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The Grapevine: Academy Awards (2023) Thinkpiece.

Updated: Apr 16, 2023

[Notes from the author: this think piece seems to have morphed into some repressed thoughts I’ve had about Everything Everywhere All At Once, as well as All Quiet on the Western Front. I can’t begin to think of where to start when it comes to writing a review for these films. So, this thin piece is now non-sequential and includes some sneaky movie appreciation. And in the meantime, here are my other film reviews!]


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I initially intended to just put out a chit-chat video about some of my opinions on the nominees and winners of this year’s 95th Academy Awards.


Alas, I’m still too uncomfortable and unfamiliar with verbalizing my thoughts, so I’ve decided to write out a little review– we’re calling it, The Grapevine– because many of my opinions are based on research (reviews, video essays, actors/writers/directors’ interviews, etc.) since I am both lazy, and many of the nominations weren’t particularly up my alley.


The main reason I wanted to participate in Vanity Fair’s 2023 ballot was because of the interesting range of films and creators nominated this year.


I thought it would be fun (and not time-consuming at all...) to guess who the Academy would pick, and why they might be swayed to make those decisions.

I was almost on the nose with each guess and I will definitely be patting myself on the back until next March.


Here is the list of the winners. Here is my checklist!

First and foremost, thank you to the masses for bringing attention to several films and performers that were well deserving of the hype and recognition but previously would have gone unnoticed by the Academy.


We were off to a wonderful start when both the Best Supporting Actress and Best Supporting Actress were awarded for their roles in Everything Everywhere All At Once!


I’m a Jamie Lee Curtis enthusiast, so after many rewatches, I think her role as Deirdre in Everything Everywhere All At Once is one of her best, most challenging and most versatile, so far.

And in that respect, I am always happy to see creators celebrate their work for what it means to them personally– that’s the only reason I think award shows are tolerable.

That being said, the Academy surprised me once more when they not only skipped over Angela Basset’s performance as Ramonda in Black Panther: Wakanda Forever but also failed to award Stephanie Hsu, for her role as Joy, who in my humblest opinion was the heart and core of Everything Everywhere.

Her performance was so captivating I was curious as to how Jamie Lee was also nominated alongside her. (check out this clip of Stephanie’s audition tape!)


When I first watched Everything Everywhere, I went into it with only Michelle Yeoh in mind, and within the opening sequence, Ke Huy Quan had just about stolen the show, and looking back, he is responsible for the dialogue that moved me the most– I believe that this is the same for many people.


So, when the Academy nominations were announced, I was amazed that they were acknowledging proper performances- but a huge part of me still questioned if the Award might go to a more ‘traditional’ performance (period piece actors, transformative roles) and I thought there might be a chance they would snub Ke Huy.


Say what you want, but as long as the Academy Awards remains the biggest event for acknowledging filmmaking, it will also provide a social platform for change– whether it is related to exclusivity, social issues, prejudice or opportunities– the issue is how much, and to who, the Academy annually chooses to provide that platform to– but, when they do recognize performances that tackle prevalent issues, it allows said ‘praised’ individuals to speak out and bring attention to the messages behind the story or movie being acknowledged.


This is why it was extra rewarding when Ke Huy Quan is given his dues in the form of having a moment to celebrate and reflect on the enjoyment, but also the extreme struggle of finding his place within a non-inclusive industry to simply do what you’re passionate about.


Almost every news article I read post-Oscar night has highlighted the importance and progression of acknowledging the Western resistance to opening up a space for storytelling from the perspective of people of colour.


I am definitely not versed to delve further into the discussion of the innate racism and cultural misrepresentation that the Academy Awards has built their foundation atop, but it is extremely important and moving to see Ke Huy celebrate, nevertheless.


To further touch on my appreciation for Ke Huy’s performance, I am always inspired by an artist who brings pieces of themselves into their art. Listening to his story on the Actors Round Table gives a clear understanding of how his journey is reflected through the character of Waymond Wang in Everything Everywhere All At Once.


Waymond brings home the conclusion that seeing the good in things is the way to truly embrace the meaninglessness of life– to create meaning within the moment– which turns said nothingness into something.


