1 week, 1 day ago



At the end of the 92nd Oscar, Korean director Feng Junhao's "parasites" won four awards of best film, best director, best international film and best original script in a black horse manner, which can be called the biggest winner of this Oscar! At the same time, the award of "parasite" has also created a number of Oscar historical records: it is the first non English film to win the best film in nearly 100 years of Oscar history; it is the first award-winning film after the best foreign language film award is changed to the best international film; it is the first film to win the best film and the best foreign language film at the same time; it is the first film to win the best film and the best foreign language film at the same time; it is the first film to win the best film at the Oscar Good films in Asia and Korea! 

Therefore, this Oscar has a special significance - just in 2020, the global economy is in a downturn, various regional and ethnic conflicts are aggravating, natural disasters and terrorist attacks are on the rise, people's ideology is increasingly split The award of parasite undoubtedly represents a consensus of Oscar and Film Academy: more international, more open, more diverse, more informal, more interesting 

If we combed this Oscar in 1990, it has just gone through three decades, and its development track is quite obvious: from the favor of big production, epic film, to the value of independent film, to the rise of Mexican power, and the position of B-level film director; now it has developed to a more global perspective. 




In the 1990s, "dancing with Wolves", "unforgivable", "Schindler's list", "Forrest Gump", "brave heart", "British patient", "Titanic", "Shakespeare's love history" and other major historical productions were the mainstream of Oscar best films. These award-winning films were often high box office films in the commercial film market. Its theme is often correct and grand, and its style is traditional and classical. In the first ten years of the 21st century, epic production has declined. Only "Gladiator" (73rd) and "Lord of the rings: the return of the king" (76th) two Oscar best films have become the only remaining representatives. 

And independent films with unique themes, strong authorship and diverse styles, such as "American Beauty", "crash", "no country for old people" and "bomb squad", are gradually favored by Oscar judges. In particular, the 82nd Oscar best picture "the Hurt Locker", whose box office in North America is only $17 million, is almost the lowest box office Oscar best picture ever. Occasionally nominated blockbuster films have been extremely rare (several Oscar nominations are all independent films) and run with them. 




In the past ten years, Oscar best films such as king's speech, artist, escape from Tehran, 12 years of slavery, Birdman, moonlight boy, water form story, green book are all low-cost independent films. Another change caused by this is the gradual rise of a group of young and middle-aged directors who have not been valued for a long time, especially some marginal or even B-level directors, who have been able to enter the room. 

A group of directors, such as Wes Anderson, Paul Thomas Anderson, the Cohen brothers, Danny Boyle, Darren arenovsky, David O. Russell, who have been making independent films for a long time, have become the middle force of Oscar. There is also Catherine Bigelow, the first best female director in the history of Oscar. She has long been famous for shooting tough action films, thrillers and even science fiction films. Gilmore del Toro, the director who won the best film of Oscar with "water story", has made a large number of unique fantasy, horror and action films in his early years, which is not the way for the academy to appreciate. 

Peter Ferrari, the director of the best film "green book" in the last Oscar, is even more impressive. The Ferrari brothers were born in the comedy of shit and fart. Their representative works "stay and Agua" and "I'm crazy for Mary" are all exaggerated comedies with yellow and violence, and they don't have much depth and unique film skills. In addition, with del Toro, inarito (Birdman) and Alfonso Caron (gravity) as the representatives, "three Mexican heroes" have conquered Oscar in recent years and made a great contribution to Hollywood. Their movie audio-visual style has become a school of its own, no matter the box office or the influence. 

It also shows that Oscar is developing from a film award dominated by pure white American English culture (so-called wasp) to a more diversified trend. 




Back to the Oscars. The overall level of the best picture nomination is very high. There are basically no enough works and "works for the Olympics" specially made for winning awards. The style and theme are also quite diverse. At the same time, it can be seen that none of the nine nominated films is significantly higher than other works. Sam Mendez's 1917 and Feng Junhao's parasites are undoubtedly the first echelon, but they are not their best works - of course, they are a little better than the previous editions of "water like story", "Moonlight boy" and "green book". 

At the beginning of the release of clown, there was a lot of good reviews, which gradually settled down. You will find that Todd Phillips's film really made a breakthrough in the form of expression, trying to restore the classic narratives like taxi driver and king of comedy, and pay homage to the new Hollywood, but its theme expression is still relatively thin. Up to now, it all depends on the outstanding actor Huajin Phoenix In the history of Oscar, the early films with good reputation are often not the last. Martin Scorsese's "the Irishman" is a surprise, but it's not surprising that the films produced by the traditional film industry and Netflix are in cold weather. The film itself is also a little traditional, just like the collection of old Martin's works, which has profound skills but lacks uniqueness. Fortunately, the old horse has already become a God. The old man will become an evergreen tree like Eastwood and continue shooting. 

In addition, it can be seen from the perspective of political tendency. Hollywood is also the base of the Democratic Party, and the majority of filmmakers support Hillary Clinton. In recent years, