In Contention

Tag: Coco Before Chanel

  • OSCAR GUIDE: Best Costume Design

    Christopher Plummer in The Imaginarium of Doctor ParnassusFor three straight years the Academy Award for Best Costume Design has gone to a film that received no other Oscars. In each case, the films could be considered “period porn,” as it were, lavish productions with massive thread ensembles. “Most Costume Design” would be a more applicable moniker for the award, given how the Academy traditionally sees things.

    Of course, the unfortunate thing is that, lost in all this awardage is the fact that so many of these period pieces are buttressed by preexisting wardrobe collections, while truly creative and, in some cases, innovative work goes under-appreciated. I expect we’re in for more of the same this year.

    The nominees are:

    “Bright Star” (Janet Patterson)
    “Coco Before Chanel” (Catherine Leterrier)
    “The Imaginarium of Doctor Parnassus” (Monique Prudhomme)
    “Nine” (Colleen Atwood)
    “The Young Victoria” (Sandy Powell)

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  • ‘A Prophet’ tops César nominations

    Kristin Scott Thomas in LeavingWhat a shocker, right? In the nominations for France’s premier film awards, Jacques Audiard’s Oscar contender leads the field with a massive 13 bids. (Look out for my interview with Audiard, coming soon.)

    It’s nice to finally see some love for Niels Arestrup’s astonishing work in the film, but when a contemporary prison drama can nail down a nomination for Best Costume Design, a sweep is afoot.

    That said, the Césars don’t always go to plan: last year saw heavyweights like “The Class” and “I’ve Loved You So Long” upset by “Séraphine,” the film that went on to take Best Actress awards from two of America’s most prestigious critics’ circles. It’s always worth keeping an eye on titles that do well here.

    I’m surprised that Alain Resnais’s “Wild Grass” didn’t do better here: the New Wave veteran’s critically beloved new effort scored a Best Film nomination, but little else, with Resnais himself snubbed in the Best Director race.

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  • BAFTA announces Best Foreign Film nominees

    Audrey Tautou in Coco Before ChanelFor reasons I’ve never been able to determine, BAFTA chooses to reveal its nominees for Best Foreign Language Film two weeks before revealing their full nomination list. Way to make a ghetto category seem even more so, but … anyway. The nominees are:

    “Broken Embraces”
    “Coco Before Chanel”
    “Let the Right One In”
    “A Prophet”
    “The White Ribbon”

    The last three are both inevitable and deserving contenders, but the first two reek of autopilot voting. I bow to no one in my love for the man’s work, but most would agree that “Broken Embraces” is mid-range Almodóvar at best.

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  • Golden Globes announce more inclusive foreign-language list

    Penelope Cruz in Broken EmbracesAny regular Oscar-watcher is familiar with the finicky rules and regulations that, year in and year out, keep some of the year’s most talked-about foreign-language titles from contending for the Oscar.

    Happily, the Golden Globes have fewer restrictions — unlike AMPAS, they permit more than one film per country in the competition, and don’t rely on the official submissions of the countries themselves. The result is a larger, more inclusive field of contenders for the Best Foreign Language Film award, as demonstrated by this longlist of Globe contenders (courtesy of Screen International).

    At 69 titles, it’s only 4 titles longer than the Academy’s list, but the real difference lies in the number of high-profile films in contention. For example, while France’s profilic industry is only represented by “A Prophet” for the Oscars, the Globes allow such titles as “Coco Before Chanel,” “The Girl on the Train” and Jean-Pierre Jeunet’s “Micmacs” to join it in the race.

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  • TECH SUPPORT: Best Original Score — Volume II

    (from left) Tobey Maguire and Jake Gyllenhaal in BrothersSome categories haven’t had that much renewal since I last reviewed them. Best Original Score is an exception. Principally, this is because the category is very difficult to judge before hearing the scores, not to mention last minute personnel changes (as composers always seem to be the most disposable members of film crews).

    As I said last time, the music branch, though it has opened up to newbies slightly in recent years, is notoriously one of AMPAS’s most insular branches. Best Picture nominees tend to do reasonably well, but the category also tends to award “loud” music, and as of late, world music has been a favorite.