Enjoying the smallest moments, like doing laundry, instead of only focusing on the trials faced along the journey, celebrating the way it feels when you finally succeed. Again, even if it's just doing laundry.

(Here is his interview post-acceptance).


The award for Best Actor went to Brendan Fraser for his role as Charlie in The Whale. And I definitely overlooked many common signs that he would.


Firstly, he did win almost every best actor award leading up to the Oscars.


Secondly, sue me for considering the fact that the Academy has a habit of best actors being awarded to biopics (Just in recent history, awards went to Rami Malik as Freddie Mercury, Taron Edgerton as Elton John and Jamie Foxx as Ray Charles).

I thought they might pull a fast one and give Austin Butler the win for his performance in Elvis.


Thirdly, I got jaded by the brilliant and subtle performances of all of our Irish nominees; Colin Farrell always leaves me cinematically satisfied– especially when he is paired with Brendan Gleeson (re: In Bruges [2008]), and I never got over Aftersun (2022) which is clearly why my eyes blurred out all nominees in favour of Paul Mescal.

I’m an extreme enthusiast of indie films. So yeah, I foolishly lost a point for that one.


I’m going to use my praise of the Irish nominees as a segway to express my surprise and satisfaction when An Irish Goodbye won Best Live Action Short.


I love this story! I love the acting and chemistry shared between James Martin and Seamus O’Hare. And I love the use of such powerful and emotional dialogue, combined with ominous cinematography is top-notch! This is definitely one of my personal recommendations.


And the next of my recommendations is also filmed and set in Ireland, The Banshees Of Inisherin.

Written by one of my favourite storytellers, Martin McDonagh (Seven Psychopaths [2012], Three Billboards Outside Ebbing, Missouri [2017]), who was predominantly a playwriter and this is so relevantly evident when reviewing his screenwriting.


McDonagh's stories have a way of making the viewer feel isolated within a reasonably expansive space or setting.

Not only that, The Banshees is an incredibly engaging, oddly relevant story, with incredibly engaging performances from the entire cast ensemble, Kerry Condon and Barry Keoghan and Brendan Gleeson to name a few.


The most recent edition of the Writers Round Table included several incredible writers including Academy nominees McDonough, Tony Kushner, (West Side Story [2021], Lincoln [2012]), another veteran playwriter who has worked closely with Steven Spielberg on several projects including this year's nominee The Fablemans, as well as Daniel Kwan (Kwan and Daniel Scheinert co-wrote and directed Everything Everywhere; commonly referred to as, the Daniels).


The Daniels wanted to tell a story about generational love.

In exploring this theme, we can see the beauty and creation spread through several decades of one family name, but we can also see the danger and damage that can be passed down when love has been withdrawn.

By being unfairly treated growing up, you could find yourself treating your child the same way. And this cycle will go on and on.


The Daniels expand on the principle that violence is never the answer, and they worked tirelessly to create engaging action sequences that both further the plot and bring home the message of being kind to one another.

Violence, physically or emotionally, increases the problem and drags us further from the solution. ‘the profound and profane belong to each other.’


Trend Alert! Stories about family and friendship are in! Finally.

In this social climate, the importance of interpersonal relationships has returned to the forefront. With this, comes deeper forms of conflict, confusion, compassion, and care than ever experienced in the history of human connection. We love to see it.


Best Adapted Screenplays were predominantly sequels this year, and I think almost all were well-deserved nominations.


I kicked off my new year by watching Glass Onion: A Knives Out Mystery, a success in my books, and I am definitely in the middle of writing a review.

In the meantime, here’s one I did for Knives Out [2018].


Admittedly, I have yet to see Women Talking.

But I can say with certainty that it contains some stellar performances and dialogue.


Directed by Sarah Polley– and adapted from the novel of the same name, written by Miriam Toews– many viewers seem to have connected with the storyteller’s way of evoking such intense moments with minimal action needed, purely through the words shared between the characters.


Trend Alert! We are entering the age of dialogue.

Clearing cinema of the unnecessary bells and whistles and replacing it with pondering stories– questioning the meaning of life, the complication of good communication, tackling the task that is introspection.


