life in Santiago. The 57-year-old runs a successful company and lives in a moderately upscale home. He also enjoys the companionship of his significant other, Marina (Daniela Vega), a beautiful, aspiring vocalist many years his junior with whom he’s developing a blossoming romance.
As the film opens, Orlando and Marina celebrate her birthday with dinner, drinks and dancing. She’s especially touched when Orlando tells her he’s planned a romantic getaway for the two of them. In many ways, they share a perfect evening.
But, after returning home, circumstances take a drastic turn. Orlando awakens feeling ill, not sure what’s wrong bur definitely not himself. He struggles to stand up, quickly collapsing, after which Marina rushes him to the hospital. But, despite the medical staff’s efforts to stabilize his condition, Orlando dies of an apparent aneurism. Suddenly, Marina is left to sort out matters, a task that proves easier said than done. The reason: Marina, as it turns out, is “the other woman,” the love for whom Orlando abandoned his family and longtime wife, Sonia (Aline Küppenheim).
Needless to say, relations between Marina and Orlando’s family are anything but cordial. To help matters proceed as smoothly as possible, Marina contacts Orlando’s brother, Gabo (Luis Gnecco), the relative who seems most accepting of (or, more precisely, least hostile toward) the woman they blame for breaking up the family. Gabo says he’ll handle all the necessary arrangements, but, before long, others – like Sonia and Orlando’s adult son, Bruno (Nicolás Saavedra) – get involved in things, and neither of them is nearly as conciliatory. To her credit, Sonia tries to put on a civil face and to be as diplomatic as possible, even offering to compensate Marina for any inconveniences she’ll incur as a result of Orlando’s passing. But there’s one point on which Sonia has no flexibility: She insists that Marina not attend Orlando’s memorial service or funeral, because the family wants to suffer no further embarrassment from her presence in their lives. Marina is thus forced to grieve by herself, with no formal opportunity to say goodbye.
However, as soon becomes apparent, the family’s hostility toward Marina has to do with more than just her unwanted involvement with Orlando. To say more would reveal too much, but suffice it to say that she possesses qualities that the Onetto family finds objectionable, traits that made Orlando’s philandering more painful for them to endure than what others similarly situated might typically experience. But is the family justified in taking such a hostile stance? Or are they falling prey to outmoded, close-minded prejudices? Either way, Marina is left with having to face her grief alone under circumstances where her personal dignity, self-confidence and even her very identity are called into question, compounding her pain at a time when she least needs to be saddled with additional anguish.
Despite these obstacles, though, Marina remains steadfast in her resolve, both to say a proper farewell to her beloved and to assert her personal integrity. She thus boldly and courageously demonstrates what it means to confront the challenges that would hold her back from achieving her goals and maintaining an empowered sense of self. She makes it plain for all to see what a truly fantastic woman she really is.
To say that Marina is in a difficult spot would indeed be an understatement. The pain of losing her partner is traumatic enough, but to suffer the humiliation, callousness and degradation thrust upon her by Orlando’s family on top of that is gut-wrenching and demoralizing. What’s to be gained from such actions? For some, that may be hard to say. But, for those who follow the principles of conscious creation – the philosophy that maintains we manifest the reality we experience through the power of our thoughts, beliefs and intents – there may be something to be said for them, as long as the underlying materialization means are properly understood.
At first glance, Marina’s situation is one that no one should have to – let alone would want to – endure. Sometimes, though, if change is ever going to come about, examples must be set, and they must be visible enough for others to see, especially when a sense of justified outrage is to be unleashed. And, to bring about such results, “volunteers” are needed to step forward and pave the way. Those heroic figures may not be consciously aware of what they’re doing, and they may often find themselves bewildered when they wind up in the midst of such circumstances. However, their impact is often considerable, and, when they begin to see what effect they’re having, they often become emboldened by their efforts, galvanized in their resolve to see their desired goals come to fruition.
In Marina’s case, she’s clearly put through the wringer, more so than she probably ever envisioned when she began this personal odyssey. Yet, no matter how difficult her situation becomes, she remains determined to forge ahead, to overcome her fears and the challenges placed before her. And, in doing so, she provides the example that others need to see to get past their own limited beliefs, to help pave the way for a new way of looking at things. That’s quite an accomplishment and one hell of a creation.
Along the way, individuals in these circumstances stand to benefit personally, too, strange as that may seem on a cursory glance. These scenarios provide the means for learning valuable life lessons. They also enable the protagonists at the center of them to grow personally, both in terms of building up one’s courage, as well as in learning things about themselves that they may have never previously known (qualities, for example, that feed directly into the development of Marina’s musical career). They may thus find themselves able to tap into skills and abilities that they didn’t know they possessed. They may also access parts of themselves that allow them to set new courses for the future. And they may accomplish tasks they never dreamed possible. Getting there may not be easy – perhaps even full of various pitfalls along the way – but the results could prove more than worth it, both for themselves and for others facing similar conditions. Considering what Marina is up against, one can’t help but see the value in the benefits that come from her efforts.
Even though it sometimes feels as if director Sebastián Lelio is needlessly stringing viewers along and leaves some of the narrative’s story threads unresolved, this intriguing offering from Chile delivers a fresh twist on the other woman genre, one that’s somewhat unexpected and features previously unexplored plot devices. With a fine debut lead performance by Vega, the story captivates the further one gets into it, leaving viewers wondering how it’s all going to end up. It’s unfortunate that some of the aforementioned tidying up is left unattended to, though, for, if it had been, this might have been a truly groundbreaking cinematic release.
For its efforts, “A Fantastic Woman” has drawn considerable critical praise and its share of awards season honors, including Oscar, Golden Globe, Critics Choice and Independent Spirit Award nominations for best foreign language film. In addition, the picture was named one of the top five 2017 foreign films by the National Board of Review.
Regardless of how one might feel about the morality of Orlando’s and Marina’s behavior, the film nevertheless makes plain its viewpoint on an individual’s right to grieve the loss of a loved one. It also shines a spotlight on the questionable practice of shaming someone for who he or she is, especially in a time of sorrow. No one deserves to be treated so callously, and we should always bear that in mind, no matter who they are.
Copyright © 2018, by Brent Marchant. All rights reserved.
An Irreverent Look at the Oscars
Looking for an irreverent look at this year's likely Oscar winners? Tune in to the latest episode of TheCoffeeCast featuring host Tom Cheevers and yours truly, available by clicking here. SENSITIVE VIEWERS TAKE NOTE: EXPLICIT LANGUAGE WARNING!
