Film Reel and Clapper Board Oscar Statue Clip Art
It'south the most wonderful time of the year: the preamble before Awards Season. As the first snowflakes fall, the latest Martin Scorsese moving-picture show, The Irishman, descends on expectant theaters (and Netflix). Meanwhile, Google Play is asking you to cough up $19.99 for a repeat viewing of Quentin Tarantino's In one case Upon a Fourth dimension in Hollywood. Sure, these heavy-hitters are bound to get some Academy Honour fizz, merely they aren't the just winners out in that location this winter. This year, ditch the typical Oscar bait and enjoy these foreign, indie and lesser-known cinematic gems that are on rail to nab some gilded statuettes.
The Final Black Man in San Francisco | Directed by Joe Talbot (A24)
Joe Talbot's feature directorial debut is based on a story developed in part past Jimmie Fails, who also plays the titular role. The Last Blackness Human in San Francisco is a semi-autobiographical business relationship of Fails' struggle to reclaim his childhood dwelling, a Victorian located in the urban center'southward Fillmore District, equally his city undergoes gentrification. Afterward debuting at the Sundance Film Festival, the film won an award for Best Directing too as a Special Jury Prize for Creative Collaboration.
Called "ravishing, haunting and exultant" by critic Manohla Dargis in The New York Times, the moving picture came out in June — style ahead of Oscar flavor and in the middle of the summer blockbuster boom. Despite that timing, nosotros're sincerely hoping the Academy doesn't forget most this cute, poetic film. As Justin Chang dubbed it in his Los Angeles Times review, it'due south a "gorgeous, moving ode to a metropolis in flux."
The Bye | Directed by Lulu Wang (A24)
Written and directed by Lulu Wang, The Cheerio is a comedy-drama based on Wang's life experiences, which she first unveiled to the public in the form of a radio story called What You lot Don't Know on NPR's This American Life program. Starring Awkwafina equally Billi, an aspiring Chinese American writer living in New York, and acting legend Zhao Shuzhen as Billi's Nai Nai (paternal grandmother) who lives in Changchun, Mainland china, The Farewell centers on the relationship between a granddaughter and grandmother.
Nai Nai is diagnosed with a terminal illness, and her family, including Billi's parents, are determined to keep the truth from her — a decision that Wang presents as something done out of love. When the family plans a trip to Red china under the guise of attending a hymeneals, Billi grapples with what's "right." Vanity Fair calls this understated, charming movie a "[moving]… story about the negotiations of familial love, just too of the immigrant experience, of revisiting one's homeland to, in some senses, say good day to it."
Parasite | Directed past Bong Joon-ho (Neon)
The universally acclaimed Parasite isn't director Bell Joon-ho's first historic outing. His sophomore motion picture Memories of Murder (2003) brought him international success, and ii of his other hits, The Host (2006) and Snowpiercer (2013), are two of the highest-grossing films of all time in Republic of korea. However, Parasite won the coveted Palme d'Or at the 2019 Cannes Film Festival, making Bell the kickoff Korean managing director to nab the award.
Then, what is Parasite nearly? To keep information technology cursory, it's most 2 families, the Kims — who live in a basement apartment and struggle to make ends meet — and the Parks — a wealthy family in search of a tutor for their daughter. Honestly, it's best to know as lilliputian as possible about this dark-comedy-meets-thriller-meets-social-commentary picture. Bell is known for exploring timely social themes, similar class strife, and often mixes genres and employs tonal shifts every bit his films unfold.
Bilge Ebiri of NY Mag noted that Parasite is a "nerve-wracking masterpiece whose spell lingers long after its haunting last epitome." Will Parasite become the first foreign-language film to nab a Best Pic Oscar? We certainly hope so.
Uncut Gems | Directed by Josh Safdie & Benny Safdie (A24)
Unless you've been on the festival excursion, yous probably know every bit much as we do: Adam Sandler'south character, Howard Ratner, is a jewelry shop owner — and compulsive gambler. Surprise, surprise: Ratner needs to pay off his debts before it's too belatedly. Another certainty: Every few years, Sandler volition bandage bated his Sat Night Alive/Happy Gilmore schtick and cobble together an Oscar-worthy, dramatic operation, equally evidenced past Punch-Drunk Dearest (2002) and as attempted in Reign Over Me (2007).
Co-starring Lakeith Stanfield, Idina Menzel and Kevin Garnett, Uncut Gems was a favorite at both Telluride Film Festival and the Toronto International Film Festival. IndieWire has called information technology "a riveting high-wire act, pairing cosmic visuals with the gritty energy of a nighttime psychological thriller and sudden bursts of frantic comedy," and critics hold that Sandler puts in a remarkable, nomination-garnering operation.
Waves | Directed by Trey Edward Shults (A24)
Trey Edward Shults' Waves is set up in Due south Florida and stars his It Comes at Night (2017) star Kelvin Harrison Jr. Co-starring heavy hitters like Renée Elise Goldsberry, Lucas Hedges and Sterling K. Chocolate-brown, it traces a family's journey every bit they navigate honey and forgiveness in the wake of a jarring loss. This patient family unit drama — set to a Trent Reznor and Atticus Ross score — was praised by the Los Angeles Times for being "securely rooted in its characters' consciousness."
On the other hand, its white director has received criticism for telling a story about Black masculinity and trauma that he doesn't have the authority to tell. In the Globe and Mail, Sarah-Tai Black wrote "I'yard tired of watching movies by white directors that are sold to Black audiences as if our lived experience is as culturally transmittable every bit making a mix-tape… Shults… lacks not just the lived feel to responsibly make this film, merely also the lack of vision needed to sell it." Only fourth dimension (and audience reactions outside of the awards circuit) will tell if Waves will become this year's Green Book (2018) and a true Best Movie contender.
Honorable Mention: Booksmart | Directed by Olivia Wilde (Annapurna)
Olivia Wilde'southward feature directorial debut is a heartfelt — notwithstanding raunchy — coming-of-age comedy that centers on the friendship between ii young women (Beanie Feldstein and Kaitlyn Dever) who gear up out to intermission some rules and take some wild fun the night before graduation. One of those women even gets a queer romance storyline, which is refreshing. In fact, this whole movie is a refreshing take on a well-worn genre.
Hailed every bit the all-time buddy comedy since Superbad (2007), Booksmart deftly proves that, as noted by Vocalisation, "When you lot're a teenager […] your biggest enemy is usually yourself." Wilde's film drives that universal, compelling notion home without sacrificing whatever humor. Unfortunately, comedies don't e'er get their ante at the Oscars, merely this i is still a 2019 must-see.
Source: https://www.simpli.com/pop-culture/oscar-watch-best-films-2019?utm_content=params%3Ao%3D740008%26ad%3DdirN%26qo%3DserpIndex
0 Response to "Film Reel and Clapper Board Oscar Statue Clip Art"
Enviar um comentário