Using lengthy dialogue is becoming a tool for attempting to understand the root of ourselves, and others, and how we all fit together within a world that only provides further confusion.


We are seeking out a way to communicate the way we feel (even if we have yet to decipher it for ourselves), and currently, dialogue aims to do this with pure rawness.

Stepping away from the formal structure of storytelling, replacing clear plots and endings with ambiguity, and opening up a space for the contemplation of both the characters and the viewer.


Best Foreign Film had some incredible nominations, I just wish we were able to acknowledge European, Asian, South American, and African cinema.

(I would be wasting an opportunity not recommending this live-action short, The Final Border [2016]. Created by AFDA honours students. If you regret watching it, come and find me so I can give you an in-person finger-wagging.)


Some of my favourite nominees were Close, a Belgium film about two young friends, which surrounds the friendship and complications of growing up between two young boys created by Lucas Dhont.

The cinematography has such a great sense of movement, and the colour grading and production design create a starkly bright parallel to the dark content being tackled.


EO is a Polish film following the journey of a donkey, created by Jerzy Skolimowski, and Ewa Piaskowska.

EO has such compelling cinematography; emotionally evoking- to the point where I felt the donkey deserved their own award. So, so beautiful.


In the end, I voted for Le Pupille, a story of young students attending a Catholic boarding school created by Italian director, Alice Rohrwacher, which seemed to have been the critics' favourites through award season.


The Best Documentary and Documentary Short winners were predictable when considering the Academy’s previous picks.

The academy tends to favour documentary categories such as historical events, political conflict, and biopics. (preferably if the content surrounds scandal or infamy).

I emphasise this by listing a few of the winners in recent history; Amy (2015), O.J: Made In America (2016), and Icarus (2017).


With the current political crisis surrounding Russia, Navalny was the clear winner for Best Documentary.

Navalny tells the compelling and disheartening story of the attempted assassination, and recovery of former Russian opposition leader, Alexei Navalny.


The documentary that stood out to me was All That Breathes- following the inspiring, hopeful journey of two brothers who set out to help rescue and preserve the species of Kite birds amid escalating violence in Delhi.

Directed by Shaunak Sen, not only is this a compelling, emotionally grounding story but is filmed and captured with such natural, intimate cinematography.


Best Documentary (Short Subject) went to The Elephant Whisperers and I wholeheartedly agree.

It captures the journey of spouses, Bomman and Bellie, caring for and raising an orphaned elephant in Southern India.


I spent about three months consuming every documentary/series/short known to man, and whilst many stories are exciting, shocking and captivating, The Elephant Whisperers is an example of small, moving, stories that are far more relatable, touching, and thought-provoking.


This film depicts a microsystem – society existing within a much larger picture– and this allows the viewer to connect with the core plotline, as well as the larger, overarching themes (such as political crisis, violence, poverty, and sexism, to name a few) surrounding the story being told.


I truly believe documentaries have the power to create change and awareness in a way other areas of cinema cannot.


The nominations for Best Animation were strange… but that’s nothing new because, in my opinion, the Academy picks the strangest animations.

I’m almost certain I’m just not the target market for these nominations.


But I did love Pinocchio– which in a perfect world would be nominated for best film– not specifically animation.

Maybe even the best-adapted screenplay… I’m just spitballing...

Anyhow, I have a review for Pinocchio here where you can hear me gushing about stop-motion and del Toro’s storytelling.


I loved del Toro’s acceptance speech– he always reiterates the importance of animation and storytelling- encouraging aspiring youth to pursue their passion.

(Take a look at his acceptance speeches for best film and director for The Shape of Water [2017] here and here!)


Puss In Boots: The Last Wish is the only other animation I watched, and you should too! The overall consensus was that we all went into watching this film for the love of ginger kitties, and the Shrek-ness.

But, dear reader, I was duped into a masterpiece of existential contemplation, approaching and coming to peace with the importance of death and dying.


Emotionally, I was unprepared, but the increased detail and use of lore only added to the legendary franchise that is Shrek (2001).

