OSCAR WATCH: Moonlight

In a banner year for black narratives in cinema, there's no doubt that the crown jewel is Barry Jenkins' "Moonlight", an undeniable frontrunner for Best Picture, Best Director and Best Adapted Screenplay. This gem of a film is a beautifully wrought saga that achieves the rare feat of being both high art and captivating storytelling. Indeed, it's a standout in the black cinema canon, destined to be a considered a classic by future generations.

"Moonlight" is the coming-of-age story of a boy named Chiron. Shy and insecure, he struggles to fit in within the confines of his rough urban Miami community. His mother Paula (Naomie Harris) is a crack addict, his father is absent and he is constantly bullied at school. And in the midst of all this, he is also coming to terms with his sexuality as a gay man. Thanks to a supportive group of friends however, he manages to endure through the hardships. In particular, his fondness for childhood friend Kevin blossoms into lifelong affection. But the pressures to conform takes its toll over the years, threatening to prevent him from realizing and accepting his true self.

Chiron's self-actualization takes on novelistic proportions as we follow him through three pivotal stages of his life. Seamlessly portrayed by three gifted young actors with the aid of some astounding editing (if this film doesn't get a Best Editing, nod it would be a crime), the film has the scope of a grand epic. Yet Jenkins stays true to his modest indie roots, briefly checking in with the character for some of the defining moments of his life.

Though "Moonlight" is a film about the black experience, urban masculinity and the LGBT struggle, it conveys these themes without being emphatic about it. Indeed, perhaps the most impressive thing about Jenkins' elegant directing/writing style is how trusting he is of the audience. He doesn't need to show us the gun violence to instill a sense of danger, neither does he rely on explicit nudity or sex to make us understand the sexual underpinnings of Paula's desperation or Chiron and Kevin's intimacy. And you don't need to see characters behind bars to understand the cycle of mass incarceration that plagues this community.

This subtle approach is undoubtedly a risky gamble that feels all too rare for black cinema (especially when you consider the history of blaxploitation) and may not satisfy some viewers. But where the film lacks in plot specifics, it more than makes up for in stylistic flourishes. The film features expressive cinematography from James Laxton (worthy of a Best Cinematography nod), capturing mood, tone and story through revealing closeups and symbolic use of color. Likewise, Nicholas Britell's masterful score (a dark horse Best Original Score contender) reverberates with evocative instrumentals and choice song selections. You can practically sum up the film's themes through the introductory "Every N****r Is a Star" and the transformative use of Jidenna's "Classic Man".

All these elements create the film's artistic greatness, but what really captivates the audience are the authentic, powerful performances of its richly defined characters. In the film's most dynamic peformance, Naomie Harris (a certain Best Supporting Actress contender) is perfectly high strung as a troubled woman struggling to express her complex love for her son. As her surrogate is Janelle Monae, who fully embodies motherly kindness, living up to her character's name (Teresa). And by her side, Mahershala Ali has deservedly earned Best Supporting Actor plaudits for his performance as the wise but flawed father figure.

But ultimately, it's all about Chiron and Kevin, played marvelously by different actors in their childhood, teenage and adult years. Their palpable chemistry is the pining heart of the film, particularly between Trevante Rhodes and André Holland in the final act. Rhodes perfectly captures the various facets of Chiron's character, with a hardened exterior that melts away in Kevin's presence. Meanwhile Holland is effortlessly seductive and enigmatic as Kevin. Together they are the final grace note in the bittersweet ballad of Chiron and Kevin. And it's one that I'll surely be playing again in the future.

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REVIEW: My Life as a Zucchini

With a title like “My Life as a Zucchini,” you’d be forgiven for thinking that Claude Barras‘ new animated film would be a happy-go-lucky story with talking vegetables. But you would be sadly mistaken. Barras takes animation down rarely trod paths with this heartrending film centered around children dealing with issues surrounding death, depression and abandonment.

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REVIEW: Barry

Let’s face it, if you’ve held or have run for a major political office, someone is going to make a movie about you. Whether for good (“Lincoln”) or bad (“Game Change”) reasons, cinema and television is obsessed with the lives of politicians. It’s therefore fitting that this year gave us not one, but two films about the history-making President Barack Obama as he completes his final term. In the summer we were gifted with the endearingly romantic “Southside With You,” and now Vikram Gandhi brings us the equally compelling “Barry,” exploring Obama’s formative years at Columbia University.

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REVIEW: Fire at Sea

A woman sits with her grandson by a window, peacefully sewing as thunder roars outside. She explains to him that it reminds her of a stormy fishing trip his grandpa once made during wartime. As naval ships fired rockets, she says it looked like there was fire at sea. For most filmmakers, this anecdotal story would seem to be unimportant, probably to be discarded on the cutting room floor. But for Gianfranco Rosi, it gave him the title for his latest award-winning documentary “Fire at Sea,” an uncommonly observant film.

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OSCAR WATCH: Hacksaw Ridge

It's been quite a year for "judging the art, not the artist". From Nate Parker, to Casey Affleck, to Woody Allen, Hollywood seems to be nearing a tipping point in how we approach celebrity in the social media age. This is certainly a question that is being asked in relation to Mel Gibson, whose past indiscretions have not prevented him from making another riveting film in "Hacksaw Ridge". As if to remind his fans of why they loved him before, this war epic recalls "Braveheart" while also exploring some new themes for the genre.

Based on a true story, "Hacksaw Ridge" follows Desmond Doss (Andrew Garfield), a homegrown country boy from Lynchburg Virginia. Growing up with his parents and his brother, he is brought up with firm Christian values. And one day, a traumatic incident occurs that reinforces his beliefs, especially with regards to violence and the Sixth Commandment (Thou shalt not kill). Years later as a young adult, his stance is put to the test. World War II is raging in Japan and young men are encouraged to enlist. Feeling a sense of duty to his country, Desmond decides to sign up as a combat medic, much to the disapproval of his father (who understands first-hand the dangers of the battlefield). The only catch is that he refuses to carry or use any weapons as a conscientious objector. Of course, his philosophy doesn't sit well with his army superiors. But Desmond remains undeterred, vowing to contribute to the cause by saving as many lives as he can.

As a romance, war epic and courtroom drama, Gibson delivers classic big-screen spectacle with this comeback film. And impressively, he gives all of those story elements their due weight. A large chunk of the film is used to establish the Desmond character with his backstory particularly underlining the circumstances that influenced the protagonist's strict moral code. Likewise, a meet-cute beautifully blossoms into a relationship, further emphasizing his loving nature. By the time the film moves to Japan, we therefore have a full understanding of Desmond and the psychology behind his subsequent actions.

And action is certainly what we get in the latter half of the film, as Gibson finds his comfort zone with terrifically executed battle scenes. Staged with visceral intensity and unflinching violence, he never backs down from the horror of war, making the eponymous Hacksaw Ridge into an ominous hellscape. It's easy to see why Gibson has attracted so much attention in the Best Director Oscar race.