    One thing that has not changed, in my opinion, is that Michael Giacchino continues to lead this category for his score for Pixar’s “Up.” Giacchino was nominated two years ago for “Ratatouille” and again composed a soundtrack which was sad, joyous and suspenseful. The film is likely headed towards a Best Picture nomination and I expect Giacchino to show up as well.

    At the same time, I also can’t help but wonder if Giacchino maybe, just maybe, could pull off a double nomination this year for his compositions on J. J. Abrams’s “Star Trek.” The music was quite original and bombastic.  And, of course, the film a huge hit. I don’t see a lot of surefire nominees in this category, so this could be a place where it finds a home.

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  • Alexandre Desplat: Hollywood’s most prolific composer

    A quick glance at Alexandre Desplat’s 2009 resume reveals a whopping seven titles.  That’s pretty prolific for someone who offers up quality work each and every time out, rather than coasting on simplicity like a few other hard-working film music composers out there.  This weekend alone there are two films bearing Desplat’s musical signature — “The Twilight Saga: New Moon” and “Fantastic Mr. Fox” — and he already has a few lingering entries on screen in “Julie & Julia” and “Coco Before Chanel.”

    Jacques Audiard’s “A Prophet” lands on US screens in February, though it looks to figure in this year’s foreign film Oscar race, while perhaps the most anticipated film of Desplat’s upcoming projects is Terrence Malick’s “Tree of Life.” Desplat recently addressed an audience at the 50th Thessaloniki International Film Festival about working with Malick on the film:

    Meanwhile, as part of Variety’s Eye on the Oscars coverage (at a spiffy, newly designed Award Central page), Jon Burlingame talks with Desplat about the volume of work he’s been cranking out as of late.

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  • ‘A Prophet’ dominates European Film Award nominations

    Tahar Rahim in A ProphetIs “A Prophet” gradually stealing awards-season momentum from “The White Ribbon?” (It’s the superior film, if you ask me.) Too soon to say, of course, but it certainly came out on top in this morning’s European Film Award nominations.

    Jacques Audiard’s searing chronicle of French prison gangs leads the field with six nominations, to four for Michael Haneke’s German Palme d’Or winner. The two films, seen by many pundits as the chief contenders for the foreign-language Oscar, also appear to be the frontrunners here, continuing a rivalry that started way back in May at Cannes.

    Also beating “Ribbon”‘s total, with five nods (six, if you include the People’s Choice Award), is “Slumdog Millionaire,” which didn’t make last year’s cut-off date. The film’s popularity clearly still lingers (to the point that it even eked out a Best Actor nod for Dev Patel, ahead of, say, Michael Fassbender), though I sense its moment has passed.

    (More discussion, and a full list of nominees, after the cut.)

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  • OFF THE CARPET: Looking at the leading ladies

    Helen Mirren in The Last StationNow is the time when everyone begins assessing the race at its beginnings, and the gist I’m getting is that no one really knows what to write about.  Stabs at analysis end up being responses to other takes or rehashed arguments, and nothing really insightful is being brought to the table.

    And let’s face it.  As we dip into what looks to be the longest early-season lull in some time, there really is nothing insightful to offer.  So let’s just spit-ball…

    I think the Sony Classics acquisition of “The Last Station” is more significant than most seem to be aware right now.  There are only a handful who have seen it (Telluride being the film’s only festival stop so far), so that’s understandable.  And the film isn’t a knock-out, one that will be damned as merely efficient in some circles.  But with Helen Mirren in the lead actress race, it’s worth noting that suddenly that category is further framed as the old guard versus the new.

    And I may be wrong in my conviction, but I have to say it again: Mirren is VERY much in this race.  As the fiery Countess wife of a literary titan, she brings equal parts passion and delicacy to a complicated, certainly flawed character.  She’s afforded a number of moments that give her room to chew the scenery, and if Christopher Plummer happens to ride a wave of sentiment to a nomination as well, part of me feels that he will owe something to Mirren’s coattails.