Oh, and Kitty Softpaws reminded me of my own sassy cat (rip Loafy).

I think a film about cats and grief was exactly what I needed.


And my goodness, there were so many stunning candidates for Best Animation Short! The five nominated (why are we only choosing five films? I have the patience to pick between ten) were all brilliant in their own right and I highly recommend checking all of them out!


The Boy, The Mole, The Fox, And The Horse was well deserving of their win for Best Animation Short.

This story is told through the eyes of a young boy and is heavily focused on dialogue.

Using an ink-like style to create the feel of fluidity. I’m sure the Academy connected with the material.


Ice Merchants was another stand-out for me.

Created by Portuguese filmmaker, João Gonzales, the animation style is pen to paper, applying magnificent use of colour with a beautiful story.


An Ostrich Told Me the World is Fake And I Think I Believe It, a stop motion short created by Australian filmmaking student, Lachlan Pendragon.

He meticulously tended to every possible detail, delving into the crisis of self, which is very reminiscent of works by Franz Kafka, and The Truman Show (1998). [See article].


Another mass-favourite was My Year of Dicks by Sara Gunnarsdóttir.

Mixing mediums such as notebook sketches, magazine-style, and anime, which, speaking of, I will not stand for the disgrace of the stinginess of anime nominations.

It's ob-fucking-scene!


Sound was an interesting set of categories this year, and I felt that the majority of the nominees were deserving of recognition in general.


Top Gun: Maverick was definitely worthy of winning Best Sound.

Production sound mixer, Mark Weingarten (The Hunger Games [2011], Dunkirk [2017]) was challenged with the task of working within an already loud and busy set; coming up with unique ways to capture the audio and dialogue in a way that would be as accurate and natural as the real-life feeling of flying, dogfighting, and explosions going off nearby.


Weingarten perfectly captures and narrates the story, switching between commotion and calmness, making sure the viewer is also strapped in for the flight.


All Quiet On The Western Front sneakily swept up a well-earned six wins, including Best Original Score and Best International Film.

Every time I hear another war film is critically acclaimed, I am strictly resistant.

But each story seems to tackle more isolated, relevant, and reality-driven themes, which are both devastating and beautiful.

All Quiet is a German film based on the 1920s novel of the same name. Set in Germany, in 1914, told through the eyes of Paul, a young, naïve soldier who is motivated through glamorization to enlist in the Great War.


Off the bat, I was intrigued to see a story told from the western’s opposition– delving deeper into the harsh realities– particularly through the eyes of the youth, who, ongoingly make up the majority of soldiers on the forefront.


Just by watching the trailer alone, it is so evident how well the use of the score stresses out tones of anxiety, uncertainty, and the intense fear our characters are feeling.


Composer, Volker Bertelmann (The Lion [2016] Ammonite [2020]) has a true talent for tension-building and timing. created a single three-toned motif on his grandmother’s harmonium (‘-the result is both old and modern, like a wooden turn-of-the-last-century synthesizer’), which Bertelmann applies to act as a harrowing, ‘trumpet of doom’– an imperial march– that echoes through the sickly silence as a tool to emphasise the traumatizing experiences occurring outside of combat sequences.


When the film requires moments of heightened emotional crisis, Bertelmann lets the sound go quiet, which allows the instrumentals back up the actors' performances so we can feel the fragility and rawness of the scene.

You can listen to the score for All Quiet here.


Complete with incredible cinematography by DOP, James Friend. Predominantly using the Arri Alexa 65 for external shots for clarity and landscape purposes– and using the Alexa Mini LF for many of the battle sequences which blend seamlessly and allow Friend to use these varying wide-shots and long lenses to engage with the viewer, as well as the characters on screen.


Friend has an amazing sense of direction and a knack for understanding how to apply the perfect amount of pacing and timing. (‘-how to use the camera to create what the characters feel and visualize what’s in their stomachs.’ - director, Edward Berger).


Inspired by the wide-ranging list of lenses used in The Joker (2018), Friend employs the use of a variety of lenses to ensure linear lighting throughout; like soft, classic, and warm for pre-war interactions, and to capture specific lighting, or lack thereof, within the scene (leaning into the natural light provided by props like flares, Friend lets them act as the main illuminator), using the structural elements of the set to his benefit.