But his approach isn't perfect however. The film's big emotional beats are often overwrought, lingering too long with swelling music. Even a mere pre-war kiss is played like the climax of the most sweeping romance drama of all time. And Gibson doesn't trust Garfield's committed performance to inherently show the character's tremendous courage and heroism. You could also argue that for a film which highlights compassion during wartime, its depiction of "good vs evil" leaves little room for nuance. But that would oppose the script's honest character study, as Doss' interest in the war was guided by that same principle. Still, it's the rare film of its ilk that doesn't celebrate toxic masculinity as a virtue, redefining the traditional concept of bravery.

Ultimately, "Hacksaw Ridge" thus emerges as a success through its sheer entertainment value, with enough thoughtfulness to appease more discerning viewers. And don't be surprised if Academy voters think so too, showering it with nods for Best Picture, Best Actor, Best Adapted Screenplay, Best Editing, Best Sound Editing and Best Sound Mixing. Indeed, the film will likely bring back fond memories of films like "Saving Private Ryan" and Gibson's own "Braveheart". Enough to make them say "they don't make 'em like they used to." Or at the very least, like Mel used to.

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REVIEW: Paterson

The year 2016 delivered fulfilling cinema experiences, but I'd argue that you won't find any as rich as Jim Jarmusch's "Paterson". To quote the awards campaign tagline for "The King's Speech", some movies make you feel. "Paterson" is one of them. This quiet drama radiates warmth and comforts you like a cozy blanket.

Appropriately titled, "Paterson" refers both to the name of its protagonist (played by Adam Driver) and the New Jersey city that provides the setting. It takes place during the course of one week in this bus driver's life, as he goes about his daily routine, waking and returning home to his beautiful wife Laura (Golshifteh Farahani). His days are also filled with poetry, as he draws inspiration from his environment to write in his notebook. Paterson is content with this simple yet satisfying life. Still, Laura - an aspiring country singer/artist/designer/cupcake-maker - hopes some of her own ambition will rub off on him, encouraging him to publish his poems. But only time will tell where the winds will take him.

With a pair of main characters interested in art and the plot's reliance on poetry, it would be understandable to levy the "pretentious" label on the film. Indeed, Farahani's supposedly struggling artist character is literally a dreamer with seemingly no worries in her life. Furthermore, the pacing is decidedly leisurely.

And yet, "Paterson" never strikes a false note. Far from a manic pixie dream girl, Farahani's makes Laura feel so real. She has a calming presence that feels absolutely sincere and conveys genuine kindness. And her sincerity fits perfectly into a screenplay that surprisingly never reaches for lofty existentialism. What Jarmush accomplishes instead with his minimalist screenplay, is a wonderful slice of quaint small city life.

Most crucial to the film's success however, is Adam Driver's pitch-perfect performance as Paterson. As a compulsive people-watcher, he is an ideal window into this world. We experience all the sights and sounds alongside him, witnessing snippets of what could be standalone film narratives happening all around him. As he encounters scorned lovers and chatty teens, the film invites us to ponder the comedy and poetry of everyday life.

Simply put, "Paterson" is a precious film. And in its own effortlessly bittersweet, life-affirming way, it reminds you to appreciate the little things in life. Unlike more showy films, its modesty is its greatest strength. Like Aristotle said, the whole is greater than the sum of its parts.

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OSCAR WATCH: La La Land

"Is it too nostalgic? Are people gonna like it?" Such is the worry of actress and playwright Mia, as she prepares her one woman show. But this line in Damien Chazelle's "La La Land" could also be anticipating the inevitable critical response to this film. Indeed, Chazelle goes unabashedly retro in this delightful musical set in the city of stars.

"La La Land" is the story of Mia (Emma Stone) and Sebastian (Ryan Gosling), a pair of struggling artists trying to make it in Los Angeles. The former is an actress going from audition to audition with little success. The latter is a jazz musician with bigger aspirations than the generic lounge tunes he's stuck playing. By sheer serendipity, the two seem to constantly run into each other, until eventually decide to date. But will their love survive as they pursue their dreams?

And as Chazelle charts the course of their romance, "La La Land" proves to be a great showcase for his growth as a director. Interestingly, many mistook his breakthrough film "Whiplash" as his debut feature. But upon viewing "La La Land", it's clear that his actual debut "Guy and Madeline on a Park Bench" is the truer reflection of his directorial voice. That modest 2009 film was a charming musical romance that hinted at his old-school sensibilities, for which he will now be widely known for.

Of course, the Damien Chazelle of 2009 has evolved over the years. Now armed with a bigger budget and two of Hollywood's brightest stars, he has produced a grand, gorgeous ode to classic Hollywood and music. From the very first opening moments with its vintage CinemaScope title, "La La Land" recalls the great musicals of yesteryear. Scene after scene brings pure joy, with lovely original songs from Justin Hurwitz and breathtaking cinematography that casts Los Angeles in an inviting glow. And these scenes are fluidly edited, making the film feel as light on its feet as its two stars.

Speaking of the two stars, Emma Stone and Ryan Gosling really nail down the magic of classic Hollywood. In a role she was born to play, Stone puts her wide-eyed expressive face to good use, conveying all the necessary effervescence and vulnerability required. She's simply fantastic. Meanwhile, Gosling is a slick, cool cat as Sebastian, bringing effortless charm.

As Stone and Gosling sing and dance to their - and the audience's - hearts' content, "La La Land" sweeps you up with giddy delight and the cinematic beauty on display. As such, Oscar noms for Best Picture, Best Director, Best Actor, Best Actress, Best Original Screenplay, Best Editing, Best Original Score, Best Cinematography, Best Production Design and Best Sound Mixing are practically guaranteed. Is it too nostalgic? Perhaps. But I certainly liked it.

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OSCAR WATCH: Hidden Figures

Right in time for the holiday season, "Hidden Figures" is an ideal film for the whole family. Directed by Theodore Melfi, it tells the untold story of three African-American women who contributed to one of the defining moments in American history. But despite its historical setting, its themes of civil rights, feminist equality and the boundless possibilities of the human intellect hold significant relevance for modern society.

"Hidden Figures" takes place primarily during the 1960s, when Russia and the United States is caught in heated space race. Engineers, mathematicians and other brilliant minds are working around the clock to ensure that the Americans are the first to send a man into space. But unfortunately for them, the Russians accomplish the feat first. Undeterred, the NASA team strives to prove that they can equal this achievement. They are going to need all the help they can get though, as failure is not an option. And much of that help eventually came from an unexpected trio of African-American women. Their names were Katherine Johnson (Taraji P. Henson), Dorothy Vaughn (Octavia Spencer) and Mary Jackson (Janelle Monáe). And with their brilliant minds they helped NASA execute the seemingly impossible, breaking societal barriers of race and gender in the process.

