Academy Award Nominations 2018: Some Commentary

2018-academy-awards-finalists-released-1170x630

Best Picture  

My favourite to win: The Shape of Water 

It is a bit of a surprise that “Phantom Thread” as well as “Get Out” made this list. “Get Out” is a horror (not the Academy Awards’ favourite genre), which was released a bit less than one year ago. Even though it is good to see the Academy nominating such a dark-horse, the amazement is still there. For all its unforgettably tense psychological atmosphere, “Get Out” is still a flawed film (see my review here), and one may  wonder whether, as with “Moonlight” the year before, there were not some “race politics” involved in this decision as well. On the other hand, such a great film as “The Florida Project” is nowhere to be seen here, which is astounding. I guess the Academy thought that by nominating “Call Me By Your Name”, they would be done with it when it comes to paying their dues and nominating aesthetically-pleasing, independent-spirited films. The limit is ten nominees per category, and, surely, “The Florida Project” deserves its tenth place on this list. 

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“Inception” Score is Edith Piaf Song in Slow Motion

This is a dated article now written by  [13/09/2014 accessed], but for the fans of Nolan’s “Inception” (2010) who haven’t seen this yet, it will be a very interesting read. “The Edith Piaf song, “Non, Je Ne Regrette Rien” is used by characters in “Inception” as an alarm to wake from dreaming. It’s a lovely touch, but one exploited by composer Hans Zimmer in assembling the film’s entire score.” Here is an audio comparison:

“Technically, Zimmer didn’t just slow the Piaf song down and call it a day, but extracted bits and then used his electroturdmatics to reconstruct a theme in varying “subdivisions and multiplications of the tempo of the Édith Piaf track,” he told [to the magazine]. Normally I’d be restraining myself from using foul language to discuss Zimmer’s approach to creating film scores, but credit where it’s due. I love the idea and the use of Piaf to achieve the encompassing theme. Zimmer is clearly still giddy over the whole thing. “So I could slip into half-time; I could slip into a third of a time,” he said, tripping his balls off over the tempo manipulations he employed to great effect. “Anything could go anywhere. At any moment I could drop into a different level of time.”

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20 Highly Intelligent, Complex & Thought-Provoking Films You Must See

In no particular order:

1)   Fight Club (1999)

2)   The Machinist (2004)

3)   Inception (2010)

4)   Exam (2009)

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