For colour grading, senior colourist, David Byrbad, focused on using things like sparkling lights to create saturation and contrast.


Because the majority of the tone of the film is a blend of dark hues, with a predominantly green palette (the soldiers’ uniforms, blood, night-time, etc.), it was important to highlight other colours for better depth and separation, therefore starkens the contrast between scenes set in the trenches where extreme, bright lighting is applied.


To top it all off, Byrbad also employed a subtle grain-like texture to make the film feel timeless.

Lighting works as an integral part in emphasising emotions, narrative undertones, and the literal show-not-tell masters.


Many war films are experts at using stellar lighting and grading, and it is rarely mentioned how big of a difference having a collaborative trio of sound, lighting, and cinematographers can make on the final product.

(Another brilliant application of these techniques is in, 1917 [2019] and Apocalypse Now [1979]).


and I am once again left to wonder how there are still no categories acknowledging lighting, data grading and handling, directing and visual effects in animation, foreign shorts etc. etc.


Youtuber, Mina Le, does a brilliant breakdown of the costume and styling for each of the five nominated films, using well-researched, relevant historical fashion references, which helps put into perspective the accuracy or inaccuracies in each film, I would totally check out her channel if you're interested in the history and relevance of fashion!


Wakanda Forever was an extremely well-deserving winner for Best Costume Design.

Designer, Ruth E. Carter (Malcolm X [1992], B*A*P*S [1997]) is a creative genius– responsible for the styling of many adored movies. Check out her filmography!

Let's not fail to mention that Ruth was undoubtedly the best dressed of the evening.


E. Carter uses well-researched references to perfectly suit the material, taking inspiration from 8 – 12 African tribes, and reading history books to better understand the influence, inspiration and intention of African clothing, whilst adding elements of the cultural aesthetic, Afrofuturism, which combines sci-fi and fantasy, using technology to explore the black experience.


Carter took great inspiration from contemporary fashion designers who embrace current trends with the influence of African traditions and textiles.

(These references include collections from designers from Ghana, South Africa, and Nigeria.)


These choices all aid in expressing who the citizens of Wakanda are; how they function, and how they express themselves through items of clothing, jewellery, weaponry etc.


In Wakanda Forever, each tribe is distinguished by beadwork, fur, turbans, and bold colours, which gives the viewer an idea of what is worn within the hierarchy, and what would be worn for maximum mobility, durability, and functionality.


Grounding the clothing by desexualising silhouettes and adding materials or clothing that are compatible and offer protection during their sometimes-combative lifestyles, whilst still ‘honouring the female form’.


Using accents of leather and hues of brown to style armour and weaponry takes great influence from the women of the Himba tribe (northern Namibia).


Queen Mother Ramonda wears varying large disc headdresses– These are called Isicolo’s– borrowed from the Zulu culture (traditionally shaped from grass fronds with cotton woven through. Sizes and colours vary between clans– reaching up to a meter long).


The Dora Milaje– an elite group of female warriors within the Wakandan universe– wear gold rings around their necks, which are known as Indzila’s, which come from the Ndebele tribe of South Africa.


Best Costume Design and Best Hair and Makeup usually go hand-in-hand in my mind.

It feels vital that costume, makeup, and styling need to have a cohesiveness that only further enforces the illusion and the suspension of disbelief. we must also look at the incredible application of makeup (not only on the face, guys) and hair styling.

Hair is an integral part of the expression, and the intricacy of each hairstyle, facial jewellery, and body modification work in perfect tandem with the costume design.


Makeup Artist, Joel Harlow uses makeup to elevate the themes of power and beauty, and how they are individually expressed within the Wakandan universe.


Inspired by a mythical Aztek paradise, Harlow chose elements of the Mayan and Mesoamerican cultures when styling the people of the Talokanil tribe, who reside in an underwater kingdom.

When they appear above the surface, Harlow used airbrushing to create a blue skin tone that is still natural and has appropriate shadows and highlights.