The film opens with a prologue set decades earlier, introducing us to a pre-teen Katherine Johnson. Her parents have just been informed of the full extent of their daughter's mathematical skills and have been advised to enroll her in the best local high school, where she graduated at the tender age of 14. Fast forward to the 1960s and we are introduced to Katherine alongside Dorothy and Mary. The trio are experiencing car trouble before being approached by a white police officer. After learning of their important jobs at NASA, he offers to escort them along their way. The scene then ends with a statement that has stuck out to me since I first saw the film's trailers. Mary exclaims that it's a miracle to see three Negro women chasing a white officer down the highway in the year 1961.

On the one hand, it's a line that perfectly fits into the main themes of the film. Indeed, Melfi and co-writer Allison Schroeder smartly avoid the heady science of what these women accomplished in favor of focusing on how they got there. After all, we all know how this story ends. As such, the narrative is instead framed around key triumphant moments where each woman asserts her rights.

But on the other hand, it represents my only qualm with an otherwise fine film. Namely, the screenplay and the characters often seem too self-aware of the historical importance of their involvement in the space program. And this is especially strange considering the whole point of the film is that they went about their work unheralded (hence the title).

This issue aside however, the film is truly entertaining. While there is an inescapable predictability to the narrative, the film thrives on its catchy soundtrack (a Best Original Score contender for Pharrell Williams) and the spirited performances of its cast, especially the three main performers. Octavia Spencer and Janelle Monae in particular could be looking at Best Supporting Actress nominations for their work. And the film also approaches the civil rights aspect with tasteful humor. One running gag involving Katherine running to an entirely separate NASA campus just to use the segregated "colored restroom" brilliantly exposes discrimination for the absurdist practice that it is.

Of course, these women overcame these obstacles, emphasizing how much humanity can achieve when we put aside our differences to work towards something greater than ourselves. It's a beautiful message that will surely put "Hidden Figures" in contention for Best Adapted Screenplay and Best Picture. And most importantly, it brings much needed spotlight to three great minds who are perfect reminders of that fact. The inspiring stories of Katherine Johnson, Dorothy Vaughn and Mary Jackson are hidden no more.

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OSCAR WATCH: Manchester by the Sea

Among contemporary American filmmakers, there are few whose films are more difficult to review than Kenneth Lonergan's. His films feel so "real" that any critique feels like you're judging someone's life. Indeed, in just his third outing "Manchester by the Sea", Lonergan has once again established himself as one of the foremost storytellers of the unpredictable chaos of life.

"Manchester by the Sea" stars Casey Affleck as Lee Chandler, a janitor working in Quincy, Massachusetts. His days are filled with the routine of work, sleep and the occasional drink, all by his lonesome. But on one fateful day, he is forced to reconnect with his family. His older brother Joe has passed away after years of suffering from congestive heart failure. Now, Lee must return to the home he left behind, to provide strength and guidance for his nephew (played by Lucas Hedges). Both men find it hard to overcome the sadness of their loss however, compounded by past traumas that begin to rise to the surface.

Indeed, Lonergan's screenplay unfolds with the emotional force of a Greek tragedy. Though understated, his writing truly captures the overwhelming despair that comes with losing loved ones. With a skillful use of flashbacks as well as great use of music, the film is at once subtle and operatic.

And the heart and soul of those keenly felt emotions lies in the performances. Most notably, the effortless chemistry between Affleck and Hedges conveys their mutual confusion and vulnerability, as well as their inherent love for each other. They will surely be in the mix for Best Actor and Best Supporting Actor respectively.

But the pain is widespread among the ensemble of characters, especially for Randi Chandler (Michelle Williams). Some may call Williams' performance a "one scene wonder", but there is a wonderful authenticity that runs through her devastating story arc. Her Best Supporting Actress buzz is certainly warranted.

For all the film's sadness, it's a near miracle that the film doesn't feel "heavy", and that's thanks to Lonergan's brilliant direction. The film's naturalism doesn't naturally lend itself to directorial flourishes, and yet there's something indescribably stylish about his control of tone, shot compositions and pacing. And the way he conveys the passage of time and the subtle nuances that exist within daily routines is very Mike Leigh-esque ("Another Year" in particular). The film will be therefore be a major contender for Best Director, Best Original Screenplay and Best Editing.

Crafted with the verisimilitude of a documentarian, Lonergan's "Manchester by the Sea" is an affecting statement on the crippling nature of grief. As Lee points out in the film, sometimes you just can't beat it. But life goes on somehow. And it's these relatable takeaways that will make this Best Picture contender one of the hardest to beat at the Oscars.

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OSCAR WATCH: Fences

One of the most common cultural references synonymous with American society, is that of the white picket fence. The ideal of the close-knit family with the doting housewife and cozy home became the perfect "pick me up" in the post-war 1950s. But as we all know, this concept of Americana was primarily enjoyed by the white families. In "Fences" therefore - Denzel Washington's screen adaptation of the acclaimed August Wilson play - we are reminded that for African-Americans, the white picket fence was but a dream.

The illusion of that dream is one that is certainly known to the Maxsons, a blue collar African-American family living in 1950s Pittsburgh. The Maxsons comprise Troy (Denzel Washington), Rose (Viola Davis) and their sons Cory (Jovan Adepo) and Lyons (Russell Hornsby). As the patriarch, the American dream has taunted Troy for years, after his ambitions of being a professional baseball player were spurned due to racism. Now working as a garbage collector, he struggles to make ends meet and find purpose in his life. His love for his supportive wife and his similarly ambitious youngest son keeps him going however. But the torments of his past and present threaten to tear his life apart.

And with that, we get a quintessential story of the black experience in America. The burden of the struggle weighs heavily on Troy's shoulders, making him hardened and resentful. And that attitude causes much of the film's central conflicts. Indeed, his relationship with his sons is the epitome of "tough love". But just as the black experience is often defined by struggle, it is also known for perserverance. And Wilson certainly captured that in his brilliant script (a contender for Best Adapted Screenplay).

"Fences" is truly as eloquent as it gets, featuring lengthy monologues that cut deep like a powerful sermon. In particular, the role of Troy is easily one of the most demanding of the year, not only because of the sheer volume of spoken words, but also the paranoia, depression, bitterness and joy underlying every utterance. In the hands of Denzel Washington however, it's clear to see why he won the Tony Award for the stage version and is probably heading for another Best Actor win at the Oscars. He breathes life into this tremendously flawed character, making him recognizable and even sympathetic (no easy feat considering his trifling ways).

Indeed, although Washington's direction is hamstrung by the film's obvious stage roots, he and the rest of his ensemble provide the fireworks with their acting. As the dignified "mama bear" fighting for her family, Viola Davis is utterly heartbreaking in a role that bears similarities to her breakout performance in "Doubt". She is surely heading for another Best Supporting Actress nomination, and possibly a win. Speaking of breakout performances, you'll want to remember the name Jovan Adepo. This young actor more than holds his own among these veterans. His conversations with Washington provide some of the film's most memorable scenes (the film's title refers to the fence they build together), as the pair go toe to toe like boxers. And with less screen time, Russell Hornsby is a bona fide scene stealer as Cory's older brother. Furthermore, Stephen Henderson (as Troy's close friend and co-worker Jim) and Mykelti Williamson (Troy's brother) also do fine work in this deep bench of acting talent.

