dyton mupawaenda
LOS ANGELES. – These are the films generating the most excitement ahead of awards season, from Demi Moore’s body-horror comeback to the return of Ridley Scott’s swords-and-sandals epic.
Conclave
Its potboiler plot doesn’t sound like awards bait on paper, but Conclave hits the Oscar sweet spot: it plays like a compelling commercial thriller but has plenty of artistic cred. The fictional story goes behind the scenes as cardinals scheme and play politics to elect a new pope.
Nickel Boys
Nickel Boys is adapted from a Pulitzer prize-winning novel by Colson Whitehead, which was drawn in turn from reports of the horrific racist abuse that took place in a Florida reform school in the 1960s. It’s just the kind of heavyweight, politically charged period drama that would appeal to the Academy, however it was made.
Emilia Pérez
There’s not a more audacious, wonderfully bonkers or engaging film out there than this singing, dancing drama about a transgender Mexican crime lord who fakes her death and hides her new identity from her wife and children.
Gladiator II
Even before its colourful, action-filled trailer dropped, audiences were excited about this sequel to the 2000 sword-and-sandals epic that won best picture. That anticipation was built partly on its dream-team casting.
The Brutalist
Most film journalists assumed that this year’s most impressive drama about a visionary architect would be Francis Ford Coppola’s Megalopolis. But then Brady Corbet’s The Brutalist came along. This indie period epic cost less than £10m ($13m) to make – ie, well under one-tenth of Megalopolis’s budget but it runs for 215 minutes, including an interval, and its themes, ideas and ambitions are sky-scrapingly expansive.
Anora
Sean Baker follows such earthy indie favourites as The Florida Projectand Red Rocket with his most crowd-pleasing film to date, a riotous farce about a strip-club dancer played by Mikey Madison who is whisked into a world of obscene wealth by a Russian oligarch’s son, played by Mark Eydelshteyn.
A Real Pain
Ever since this touching, funny, crowd-pleasing drama premiered at the Sundance Film Festival, Kieran Culkin has seemed like a lock for a supporting actor nomination as one of two cousins visiting their grandmother’s birthplace in Poland.
The Brutalist
Most film journalists assumed that this year’s most impressive drama about a visionary architect would be Francis Ford Coppola’s Megalopolis. But then Brady Corbet’s The Brutalist came along. This indie period epic cost less than £10m ($13m) to make – ie, well under one-tenth of Megalopolis’s budget but it runs for 215 minutes, including an interval, and its themes, ideas and ambitions are sky-scrapingly expansive.
Anora
Sean Baker follows such earthy indie favourites as The Florida Project and Red Rocket with his most crowd-pleasing film to date, a riotous farce about a strip-club dancer played by Mikey Madison who is whisked into a world of obscene wealth by a Russian oligarch’s son, played by Mark Eydelshteyn
A Real Pain
Ever since this touching, funny, crowd-pleasing drama premiered at the Sundance Film Festival, Kieran Culkin has seemed like a lock for a supporting actor nomination as one of two cousins visiting their grandmother’s birthplace in Poland. Culkin deserves that buzz.
A Complete Unknown
Oscar voters can’t resist a biopic. And so, sight unseen by critics or audiences, this fictionalised version of Bob Dylan at the start his career is already in the mix. Part of that is due to its lead actor, Timothée Chalamet as Dylan in his Greenwich Village years. – BBC
Online Reporter