Archive for September 2016

89th Oscars Predictions: September Edition   Leave a comment

With TIFF and Venice now done, here’s how the rest of the competition is now shaping. Can Natalie Portman win a second Oscar? Is Silence even coming out this year? And will #OscarsSoWhite finally be over? (Yup it is).
 
PS: I’m already sick of the Natalie vs. Emma and Jackie vs. La La Land rivalry this early.
01-picture
La La Land is the movie to beat. It’s about the industry, it’s likely to be a huge hit, it has the critics backing it, and it’s a crowdpleaser. Think of a more popular The Artist. I’m still baffled with which Paramount vehice is happening tbh, and Harvey will fight til the end to make Lion happen.
02-directing
This seems like a tailor made win for Damien Chazelle no? He came really close for Whiplash nomination two years ago. Now he can just go all the way with this.
03-best-actor
What a weak lineup. I can see a scenario of Denzel winning #3 with this weak lineup. I’m not totally sold yet on Casey Affleck steamrolling this time around. And while he might not be campaigning, it’s so very much the Oscars that Tom Hanks gets in for Sully even after his Captain Phillips snub.
04-best-actress
Emma vs. Natalie vs. Viola is what will be the story of this season. I think Emma can go all the way with this especially if La La Land becomes stronger this season, but Natalie Portman’s raves are just absolutely astonishing it’s hard to dismiss them. Then there’s Viola, whose campaigning will surely make a statement with the Academy. I put Meryl in fourth only because I think this is the Meryl stuff the Academy loves Meryl to do. Fifth spot is tricky between Ruth to Annette tbh, and I can see anybody completing the lineup. Right now, I say it’s Negga.
05-best-supp-actor
Can you imagine if Silence moves to 2016? What happens to this category? Hopefully it paves the way for a Mahershala Ali win. Shannon is shaping to have a great year and Bridges is the type of a lazy nom role that can happen (see Robert Duvall in The Judge). Grant can be carried by Meryl if they continue to campaign together.
06-supp-actress
Michelle Williams seems the type to win critics mentions but flops at the televised awards (see Amy Ryan in 2007, Jessica Chastain in 2011 etc.) But then, maybe she’s perceived as overdue. Stewart is having the best years of her career, and she’s one who can get a welcome type of nod from AMPAS. Legend Kidman plays the favorite supporting role here: a supportive mother. Plus that wig is amde of Philomena’s leftovers. And then I put Adams here only because Focus Features knows this game. I mean they’re the same team who pulled off Vikander in Supporting for The Danish Girl just earlier this year.
07-original-screenplay
So is Moonlight original or adapted? I say original only because it doesn’t have a published material. The first four are close to safe. Last one can be the tricky part and can go to any of the weaker films.
08-adapted-screenplay
This is empty. Lol.
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Posted September 25, 2016 by Nicol Latayan in Uncategorized

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Philippines’ 89th Oscar Submission: Ma’Rosa   Leave a comment

ma-rosa-posterYesterday, the Film Academy of the Philippines announced Brillante Mendoza’s Ma’Rosa as the country’s submission in the Best Foreign Language Film category at the 89th Academy Awards that will happen on February 2017. The film bested nine other entries which includes Berlin winner Hele sa Hiwagang Hapis, Cinemalaya Best Picture Pamilya Ordinaryo, and the last minute addition Ang Babaeng Humayo by Lav Diaz.

This is the first time for director Brillante Mendoza who has been shortlisted thrice before (2009 for Kinatay, 2013 for Thy Womb, and 2015 for Taklub). Mendoza has also won Best Director at Cannes Film Festival back in 2009, also for Kinatay. In a way, he’s – for lack of a better term – overdue for an Oscar submission. Why he hasn’t represented us thus far is really surprising.

Ma’Rosa, tells a day in the life of a poor family, headed by their matriarch Rosa (played by Jaclyn Jose), as they scramble to find the money to pay off the corrupt policemen that have arrested them or dealing drugs. Back in May, it competed at the Cannes Film Festival Main Competition section where it pulled off the historic Best Actress win for Jose, being the first Filipina and Southeast Asian actress to do so. Certainly, it has the clout and the festival exposure.

Now let’s dissect its chances. Can Ma’Rosa pull off that elusive first nomination for the Philippines? For those counting, we’ve submitted 27 times in the past — back from our very first in 1953 for Manuel Conde’s Genghis Khan up to last year’s Heneral Luna from Jerrold Tarog) to no avail. No nomination and no shortlist mention.