Ultimately, it's this combination of strong writing and masterful performances that makes "Fences" so effective. Though I would say the filmmaking is stripped down to a fault, I understand why voters would want to celebrate Denzel Washington with Best Director nominations on the awards circuit. To get performances this powerful, he must be doing something right. Indeed, Washington has crafted a film that is touching and poignant. And it would make a respectable Best Picture nominee come January.

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OSCAR WATCH: SAG Nominations

It's finally happened. The high-flying "La La Land" has been brought down to earth. The SAG nominations were announced yesterday, bringing a shocking ensemble snub for the musical, presumably being replaced for the 5th slot by "Captain Fantastic", which also landed a nod for Viggo Mortensen. The group had other surprises in store too, giving Emily Blunt her first mention of the season, adding further intrigue to the Best Actress race. Will these nominations be repeated at the Oscars? Here is the full list below:

Best Ensemble
Captain Fantastic
Fences
Hidden Figures
Manchester by the Sea
Moonlight

Best Actor
Casey Affleck, Manchester by the Sea

Andrew Garfield, Hacksaw Ridge

Ryan Gosling, La La Land
Viggo Mortensen, Captain Fantastic

Denzel Washington, Fences

Best Actress
Amy Adams, Arrival
Emily Blunt, The Girl on the Train
Natalie Portman, Jackie
Emma Stone, La La Land
Meryl Streep, Florence Foster Jenkins

Best Supporting Actor
Mahershala Ali, Moonlight
Jeff Bridges, Hell or High Water
Hugh Grant, Florence Foster Jenkins
Lucas Hedges, Manchester by the Sea
Dev Patel, Lion

Best Supporting Actress
Viola Davis, Fences
Naomie Harris, Moonlight
Nicole Kidman, Lion
Octavia Spencer, Hidden Figures
Michelle Williams, Manchester by the Sea

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OSCAR WATCH: AAFCA Awards

Early yesterday, the African American Film Critics Association (of which I am a member) announced their awards for the best in TV and film for 2016. With a plethora of black-centric content this year, the group had lots of great work to champion. This was my third time voting in these awards and it is by far the strongest batch of winners we've had. I particularly loved the mentions for Ruth Negga (my pick for Breakout Performance), Viola Davis, Zootopia and Hell or High Water. Here is our full list of winners:

Film
Best picture: “Moonlight”
Director: Barry Jenkins, “Moonlight”
Lead actor: Denzel Washington, “Fences”
Lead actress: Ruth Negga, “Loving”
Supporting actor: Mahershala Ali, “Moonlight”
Supporting actress: Viola Davis, “Fences”
Ensemble: “Hidden Figures”
Breakout performance: Janelle Monae, “Moonlight” and “Hidden Figures”
Independent film: “Moonlight”
Animated film: “Zootopia”
Song: “Victory” from “Hidden Figures”
Documentary: “13th”
Foreign film: “Tanna”
Screenplay: August Wilson, “Fences”

Top 10 Films of 2016 in order of distinction:

1. “Moonlight”
2. “Fences”
3. “Hidden Figures”
4. “Lion”
5. “La La Land”
6. “Birth of a Nation”
7. “Loving”
8. “Manchester by the Sea”
9. “Hell or High Water”
10. “Queen of Katwe”

TV
Drama: ”Queen Sugar”
Comedy: ”Atlanta”
Cable/new media: ”Underground”
Special/limited series: ”Lemonade”

Top 10 TV shows of 2016 in order of distinction:

1. “Queen Sugar”
2. “Underground”
3. “Atlanta”
4. “Insecure”
5. “Luke Cage”
6. “This Is Us”
7. “black-ish”
8. “The Get Down”
9. “Westworld”
10. “Survivor’s Remorse”

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OSCAR WATCH: Golden Globe Nominations

This is stale news by now, but of course I have acknowledge the Golden Globe nominations as the latest major stop on awards circuit. As always, their crop of nominees follows the expected buzz with a few of their typical quirks. Most notably, they were uniquely taken with "Nocturnal Animals", giving the film nods for Best Director, Best Screenplay and Best Supporting Actor. Otherwise, "La La Land", "Moonlight" and "Manchester by the Sea" stayed on track as the clear frontrunners. Here's the full list of nominations:

Best Motion Picture Drama
Hacksaw Ridge
Hell or High Water
Lion
Manchester by the Sea
Moonlight

Best Motion Picture Comedy/Musical
20th Century Women
Florence Foster Jenkins
Deadpool
La La Land
Sing Street

Best Actor Drama
Casey Affleck, Manchester by the Sea
Joel Egerton, Loving
Andrew Garfield, Hacksaw Ridge
Viggo Mortensen, Captain Fantastic
Denzel Washington, Fences

Best Actress Drama
Amy Adams, Arrival
Jessica Chastain, Miss Sloane
Isabelle Huppert, Elle
Ruth Negga, Loving
Natalie Portman, Jackie

Best Actor Comedy/Musical
Jonah Hill, War Dogs
Colin Farrell, The Lobster
Ryan Gosling, La La Land
Hugh Grant, Florence Foster Jenkins
Ryan Reynolds, Deadpool

Best Actress Comedy/Musical
Annette Bening, 20th Century Women
Lily Collins, Rules Don’t Apply
Haley Steinfeld, Edge of Seventeen
Emma Stone, La La Land
Meryl Streep, Florence Foster Jenkins

Best Director
Damien Chazelle, La La Land
Tom Ford, Nocturnal Animals
Mel Gibson, Hacksaw Ridge
Barry Jenkins, Moonlight
Kenneth Lonergan, Manchester by the Sea

Best Supporting Actress
Viola Davis, Fences
Naomie Harris, Hidden Figures
Nicole Kidman, Lion
Octavia Spencer, Hidden Figures
Michelle Williams, Manchester by the Sea

Best Supporting Actor
Mahershala Ali, Moonlight
Jeff Bridges, Hell or High Water
Simon Helberg, Florence Foster Jenkins
Dev Patel, Lion
Aaron Taylor Johnson, Nocturnal Animals

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REVIEW: Under the Shadow

It takes a certain skill to take on a genre as recognizable as horror and make it your own, especially when you keep many of the tropes intact. But that’s what Babak Anvari accomplishes with his auspicious horror debut “Under the Shadow,” which brings the haunted house premise to war-torn Iran.

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INTERVIEW: Makoto Shinkai

In an awards season short on genuine shocks, LAFCA’s announcement of “Your Name” as their Best Animated Film winner was practically seismic. And no one was more surprised than its director Makoto Shinkai. Recently I interviewed Shinkai to discuss this dazzling anime, which addresses topics of culture, history and modern society. Below is an edited version of our chat.

