It seems like academy voters must always have keys jangling in their face to be reminded that certain films exist. It’s a shame.
‘Anora,’ Adrien Brody and the full Oscars recap
USA TODAY’s Ralphie Aversa recaps the 97th Academy Awards from Los Angeles, where “Anora” was the night’s big winner.
Sunday night’s Academy Awards capped off a confusing and middling awards season with a somewhat confusing win.
“Anora,” directed by Sean Baker, took home five awards: best original screenplay, best editing, best director, best actress and best picture. It’s not a complete shock “Anora” received so much love. At its Cannes Film Festival premiere last May it won the Palme d’Or, the festival’s top honor, and continued to rack up awards throughout the season, including from the Producers Guild of America and the Screen Actors Guild.
But with all the converging narratives and campaign drama at play this season, “Anora” coming out on top was not an outcome I particularly wanted or expected.
‘Anora’ was nice! But an Oscars sweep?
“Anora” follows Ani (played by now-Academy Award winner Mikey Madison), a sex worker who finds herself in a whirlwind marriage with Vanya (Mark Eydelshteyn) the rascally, spoiled son of a Russian oligarch.
The high-stakes situations the characters find themselves in provide for a very enjoyable screwball comedy juxtaposed with moments of heartbreaking realizations, especially in the controversial and ambiguous final scene.
I liked “Anora.” I thought it was nice! But this Oscars sweep is making me scratch my head a bit. It won awards for writing and editing, arguably the film’s two shortcomings, which is particularly peculiar with films like “A Real Pain,” “The Brutalist” and “Conclave” in the mix.
Madison puts on a stellar performance in “Anora.” She plays Ani with a hard exterior – she layers the Brooklyn accent on thick – and a sensitivity underneath that elevates the film’s emotional beats.
Even so, I was shocked she beat Demi Moore, who gave a stellar performance in “The Substance” and had the “overdue actress” narrative working in her favor for most of this awards season. Her loss is even more brutal given the subject matter of “The Substance.” Life truly does imitate art.
Early Oscar favorites marred with controversy
One thing this awards season has taught me, though, is how quickly the impact of these narratives can change and how controversy can ultimately tank a campaign. Take, for example, the ever-controversial narco-musical “Emilia Pérez,” a film that was criticized upon its release for its shallow depiction of serious issues in Mexico.
Regardless, “Emilia Pérez” won the prestigious best actress award at Cannes, won four Golden Globes – including best musical/comedy ‒ and earned 13 Oscar nominations, the most of any film nominated. It was an obvious front-runner, and though I bemoaned the idea of such an offensively bad film winning best picture, I primed myself for what seemed to be an inevitable disappointment.
The momentum would soon come to a screeching halt when racist tweets made by one of the film’s stars, Karla Sofía Gascón, resurfaced by journalist Sarah Hagi.
Gascón, the first openly transgender performer nominated for the best actress Oscar, made denigrating comments about George Floyd, Muslims and more. It seems like few ethnic groups were spared from her bigoted rants.
These racist posts had a hand in derailing the “Emilia Pérez” Oscar campaign. The film only ended up winning two of its 13 nominations: one for best original song and another for best supporting actress (Zoe Saldaña was easily the least bad part of the film).
“Emilia Pérez” wasn’t the only film marred by scandal. Fellow early front-runner “The Brutalist,” starring Adrien Brody, came under fire when the film’s editor revealed artificial intelligence was used to perfect Brody’s Hungarian accent. This led to many questioning if Brody’s Golden Globe winning performance should be reevaluated.
Obviously it didn’t hurt him too much since he took home the Oscar for best actor and gave the longest speech in history. However, the film only won three of its 10 nominations.
Oscar campaigns are notoriously competitive and expensive, with studios sometimes spending tens of millions of dollars to lobby Oscar voters through private screenings and gifts. It seems like academy voters must always have keys jangling in their face to be reminded that certain films exist. It’s a shame that some studios can’t afford those keys or simply choose not to jangle them.
Two of the front-runners being entrenched in varying degrees of controversy provided a perfect avenue for a film like “Anora” to make its way out of the margins and garner attention from voters. We saw the tide begin to turn when it won best picture at the Critics Choice Awards and when Madison won leading actress at the British Academy of Film and Television Arts awards.
NEON, the studio behind the “Anora,” obviously made sure the film got in front of voters, as a good production company should.
In awarding “Anora,” a film about a sex worker, the Academy of Motion Picture Arts and Sciences still gets to posture itself as progressive while avoiding controversy. The legitimacy of this win will reveal itself in due time. But just as the film’s ambiguous ending, I find this win to be a little … underwhelming.
Kofi Mframa is a columnist and digital producer for USA TODAY and the USA TODAY Network. Discover the excitement of live betting with https://9bet.net/, where you can place bets on events as they unfold in real-time.