Talk Talks – Brutal Oscar

Howdy from Texas, dear readership,

Are you also sorry to read about the political situation (or rather plague)? Then let’s speak of something else: films, for example. They are the best escape of reality because they depict reality deceptively real, but they can never fully get to the real gray. It is particularly good that the most famous award ceremony ever took place with the golden males for the 97th time. And it always causes surprises: sometimes someone is driven, sometimes someone falls, sometimes siblings do it, sometimes someone wears a swan around their neck. The films themselves are somewhat more predictable, in recent years a catalog for nominations is apparently processed: always, a so-called “Oscar Bait” film, i.e. an Oscar bait-a monumental, asshold film, often from a legendary, semi-sensitive director, about Americanized history and/or gangsters. Then there is almost always a more or less hollow musical with moderate, sometimes super good superstars, a second World War I and/or Holocaust film, an unnecessary remake, the original of which has long been replaced, a biopic, what’s wrong-international and occasionally a papalks with an aging Schönling.

The award ceremonies often show that the Oscar Academy is progressive and diverse contrary to all accusations. And almost as often this attempt goes wrong, as this year goes on with “Emilia Pérez”, a French film musical that strokes two points from the catalog just described and which was nominated for incredible 13 Oscars. Apart from the fact that the script is meaningful and the songs are lame, the film is peppered with controversies. Mexico was presented with stereotypical and unautentically, critics rightly said. Then the main actress, Karla Sofía Gascón, a transsexual Spaniard, was negatively noticed by old racist tweets. Speaking of transsexuality: How undoke and crazy is a musical in which a gender conversion surgery is unironically sung with “From Penis to Vagina”? Almost as stupid and unfortunately also French (what’s going on in the land of the cineastes?) Is “The Substance”, a pseudo -feminist ham who allegedly wants to denounce beauty fanaticism and ageism from the film industry, armed with beauty and ageism. Isn’t it fair that the young pretty Mikey Madison at the end of the old pretty Demi Moore steel?

We would be with the winner of the evening: “Anora” won five Oscars. In it, a sex worker in New York moves a Russian oligarch son on land. Unlike most Ami films that show Eastern Europeans and above all Russians, this is unusually authentic. Usually Sweden or Serbs mimic the Russians more badly than right, the script contains mistakes like sand by the sea. This was dispensed with here. “Anora” is by no means a masterpiece, but only a “Tale Old as Time”, but nice that the main character, uneven manon lescaut or the camelie lady, did not have to let her life, but only the Russian zobel coat. Oh yes, there was something: The film mentions the Ukraine war with no word, although it would be easy to incorporate into a strip club full of migrants at least minimal criticism of Russia. And the fact that the Oskarnomined supporting actor Yuri Borisov plays in propaganda films at home does not matter to the supposedly so politically committed Hollywood. I have warned them here before (and they certainly noticed it themselves due to the latest political developments): the Americans have a Russia fetish. And sorry that again today I could not distract from the political events. Next time I don’t even try it.

Now you are sure to burn my favorite film from 2024. I am very basic: the Oscar-Bait brutalist! Of course he was too long, but he was unevenly his competitor full of unexpected twists and demonstrated something that could unfortunately be acute in the future: the death of the American dream. PS: I still don’t know which Oscar the Oscars were named after – you?