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OSCAR WATCH: Predicting the Foreign Language Shortlist

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INTERVIEW: Babak Anvari

As one of the most promising debuts of the year, Babak Anvari’s “Under the Shadow” made quite a splash with its Sundance premiere. And since then, this Iran-set horror film has only grown in acclaim. “Under the Shadow” now sets its eyes on Oscar glory, as it heads into the Foreign Language race as the United Kingdom’s official submission. Earlier this week I had a chat with Anvari to discuss the film and its unique British-Iranian identity. Below is the transcript of our conversation.

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OSCAR WATCH: Critics Choice Awards

Yawn, is this really going to be one of those sweep years? As expected, "La La Land" dominated tonight's Critics Choice with a whopping 8 wins, including Best Picture, Best Director and Best Original Screenplay (a tie with "Manchester by the Sea"). Indeed, it was a predictable night, aside from Natalie Portman winning Best Actress. Maybe there's some life left in "Jackie" after all. Here are the 27 Critics Choice winners (I predicted 20 of them) for the year 2016:

Best Picture
La La Land

Best Actor
Casey Affleck, Manchester by the Sea

Best Actress
Natalie Portman, Jackie

Best Supporting Actor
Mahershala Ali, Moonlight

Best Supporting Actress
Viola Davis, Fences

Best Director
Damien Chazelle, La La Land

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OSCAR WATCH: Critics Choice Predictions

There are many journalists who like to downplay the importance of the often dubious Broadcast Film Critics Association. But when they hand out their awards in tomorrow night's ceremony, it could signal both the beginning and the end for several individual Oscar races. Indeed, the group has prided themselves on being the best Oscar predictors on the awards circuit and that has certainly been proven over the years. As such, I'm expecting "La La Land" to win the lion's share of awards tomorrow, on its way to a sweep of the major precursors. Tune in tomorrow night on A&E to see if I'm right. Here are my predictions:


Best Picture
La La Land

Best Actor
Casey Affleck, Manchester by the Sea

Best Actress
Emma Stone, La La Land

Best Supporting Actor
Mahershala Ali, Moonlight

Best Supporting Actress
Viola Davis, Fences

Best Director
Damien Chazelle, La La Land

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REVIEW: Your Name

We don’t immediately think of animation when we mention good sci-fi or fantasy films. But of course, the medium has certainly provided some of the most thought-provoking concepts over the years. One such example that merits discussion is “Your Name” from Japanese director Makoto Shinkai, a moving anime adventure about space, time and matters of the heart.

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INTERVIEW: Elite Zexer

As Roger Ebert once said, movies are a machine that generates empathy. And Elite Zexer’s “Sand Storm” certainly fits the bill. This impressive debut feature gives us an insightful look at a Bedouin culture many are unfamiliar with. Set in a patriarchal society, it follows the travails of a young woman who challenges the rules through a forbidden romance. Recently, I caught up with Zexer to discuss the film’s feminist themes, her thorough writing process and the heartbreaking true story that inspired her. Below is an edited version of our conversation.

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INTERVIEW: Lorenzo Vigas

After winning the top prize at the 2015 Venice Film Festival with his debut feature "From Afar," Lorenzo Vigas has emerged as one of Latin America’s most promising filmmakers. Centered around an unlikely relationship between two men, his distinctly Venezuelan film explores themes surrounding homophobia, the generation gap and the class divide with impressive formalist control. It was therefore a pleasure to chat with Vigas earlier this week to discuss how he achieved the film’s authentic feel. Below is an edited version of our conversation.

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FOREIGN OSCAR GUIDE: Europe

We’ve now come to the end of this year’s Foreign Oscar Guide and as always, we close out with the most formidable group of contenders – the European films. Indeed, in addition to making up the majority of the submissions, the region is currently on a hot streak extending back to 2012’s “Amour.” And this year’s crop is as auspicious as ever, including respected auteurs and festival darlings. Here’s an overview of 37 European films vying for Oscar glory:

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REVIEW: Sand Storm

The ideological tug of war between tradition and modernity has long been one of the most pervasive struggles throughout society. In some cases, it can lead to outright war, and in others, it leads to systemic oppression of certain groups of people. For her debut feature “Sand Storm,” Israeli director Elite Zexer highlights the latter, delivering a nuanced portrait of Bedouin women living under a patriarchy.

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OSCAR WATCH: Critics Choice Nominations

Let the games begin! Today the Broadcast Film Critics Association sounded off on the year's best films and like clockwork, "La La Land" led the field with 12 nominations. Not far behind were "Moonlight" and "Arrival" with 10 nods each, as this year's Critics Choice nominations more or less kept in line with the established buzz. However, there was one film that underperformed and it was "Jackie", which missed out on Best Picture and Best Director. This is a major blow for Fox Searchlight as the film is nothing if not a critics' film. Let's hope the Golden Globes come through for it, as this is exactly the kind of challenging biopic that awards bodies should celebrate. Here is the full list of nominees for the Critics Choice Awards:

Best Picture
Arrival
Fences
Hacksaw Ridge
Hell or High Water
La La Land
Lion
Loving
Manchester by the Sea
Moonlight
Sully

Best Actor
Casey Affleck, Manchester by the Sea
Joel Edgerton, Loving
Andrew Garfield, Hacksaw Ridge
Ryan Gosling, La La Land
Tom Hanks, Sully
Denzel Washington, Fences

Best Actress
Amy Adams, Arrival
Annette Bening, 20th Century Women
Isabelle Huppert, Elle
Ruth Negga, Loving
Natalie Portman, Jackie
Emma Stone, La La Land

Best Supporting Actor
Mahershala Ali, Moonlight
Jeff Bridges, Hell or High Water
Ben Foster, Hell or High Water
Lucas Hedges, Manchester by the Sea
Dev Patel, Lion
Michael Shannon, Nocturnal Animals

Best Supporting Actress
Viola Davis, Fences
Greta Gerwig, 20th Century Women
Naomie Harris, Moonlight
Nicole Kidman, Lion
Janelle Monáe , Hidden Figures
Michelle Williams, Manchester by the Sea

Best Director
Damien Chazelle, La La Land
Mel Gibson, Hacksaw Ridge
Barry Jenkins, Moonlight
Kenneth Lonergan, Manchester by the Sea
David Mackenzie, Hell or High Water
Denis Villeneuve, Arrival
Denzel Washington, Fences

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AWARDS SEASON: Finding Love in a Hopeless Place

Will voters feel the love for La La Land?

As I write this piece mere moments after watching the incendiary "I Am Not Your Negro", I can't help but think of how the current political and social climate has impacted the Oscar race. At a time when the United States is as divided as ever along racial and socioeconomic lines, it is not surprising that films celebrating love have garnered the bulk of the Oscar buzz so far. From the taboo romances central to "Loving" and "Moonlight", to the familial affection underpinning "Fences", "Lion" and "Manchester by the Sea", the "Oscar bait" films of 2016 appeal to our better selves.