    My predictions for the leading ladies this week are Mirren, Meryl Streep, Carey Mulligan, Gabourey Sidibe and, my weak link, Marion Cotillard (who is expected to be a lead actress push for “Nine,” but things could change).  In that collective we have three former winners, two legends of the form, two newbies and one performer shifting into the second gear of her career.  I think that’s a pretty good balance.

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  • SUNDAY CENTS: Great ‘Balls’ on fire

    SurrogatesAmerica lined up for seconds as “Cloudy With a Chance of Meatballs” topped the box office for the second weekend in a row, dropping only 19% to $24.6 million. That’s a fantastic hold for the only family film out in the market and makes $100 million a very real possibility, if not a formality.

    It was an otherwise slow and disappointing frame at the multiplex as audiences found some other way to entertain themselves. Did football season just start?

    Second place went to Disney’s “Surrogates,” which grossed $15 million. While that might sound a little soft, it’s actually better than Willis’s average for this type of film in recent years as “Perfect Stranger,” “Lucky Number Slevin,” “16 Blocks” and “Hostage” all did less than $13 million. The trailer was great but the posters featuring robot models were pretty weak and I think Disney missed an easy chance to take the top spot.

    MGM released its first film since “Valkyrie” amidst reports of possible bankruptcy and the $10 million pulled in by “Fame” is probably not going to help matters much. When dance films like “Stomp the Yard” and “Step Up” can pull in $22 million each, a remake of a well-known classic shouldn’t pull in less than half of that. Of course, I use the term “classic” as loosely as they use the term “remake.”

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  • Audrey Tautou on preparing for ‘Coco’

    (Courtesy: MakingOf)

  • 9/25 Oscarweb Round-up

    Steven Spielberg• Pete Hammond suggests Steven Spielberg as Oscarcast producer. [Notes on a Season]

    • Steve Pond likes the idea, tries to turn over some news as to who might have been tapped, comes up with nothing. [The Odds]

    • Kyle Buchanan chats with “Coco Before Chanel” star Audrey Tautou. [Movieline]

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  • TECH SUPPORT: Best Original Score — Volume I

    The Princess and the FrogAs long as humanity has been recording history, music has been immensely important in society. Not only can it be joyous and entertaining, but it can capture the mood and feel of a time and a place. Cinema has been no exception in this regard.

    The creation of original music for a film is awarded by the Academy in the Best Original Score category. The composer has one of the most difficult and lonely jobs in filmmaking. Almost always arriving at the end of the editing stage, he or she has to fashion music appropriate to the mood of a film.  But when a composer does a magnificent job, the result can be iconic.

    This category tends to awards its favorites. It is notoriously one of AMPAS’s most insular branches (though it has warmed up to newbies slightly in recent years). It also tends to award music that features prominently in the films.  From this vantage point, however, it is always hard to guess which films will find themselves in contention, largely because we have not heard the scores.

    An exception in this regard is Michael Giacchino’s work on Pixar’s “Up.” Giacchino, who was nominated two years ago for “Ratatouille,” has once again composed a soundtrack which can be sad, joyous and suspenseful. The film is likely headed towards a Best Picture nomination, and I suspect a citation here will follow.

    Another animated film which may very well end up in contention is “The Princess and the Frog.” The music is being handled by Randy Newman, clearly beloved by the music branch. I remain skeptical of how this film will be received and, in any event, think that Best Original Song may be the more likely spot to consider for this film. However, Newman’s name means a lot and there are few other favorites in the running this year.

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  • 8/31 Web Round-up

    Ang Lee• With “Luke and Brie are on a First Date” finding its way to an Amazon release, our own Chad Hartigan gets his film re-reviewed. [Spout Blog]

    • Stephen Zeitchik wants to know why Ang Lee can’t catch a break. [Risky Biz Blog]

    • Gregory Ellwood sees (er, hears) awards prospects in Alexandre Desplat’s “Coco Before Chanel” score. [Awards Campaign]

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  • It’s not so dire, Mr. Friedman

    Shohreh Aghdashloo in The Stoning of Soraya MObviously Hollywood Reporter gossip hound Roger Friedman hasn’t been reading our Contenders section, or else he’d know there are plenty of lead actress hopefuls out there, not the dearth he apparently perceives.

