Is it the blue curtain with the little garlands that seemed to come out of Linen Chest or the Village des Valeurs? Is it the blinding lighting? Is it the sparse audience, the endless speeches or the cameras that didn’t know where to turn?
Still, last night the Oscars, supposed to be the most prestigious night of the year, looked more like a graduation party from a film school.
And sorry, but an awards ceremony that does not have an appointed host, where no one breathes soul into the evening, where no one gives even a small tip to the nominees, it makes a flat issue that does not rise.
I spent the evening missing Ricky Gervais and the Golden Globes.
For a gala organized by the entertainment industry, the evening was singularly lacking in entertainment.
- Listen to Sophie Durocher’s column with Pierre Nantel on QUB radio:
Throughout the evening, I wondered if I was attending an awards ceremony, a celebration of excellence … or a political demonstration in support of social causes, at a Quebec solidaire USA convention.
The words that were spoken most often were: “Equity, social justice, inclusion and activism”.
It’s all very well equity, social justice, inclusion and activism, but … what’s the connection with cinema?
If you want to give awards to compensate for social injustices, create a new gala and call it the “WOKE-SCARS”.
It will be clear to everyone: you are there to favor ideology over cinematic criteria.
But if you want to recognize the best films of the year, the best directors and the best actors, you have to ignore the sex, the genre, the origin, the personal miserable history and the color of the skin of the people. people you reward.
It had not been two minutes since the Oscars had started and already we had the right to a social commentary on the verdict in the murder of George Floyd from the host Regina King. The events in Minneapolis have been highlighted three times. This is a crucial verdict for the country’s history but, sorry to ask the question, what does this have to do with cinema?
Oscars: in the name of the Father …
When I watch a movie, I have only one criterion to determine if it is good or not. A week or a month later, do I still have images, lines, emotions linked to the film in my head?
Among the films nominated for the Oscars yesterday, only one passes the test: The Father, by French director Florian Zeller, the adaptation of his own play, The father.
It’s been a long time since a film had upset, upset, shaken me to this point. This heartbreaking film about the shipwreck of old age, carried by an Anthony Hopkins at his peak, haunted me for weeks. There is one scene in particular (which I won’t tell you so as not to play the whistleblower) that haunts me and gives me chills every time I think about it. And I think about it often.
This is the strength of cinema. Too bad that at the Oscars of 2021 we talked so little … about cinema.
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The Morals Oscars