And of course, there's hardly anything more optimistic than a musical romance. As we head into the "serious" phase of the awards season tomorrow, "La La Land" has taken its understandable place as the presumed frontrunner. And with its popular director and cast, and the coveted TIFF People's Choice Award in hand, it certainly looks the part. But there are several other contenders hot on the heels of its dancing shoes.

Here are my first Best Picture predictions of the season, in anticipation of the nominations for the "Big Three" televised precursors (Critics Choice, Golden Globes, SAG):

1. La La Land
2. Manchester by the Sea
3. Fences
4. Moonlight
5. Arrival
6. Jackie
7. Sully
8. Silence
9. Lion
10. Loving

If you've been paying attention to recent Oscar years however, you'll know that we are far from the days when one film would sweep everything. Indeed, the trend suggests a new normal, where Best Picture isn't sealed until that final envelope is opened. It will be particularly interesting to see how the #OscarsSoWhite controversy plays out this year, with a number of strong films featuring largely black casts in the race. If there is to be a challenger to "La La Land", it may well be from this group of "Fences", "Moonlight" and "Loving". But the season is still young however, with many momentum shifts in store. Let's see what surprises tomorrow will bring, as the Broadcast Film Critics Association and the New York Film Critics Circle gets things rolling in earnest.

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OSCAR WATCH: The Shorts

This is surely old news by now, but the shortlists for all 3 short film Oscar categories have been announced. I don't have much commentary since I've only seen one of them ("The Other Side of Home") and I'm not aware of the buzz yet. Have you seen any of these? Let me know in the comments.

Animated
Blind Vaysha
Borrowed Time
Happy End
The Head Vanishes
Inner Workings
Once Upon a Line
Pear Cider and Cigarettes
Pearl
Piper, Alan Barillaro
Sous Tes Doigts (Under Your Fingers)

Documentary
Brillo Box (3¢ Off)
Close Ties
Extremis
4.1 Miles
Frame 394
Joe’s Violin
The Mute’s House
The Other Side of Home
Watani: My Homeland
The White Helmets

Live Action
Bon Voyage
Ennemis Intérieurs
Graffiti
La Femme et le TGV
Nocturne in Black
The Rifle, the Jackal, the Wolf and the Boy
Silent Nights
Sing (Mindenki)
Timecode
The Way of Tea

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FOREIGN OSCAR GUIDE: Asia

Much has been said about the Academy’s rule of allowing only one submission per country in the Foreign Language Oscar category. In the eyes of many, it gives an inaccurate representation of the best in world cinema, as some countries have multiple worthy films or may not select their best. But the restriction has its benefits, namely in leveling the playing field to allow entries from smaller nations a better chance at recognition. The system still shows its biases however, as the Asian region has been sorely underrepresented among the nominees, despite containing some of the world’s most influential film industries. This year, 19 Asian hopefuls will chase Oscar glory, ranging from big-budget genre films to intimate dramas.

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REVIEW: Ukrainian Sheriffs

In a small village tucked away in the Ukrainian countryside, there’s a new sheriff in town. Two to be exact. In Roman Bondarchuk’s illuminating new documentary “Ukrainian Sheriffs,” a pair of simple men are handed an important task. Representing the police, they are expected to maintain the peace in a town on the brink of turmoil.

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OSCAR WATCH: Predicting the Documentary Feature shortlist

Any day now, the Academy will release their annual short list for Best Documentary Feature, dashing the hopes of 130 films. Typically one of the strongest Oscar categories in terms of quality, the cut is a brutal one often resulting in shocking omissions. For the most part however, the unwieldy long list tends to solidify around a smaller group of contenders that rise to the top of the pile. And that is once again the situation this year, as key precursors have hinted at where all the buzz lies in this competitive race. Most significantly, the DOC NYC Short List has been announced, which consistently forecasts nearly all of the eventual Oscar finalists with their own 15-film list. Therefore, the trick in figuring out the shortlist is to guess which few films will be replaced from that line-up.

Below is a preview of the contenders to expect on the Oscar short list for Best Documentary Feature, grouped into three broad categories.

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OSCAR WATCH: Jackie

On first glance, you may be inclined to think that "Jackie" is just another conventional biopic. Admittedly, I made that silly mistake myself when the project was first announced. But as a cinephile with knowledge of the work of Pablo Larrain, I should have known better. The inspired directorial vision behind such films as "No", "The Club" was never going to make a simple "cradle to grave" prestige film of the life of Jacqueline Kennedy Onassis. And so it is, "Jackie" emerges as one of the most uniquely accomplished films of 2016.

Set during the aftermath of the assassination of John F. Kennedy, "Jackie" examines the effects of the tragedy on the former First Lady. As told through a Life magazine interview, Jackie recounts the events of her life before, during and after that fateful day. Through her words we learn of her passion for the arts and history, the immediate trauma of the attack and the subsequent anger, disbelief and grief that followed. But most of all, she shows her unwavering dedication to preserve the legacy of her husband and remind the world of the greater good he believed in.

In an early scene, a man advises Jackie to stay out of the spotlight after her husband's death, stating that "the world's gone mad." This sentiment is certainly one that pervaded throughout American society during that period, and Larrain absolutely runs with it. Indeed, it's easy to understand why Darren Aronofsky was once attached to direct, as this film shares much of the same idiosyncratic filmmaking as his own Natalie Portman-starrer "Black Swan" (with another Best Actress Oscar likely on the way too). Mournful and chilly, "Jackie" has much more in common with psychological dramas than the plot-based character studies typical of the biopic genre. Mica Levi's haunting score captures the surreal atmosphere, while the direction maintains a stark, measured control. And the cinematography is often stunning in its ability to evoke the era as cinematographer Stéphane Fontaine experiments with various film stock. It would come as no surprise if the film were to garner Oscar nominations for Best Original Score, Best Director and Best Cinematography.

"Jackie" truly represents filmmaking of the highest order, and it's most tremendous technical feat is its central performance. While Jackie was understandably distraught and fragile during those dark days, Larrain also envisions Jackie Kennedy as a woman of extraordinary composure, allowing Natalie Portman to deliver her most fiercely commanding performance to date. With her modulated voice, she is admittedly jarring at first. But Portman masterfully sinks into the role, burrowing into every nook and cranny of her character's psyche. And she is well served by Noah Oppenheim's probing, non-linear screenplay (certainly a Best Original Screenplay contender), deftly showing the complexity of this fascinating woman.

"Jackie" is definitive proof of Pablo Larraín's boundless talent. He has taken a film genre and a historical icon we thought we already knew, and created something inventive and astonishing. Unlike most biopics, there is no warm emotional pay-off here. But his interpretation of Jackie's mythic "Camelot" is altogether unforgettable. We'll surely be talking about this Best Picture hopeful for months to come.

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REVIEW: I Am Bolt

Directed by brothers Gabe and Benjamin Turner, the documentary “I Am Bolt” starts off with a bang. Opening with a montage featuring anthemic music while a narrator introduces a man with “physical strength and magnificent speed,” it could easily be mistaken for a superhero movie. As the title suggests however, the film’s subject is the aptly named Usain Bolt, a triple world record holder in track and field. In this engaging film, this extraordinary Jamaican athlete takes us through the trials, tribulations and triumphs of his journey to a historic nine Olympic gold medals.