As mentioned above, one of the things going for Ma’Rosa is its festival exposure. Not only did it take a home a prize at Cannes, it also played at the Toronto Film Festival. It has partnered with sales agency company Films Distribution which also distributed current Best Foreign Language Film winner Son of Saul. Impressive, right? Well not in the sense you’re thinking of. It has to be clarified though. Films Distribution is not an Oscar-campaigner studio per se. It’s not the same as Focus Features or Fox Searchlight or even The Weinstein Company. Son of Saul‘s win last year was due to being campaigned by Focus Features which handled its whole awards run campaign. Ma’Rosa doesn’t have that.. yet. In reality, the most Films Distribution can do is to help the movie gain more festival exposure. Going by a quick search shows that after Toronto, it’s also heading to BFI London, which is good. More festival exposure is always better.

Reviews by foreign critics is always a factor too. It has to be mentioned first that Mendoza is really as divisive when it comes to foreign critics. Remember when the late Roger Ebert mentioned that Kinatay surpassed Vincet Gallo’s The Brown Bunny as “the worst film in Canes history?” So it’s a  bit of delight that Ma’Rosa is probably one of the better-reviewed films in his filmography. While critics still had reservations, they were more welcoming than the usual. THR mentioned “Thankfully, and as in his other features, Mendoza again manages to turn his locations into a character in its own right. ” Variety’s Maggie Lee summed it best when she said “Boasting a simple, coherent plot shot with real-time, handheld verismo, it’s a work of understated confidence that will not disappoint his festival acolytes, but probably won’t win many new converts.

A lot has been mentioned about how we, at a certain extent, can be helped by our own country’s narrative right now. As the world probably knows already, we’re very vocal in our battle with the issue of drugs. And many feel that the movie is timely and that can help buzz. Historically, not really. This category really doesn’t care about that, to be frank. A year after Brokeback Mountain lost Best Picture, a significant amount of queer films were submitted for Best Foreign language Film including our own Ang Pagdadalaga ni Maximo Oliveros. The total number of gay films nominated that year? Zero. In 2010, an election year in many countries, a lot of them rode that narrative, again including us when we submitted Dondon Santos’ Noy and Brazil went with Lula. Number of election themed nominated movies that year? Zero. This whole controversy reminded me just three years ago when we went with Transit as our submission (make no mistake, still a great film, just not a great Oscar entry) over the snubbed On the Job and the FAP’s reasoning was that they don’t want to submit a film that showed the negative side of the country. Submitting Ma’Rosa I guess is a huge leap to the other direction, if that means something.

The biggest factor that can probably help Ma’Rosa is its Cannes win. Sure its only Best Actress (and by only I mean that in the hierarchy of Cannes wins, its in the lower tier alongside Best Actor and Best Screenplay. This sentence, by no means, does not intend to take anything away from the marvelous Jaclyn Jose), but a win is still a win. And that it’s still buzz. For a movie that was perceived as a non-event of some sort at Cannes (it was one of the least buzzed films of the competition, but then it’s pretty understandable since he’s competing with the likes of veterans and/or those with Hollywood cast), how it ended up going home with a win is a win itself already.

Now let’s talk about the elephant in the room. Three days ago, it was announced that Lav Diaz’ Ang Babaeng Humayo will go for a September 23 release, which would make it eligible for this year since it’ll be meeting the necessary requirements to contend. The huge amount of buzz over its historic Golden Lion win (the highest honor ever received by a Filipino movie in history) is too much to ignore. Sure, it’s a Lav Diaz film which means it runs for more than three hours, and that didn’t help Norte two years ago. That said, foreign critics being unanimously positive about it, plus the film being called as his most accessible (especially since Diaz is another name that’s divisive to foreign critics), with a sure huge company to back its campaign (Charo Santos was the president of the biggest TV network in the country), it’s basically a decision too obvious to make by that time. That’s why it’s a tad surprising that the announcement happened yesterday. This prompted Humayo to move back to a September 28 screening, which will make it ineligible for next year’s submission too. That, and the buzz over Golden Lion and the Toronto inclusion will be old news by then. Let it be clear though that none of this should be pointed against Ma’Rosa, Mendoza, or any of his team, since decision wasn’t really theirs.

A few weeks ago pre-Venice Film Fest, I wrote about the possible submissions and strongly felt that none of the films would do the trick. In that case, why not throw a bone to Mendoza’s Ma’Rosa. But the whole Golden Lion win affected everything. My final verdict says that nope we ain’t getting that nomination nor that Top 9 mention.  If anything, my takeaway with this year is that we’ve finally acknowledged and submitted Mendoza’s work (which was already beyond deserving back in 2009 when we had that tragic Ded na si Lolo submission), but at the expense of a stronger contender. I’d love to be wrong though.

Off to next year.