He emphasised the elements of the tribe’s watery history by creating facial jewellery (respirators) that would aid the Talokan when they are on land.


Hair Stylist, Camille Friend stated that the intention behind each hairstyle was to embrace and represent all types and textures of hair, covering ‘black hairstyles’ from all cultures and trends (both traditional and modern). Friend speaks of the critical role hairstyles play in evoking an actor’s confidence and helping them connect with their character.


Hair is used to show the passage of time, contextualizing the age and circumstances the character is experiencing. Friend chose each hairstyle to represent and reflect the character’s energies and intentions.


Creating natural styles for the youthful characters of Shuri and Riri, and bold looks express the strength and power of Aneka, Ayo and Okoye, whilst M’Baku’s facial hair and tattoos represent the Jabari tribe, and Attuma’s branded torso and shark-teeth facial piercings personify his warrior nature.


The winner for Best Hair and Makeup instead went to The Whale, and I have almost nothing to say about this, except that I do have something to say...


Prosthetics is an incredible form of makeup, and SFX (Special Effects) is an area of film I am extremely passionate about, but in my opinion, there was absolutely nothing that stood out about the makeup in The Whale.

For these reasons, I think it’s a shame that Black Panther: Wakanda Forever didn’t also win for hair and makeup.

(Watch Glow Up [2019– ] on Netflix for some crazy cool makeup!)


Finally, Best Film went to Everything Everywhere All At Once.


And my god, so deserving. Raking up a stunning seven wins.

Some of the awards I haven’t mentioned were Best Actress, Best Director, Best Original Soundtrack, and Best Editing. All bloody brilliant!


Here is a clip posted by the film’s Editor, Paul Rogers, showing how he edited the film. All done on Adobe Premier Pro. You guys. The entirety of VFX was done with After Effects on an old Imac!

it frighteningly puts how intricate the editing was into perspective. So many layers my computer started crying.


Everything Everywhere had… everything and more.


Tackling what it means to live– to truly live and participate in the world around us. Delving into the complications of family, culture, romantic relationships, the love and conflicts that blend and occur between mothers and daughters.


Told through the eyes of Evelyn Quan Wang, Best Actress, Michelle Yeoh, truly understands the character and slips so easily into the role with the perfect amount of confusion, frustration, compassion and sorrow.


Evelyn is someone who learns of her capabilities at the same time we do, and we get to feel as amazed as her when she evolves into the other versions of herself.


This film is a love letter to mothers– to the sheer difficulty of being a mom.

The expectations, responsibilities, and challenges that threaten to bring out the worst in them, Everything Everywhere is an intimate look into the bigger picture– how being a mother is combined with the personal lives of her estranged father, her daughter, Joy, Waymond, and most prevalently, the demanding financial burdens of just trying to survive.


Evelyn– our version of Evelyn– is split in all directions during her daily life, burdened with so many responsibilities, just as she is literally split into different versions of herself.


Here we sit amid the fourth industrial revolution, and it is less than kind to many. The Wang’s are a perfect reflection of economic and social roadblocks, most being impossible to manoeuvre around– let alone move out of.


How can positivity possibly compete with the crumbling of the world around us, when things are being asked of us that we simply cannot begin to give?


If you haven’t seen the movie yet, what’s that about, huh? Don’t you enjoy nice things?


In conclusion, I got lost in the source of this essay… and overall, my score was 20/23. Commendable, but I can do better.


I’ll be leaving you all with some suggestions gifted by the masses, The Grapevine:

Triangle of Sadness; Women Talking; The Boy, The Mole, The Fox, And The Horse; Ice Merchants; Puss In Boots: Last Wishes; The Fablemans;Tár; The Banshees of Inisherin; All That Breathes; Navalny; Pinocchio; All Quiet On The Western Front; Closer; EO; Argentina, 1985;Le Pupille; The Whale; Aftersun; To Leslie; An Ostrich Told The World Is Fake And I Think I Believe It; My Year Of Dicks; The Elephant Whisperers;An Irish Goodbye; The Quiet Girl; The Red Staircase; Bardo, False Chronicle Of A Handful Of Truths; Everything Everywhere All At Once; The Flying Sailor.


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