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FOREIGN OSCAR GUIDE: Female Directors

If you’re reading this, you probably already know that this year’s Foreign Language Oscar race includes 85 films, thereby setting a new record. But there’s another history-making statistic that has gone by underreported. Among those submissions are a record number of films directed by women, with 16 entries crediting women at the helm. Of course, the gender ratio is still far from ideal, but when compared with the paltry numbers represented in Hollywood (often less than 10 percent in a given year), these history-making groups of women are certainly worthy of special recognition.

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INTERVIEW: Boo Junfeng

Tackling a controversial social issue like the death penalty is always a risky proposition for any filmmaker. But when such a topical subject is handled by a thoughtful director like Singapore’s Boo Junfeng, then you know you’re in good hands. I recently spoke with this up-and-coming director, whose latest film "Apprentice" examines the personal and societal implications of the death penalty, through the eyes of young man training to become an executioner. Below is an edited version of our chat.

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REVIEW: Stefan Zweig: Farewell to Europe

Where there’s a mass human tragedy, there are often heroes who emerge from the rubble. And then there are those who evade it altogether. The eponymous character of "Stefan Zweig: Farewell to Europe" is an example of the latter. In this timely biopic, director Maria Schrader adds another intriguing perspective to one of the darkest moments in human history.

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OSCAR WATCH: Indie Spirit Nominations

I feel like everyone says this every year but, how is awards season here already? Indeed, earlier today we got one of the first big announcements of the circuit with the nominations for the Independent Spirit Awards, recognizing the best in independent cinema. As the Academy increasingly looks to smaller budget films to fill out their own nominee lists, these awards have become an important precursor as of late. And that spells good news for "Moonlight", a supposed Oscar frontrunner which leads the field alongside Andrea Arnold's more divisive "American Honey". Meanwhile "Manchester by the Sea" also had an expectedly strong showing. Will this year's Best Feature winner once again repeat at the Oscars? Check out the full list of nominees below and stay tuned as awards season is now in full swing.

Best Feature
American Honey
Chronic
Jackie
Manchester by the Sea
Moonlight

Best Director
Andrea Arnold, American Honey
Barry Jenkins, Moonlight
Pablo Larrain, Jackie
Jeff Nichols, Loving
Kelly Reichardt, Certain Women

Best Male Lead
Casey Affleck, Manchester by the Sea
David Harewood, Free in Deed
Viggo Mortensen, Captain Fantastic
Jesse Plemons, Other People
Tim Roth, Chronic

Best Female Lead
Annette Bening, 20th Century Women
Isabelle Huppert, Elle
Sasha Lane, American Honey
Ruth Negga, Loving
Natalie Portman, Jackie

Best Supporting Male
Ralph Fiennes, A Bigger Splash
Ben Foster, Hell or High Water
Lucas Hedges, Manchester by the Sea
Shia LaBeouf, American Honey
Craig Robinson, Morris from America

Best Supporting Female
Edwina Findley, Free in Deed
Paulina Garcia, Little Men
Lily Gladstone, Certain Women
Riley Keough, American Honey
Molly Shannon, Other People

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OSCAR WATCH: Arrival

Back in 2014, Christopher Nolan released the ambitious but divisive sci-fi film "Interstellar". In perhaps its most pivotal scene, Anne Hathaway's character poses a far-fetched theory to save the world from impending apocalypse. She essentially explains that the power of love, rather than science, is the answer to their predicament, representing a higher dimension we can't perceive. Two years later, this character's philosophy reverbates in a kindred spirit of sorts in Louise Banks, the lead character in Denis Villeneuve's equally heady sci-fi drama "Arrival". As unexpected alien spacecraft emerge across the world, her character attempts to solve the puzzle using the more intangible elements of humanity like language, versus the hard "facts" of science.

Set in an undisclosed time period, "Arrival" centers around Banks (played by Amy Adams), a leading linguist whose skills have afforded her high level security clearance with top intelligence and military agencies in the past. One day, she is called out of her university teaching job yet again, as unidentified spacecraft have appeared at several sites across the globe. Inside are alien species, which become termed as "heptapods", speaking an unrecognizable language. Fearful of an aggressive invasion, Banks is recruited by the U.S. military to co-lead a team (alongside Ian Donnelly, played by Jeremy Renner) in Montana to decipher a way of communicating with the aliens. By combining her linguistic background with Donnelly's scientific prowess, they hope to get an answer to a fundamental question. What is the aliens' purpose on earth? Their subsequent research proves to be a massive undertaking, as the aliens' language seems far more complex and symbolic than the typical human alphabet. But even more importantly, time is of the essence, as research teams at other international sites become increasingly suspicious of the aliens' intentions.

This race against the clock establishes a platform for director Denis Villeneuve to impose some visually and intellectually stimulating ideas. From the abstract language of the aliens, to the mysteries surrounding their presence, the film creates its own alternate world as befitting its genre. But whereas many sci-fi films are characterized by elaborate futuristic visuals and complex theories to make your head spin, "Arrival" offers a refreshing change of pace. Its production design takes a minimalist approach, relying heavily on a single visual motif (the spacecraft), while the focus on language ensures a relatively straightforward narrative.

Under its stripped down indie surface is a film with a whole lot to say however. Indeed, the premise instantly recalls the Biblical Tower of Babel, where the emergence of different languages was believed to be a curse from God for man's disrespect. And that tension is made palpable in the film, as miscommunication between man and alien, as well as between citizens of different nations, threatens potential war. As such, it is a sobering reminder that humanity is always on the verge of self-destruction, often due to our inability to communicate effectively and our mistrust of each other.

Eric Heisserer's screenplay (a surefire contender for Best Adapted Screenplay) truly gives you a lot to think about long after the film's utterly profound climax. As Banks makes progress with each new breakthrough, the film also enters increasingly emotional territory (handled with aplomb by Amy Adams, possibly heading for another Best Actress nomination). At the risk of spoiling its brilliantly moving conclusion (an epilogue worthy of Best Picture and Best Director consideration in its own right), the film resonates with the deeper meaning behind its original title - "Story of Your Life". Under all the wondrous sci-fi accoutrements - look out for the film in Best Production Design, Best Sound Mixing, Best Sound Editing and Best Original Score - "Arrival" is ultimately a human story about the choices we make, the destinies we embrace and like Anne Hathaway in "Insterstellar", the people we love.

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REVIEW: Apprentice

“Being good at this kind of work is not very beautiful.” This quote is taken from the trailer for the upcoming spy drama “Allied,” but it could have just as easily come from Boo Junfeng‘s “Apprentice.” In this prison drama, Junfeng presents the grim world of the executioner to suitably unnerving effect.