    Friedman rattles off 12 contenders in a recent piece titled Shortage of “Best Actresses in the Coming Oscar Season,” but he misses some key possibilities.  Abbie Cornish in “Bright Star,” for one, who didn’t necessarily impress me much, but could certainly be in the hunt.  “Precious,” meanwhile, is considered a ripe opportunity for supporting contender Mo’Nique, but lead Gabourey Sidibe could certainly find her share of notices.

    Gwyneth Paltrow in “Two Lovers” and Zooey Deschanel in “(500) Days of Summer” are two extreme longshot contenders whose films have already been released, but Penelope Cruz deserves to be in the discussion for “Broken Embraces,” surely, as does Tilda Swinton in “Julia.”

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  • ‘Coco Before Chanel’ poster

    Zzzzzzz…

    Coco Before Chanel

    (Courtesy: Cinematical)

  • TECH SUPPORT: Best Costume Design — Volume I

    (from left) Ben Wishaw and Abbie Cornish in Bright StarMovie stars are often given much attention for the fashion that they sport off-screen. Seldom does the on-screen attire garner as much publicity.

    Nevertheless, the Academy Award for Best Costume Design recognizes those talented men and women who design the threads actors wear on screen. Not only does this work add to the elegance and authenticity of the film, but it can also express the character and the period, mood and setting of the piece.

    For the last three years, this category has chosen films which have highlighted the extravagant attire of the upper class from centuries ago. Period films almost always triumph in this field and, in fact, garner the vast majority of nominations, though a spot or two is usually reserved every year for a fantasy effort.

    This is also a category which tends to reward designers who have been around a long time, with most nominees every year having been in the race before, although a spot or two is almost always reserved for a newcomer as well. And unlike many other crafts categories, the costume branch does not seem averse to nominating a film which scores in few if any other places.

    The most likely nominee this year, if not the most likely winner (sight unseen, of course), might be Janet Patterson for “Bright Star.” This Jane Campion effort was very well received at Cannes in May and the crafts look exquisite. Patterson, who landed two of her three previous nominations for Campion collaborations (“The Piano” and “Portrait of a Lady”), looks likely to return to the race after 12 years. I’d be surprised if she failed to be nominated.

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  • 7/24 Web Round-up

    Audrey Tautou in Coco Before Chanel• Sam Toy reports from the set of “Coco Before Chanel.” [Empire]

    • Evan Davis on the cinema of Nicolas Ray. [The Auteurs’ Notebook]

    • Peter Sciretta (who I finally ran into yesterday) video blogs “Avatar” footage reactions with his crew (which is hitting the pavement hard at the Con). [/Film]

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  • ‘Prophet’ tops indieWIRE poll

    A ProphetIn case you didn’t get the message while the Cannes Film Festival was running, it’s clear that Jacques Audiard’s Grand Prix champ “A Prophet” is a title we’re going to be hearing a lot this year. True to its preceived status as the critical favorite, the gritty French prison drama has been voted the fest’s best in a mini critics’ poll by indieWIRE, compiled from the votes of a selection of U.S. journos and bloggers (and, oddly, one critic from a UK right-wing rag).

    Runner-up, interestingly enough, was “Antichrist,” which emphasized its divisiveness by also placing second in the category of worst festival film. (What was the worst, you ask? Why, none other than Best Director champ “Kinatay.”) Third-best honors went to Palme d’Or winner “The White Ribbon” and Un Certain Regard darling “Police, Adjective.”

    Although support was clearly scattered, with no film getting the vote of the majority of critics polled, “A Prophet” came out on top in every voting category, including Best Director, Best Screenplay and Best Performance for breakthrought star Tahar Rahim. (Rahim beat the Cannes jury’s Best Actor choice Christoph Waltz into third place, while second was early Best Actress favorite Giovanna Mezzogiorno.)

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