This year’s Oscar race is yet again at the doorsteps of us mere mortals, who only can dream of one day holding the golden statue in our hands and dreaming who we’d be telling to suck it now that we made it this far. Instead of hanging around in LA, I’m currently in Lauttasaari, winter storm whistling outside, rain pattering against the window. It’s fine here, though, and I’m not even thinking really staying up for the show, but nevertheless, here’s my predictions for 2020!
LEADING ROLE / ACTRESS
Renée Zellweger (JUDY)
I mean, she was quite friggin’ perfect in the role, right?
LEADING ROLE / ACTOR
Joaquin Phoenix (JOKER)
There’s was no real competition here, was there?
SUPPORTING ROLE / ACTRESS
Laura Dern (Marriage Story)
I didn’t think too much of the movie, but I could’ve watched a whole spinoff TV series, full seven seasons big budget and whatnot about Laura Dern and Ray Liotta’s characters!
SUPPORTING ROLE / ACTOR
Joe Pesci (THE IRISHMAN)
Sometimes, doing nothing and looking slightly sad about it is the best thing to do.
I LOST MY BODY (Jérémy Clapin, Marc du Pontavice)
Such a beautiful and melancholic piece, amidst all the crashing, banging, wailing and fuzzing about the other nominees are all about.
THE LIGHTHOUSE (Jarin Blaschke)
I mean, it’s black and white. Of course it gets the Oscar. Also, it’s really beautiful.
ONCE UPON A TIME… IN HOLLYWOOD (Arianne Phillips)
Every character has a jacket so amazing it’s just pure pleasure to watch.
Martin Scorsese (THE IRISHMAN)
It was the best film of the year, and I’m one of those who tend to think director has a bit to do with that, so…
FOR SAMA (Waad al-Kateab, Edward Watts)
The only real reason for Oscars to exist is to list a bunch of docs everyone else has missed, which actually talk about stuff that matters. Both The Cave and For Sama did this, both broke my heart and I wish I could give Oscar to both. And fuck you Putin and Al-Assad, too.
ST. LOUIS SUPERMAN (Smriti Mundhra, Sami Khan)
Didn’t watch any, so this one goes out random.
THE IRISHMAN (Thelma Schoonmaker)
It’s a monster of a movie, but the pacing never gets boring. Other than that, you rarely notice the editing, which is the best compliment an edit can have.
PARASITE (Bong Joon Ho)
It’s really nice to see fresh films that go borderline genre actually make their mark internationally.
MAKEUP AND HAIRSTYLING
MALEFICENT: MISTRESS OF EVIL (Paul Gooch, Arjen Tuiten, David White)
Just the sheer amount of work they’ve done for this one is … mind-blowing.
1917 (Thomas Newman)
I know everybody says this should go to The Joker, but frankly, I can’t remember anything from Joker’s score, maybe that’s a good sign since I thought the film was terrific, but for me, 1917’s music perfectly fit the picture and really kept the film flowing.
(I’m Gonna) Love Me Again (Elton John, Bernie Taupin)
It’s Elton John. Of course he wins..
THE IRISHMAN (Martin Scorsese, Robert De Niro, Jane Rosenthal and Emma Tillinger Koskoff)
I’m pretty split between Irishman, Joker and Parasite, but chose The Irishman as I thought it was such a strong, long-lasting and well-crafted, beautiful movie with so much appeal and rewatchability that it just deserves to be the best picture of 2019.
ONCE UPON A TIME… IN HOLLYWOOD (Barbara Ling, Nancy Haigh)
Recreating the old-time Hollywood charm is something many have tried, but Once Upon A Time… did it so well I feel like I had visited there.
HAIR LOVE (Matthew A. Cherry, Karen Rupert Toliver)
Again, no idea. Just a random pick.
LIVE ACTION SHORT
A SISTER (Delphine Girard)
Another random pick.
STAR WARS: THE RISE OF SKYWALKER (Matthew Wood and David Acord)
It’s so. Much. Work. And it never, ever felt artificial, every sound was in its’ rightful place.
AD ASTRA (Gary Rydstrom, Tom Johnson and Mark Ulano)
I remember not liking the movie that much, but walking out and saying out I thought the sound mixing was spectacular. I can’t remember anymore exactly why, but I trust my then-me.
LION KING (Robert Legato, Adam Valdez, Andrew R. Jones and Elliot Newman)
Irishman’s de-aging was revolutionary, but not remarkably well made. We’ll see much better takes on the same gimmick in the future. But Lion King was flawless, and that’s a big one. Turning an animated, beloved legend into “reality” and making it work.
THE IRISHMAN (Steven Zaillian)
Best picture kinda demands best screenplay, dontchathink?
PARASITE (Bong Joon Ho, Han Jin Won)
Just the fact that a gory home-invasion film from South Korea even made it to the list itself is worth the award, but it’s also really, really well, written. And director’s original story, too.