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INTERVIEW: Pavel Giroud

There have been a number of AIDS-themed films over the years, but you’ll hardly find one quite like “The Companion.” This story of an unlikely friendship in a uniquely Cuban setting provides a fascinating window to the past. And with the film’s selection as the official Cuban entry for the Oscars, director Pavel Giroud hopes to share its empathetic message to the world. Recently, I caught up with Giroud to discuss his inspirations for the film and its historical premise. Below is an edited version of our chat.

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FOREIGN OSCAR GUIDE: The New World

Anyone paying attention to world cinema will surely have noticed the rise of Latin American cinema. Along with their North American counterparts (aka “The New World”), the region has been a hotbed of emerging talents in the last few years. Indeed, it seems like rarely does a major film festival go by without a Latin American film winning a prize. And in terms of Oscar, countries like Chile, Colombia and Peru have recently received their first ever nominations for Best Foreign Language Film. This year, 15 films will represent the Americas with hopes of keeping that momentum going. Here’s a look at this eclectic group.

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FOREIGN OSCAR GUIDE: Africa & Middle East

Back in 2006, the Academy implemented a significant rule change that no longer required films in the Foreign Language category to be in the language of their submitting country. In an increasingly globalized industry it was seen as a necessary evolutionary step, with subsequent nominees like “Mustang” and 2012 winner “Amour” taking advantage. And indeed, this year’s crop of films from Africa and the Middle East region reflect this global perspective. Among them are co-productions with countries as far afield as Norway and France, while Israel achieved a historic milestone with their submission. As the following 12 films show, African and Middle Eastern cinema is ready for the world stage.

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REVIEW: The Companion

With a plot exploring themes surrounding unlikely friendship, AIDS and boxing, Pavel Giroud’s “The Companion” would appear to be an unusually ambitious film. But looks can be deceiving, as the storytelling in this low-key drama takes a rather tentative approach. Despite a fascinating premise, Giroud keeps the emotions reserved and the conflicts minimal with his underwhelmingly light touch.

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INTERVIEW: Nare Mkrtchyan

Recently selected for the Oscar shortlist for Best Documentary Short, “The Other Side of Home” is an eye-opening account of the legacy of the 1915 Armenian genocide by the Turkish government. Filmed during the 100th year commemoration of the tragedy, it follows a Turkish woman named Maya who has learned of her Armenian heritage. As she travels to Armenia to explore her mixed identity, the film provides a somber reflection on the complexities associated with this harrowing historical period. Earlier this week, I interviewed the director Nare Mkrtchyan to discuss the film and the importance of showing the humanity amid the atrocities. Below is an edited transcript of our conversation.

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INTERVIEW: Fisher Stevens

As an actor, director, producer and writer, Fisher Stevens is one of the most dedicated persons in the film industry. From his early days in front of the camera, he has lately branched into significant directing and producing work related to one of his biggest passions – protecting the environment. For his latest effort “Before the Flood,” he teamed up with the ideal partner (Leonardo DiCaprio) to raise public awareness of one the most important environmental issues – climate change. Recently, I had a phone chat with Stevens to discuss this collaboration and delve into the lessons he wishes to share from the making of this globally relevant documentary. Here is the edited version of our conversation below.

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REVIEW: Before the Flood

The familiar voice of Leonardo DiCaprio opens “Before the Flood,” narrating over a set of graphic paintings by Hieronymus Bosch. He explains that they represent his first encounter with the environmental concerns to be subsequently discussed in the documentary, depicting the downward spiral of man from the harmonious Garden of Eden to an apocalyptic future of paradise lost. Just as these images must have haunted his infant mind, the intent of this impassioned documentary is clear – humanity is heading down a destructive path and we need to wake up before it’s too late.

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FOREIGN OSCAR GUIDE: Academy Faves

Last year, the big story out of the Foreign Language Oscar category was the success of the debut filmmakers. Indeed, an impressive three of the five nominees were first features, with László Nemes’ staggering Holocaust drama “Son of Saul” eventually prevailing. For the 2016 Foreign Oscar race however, the stage seems set for a number of the category’s veterans to make a return with their latest films. Here’s a look at the nine former nominees who will be among this year’s strongest contenders.

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COMING SOON: Almost Christmas

Arriving in time to ring in the holiday season, David E. Talbert's "Almost Christmas" should provide some appealing counterprogamming to all the serious films opening this fall. In this comedy, a family comes together for Thanksgiving in the hopes that they can finally get along. With hints of "Soul Food" in its premise (they're brought together by the death of the matriarch), the film features a talented ensemble cast of woefully underused black actors like Kimberly Elise, Mo'Nique, Gabrielle Union. Check out the trailer below:



"Almost Christmas" opens in theaters November 11th.

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INTERVIEW: Juho Kuosmanen

Winner of Un Certain Regard at Cannes 2016 and recently chosen to represent Finland at the Oscars, “The Happiest Day in the Life of Olli Mäki” is one of this year’s most pleasant surprises. As its director Juho Kuosmanen would firmly explain, this unusual true story is not your typical boxing drama. Based on the exploits of its title character Olli Mäki, it follows his preparation for the biggest fight of his life. But while his country primes him to be their next sporting hero, Olli is much more concerned with his burgeoning romance with his sweetheart Raija. Earlier this week, I had a chat with Kuosmanen to learn more about his approach to this unique character, the making of the film and his personal attachment to its themes. Below is an edited version of our conversation.

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REVIEW: The Age of Shadows

In 2015, South Korea selected Lee Joon-ik’s “The Throne” as their official Oscar submission for Best Foreign Language Film. Based on the life of the Crown Prince Sado, it was crafted around a rather sadistic premise where said prince was ultimately forced to be locked up in a rice chest until death. Unsurprisingly, the Academy snubbed the film, as they have routinely done with Korean entries in the past. This year, however, the East Asian nation may finally have a chance with Kim Jee-woon’s “The Age of Shadows.” Exploring another dark period in Korea’s past, this handsomely produced spy thriller will surely prove to be more accessible and rewarding for general audiences.

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FOREIGN OSCAR GUIDE: Romance Films

If you take a cursory glance at the previous Oscar nominations for Best Foreign Language Film, you’ll notice a trend of films about serious issues like war, terminal illnesses and other types of strife. Among this year’s list of submissions however, six films will hope to change the tone of the final shortlist by going straight for the heart. Hailing from places as culturally distinct as Venezuela and Saudi Arabia, their narratives have one thing in common – love.

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INTERVIEW: Rémi Chayé and Henri Magalon

Animation director Rémi Chayé and producer Henri Magalon are no strangers to awards season, having worked on nominated films “The Secret of Kells” and “Ernest and Celestine.” And with Chayé’s debut feature “Long Way North,” they may have another contender to add to their filmography. In this progressive female-centric film, an aristocratic Russian girl defies conventions by embarking on a perilous adventure to the North Pole in search of her missing grandfather and his ship. Earlier this week I had the pleasure of chatting with Chayé and Magalon to discuss the film, their upcoming Calamity Jane project and how hard it is to impress kids. Below is an edited version of our conversation.

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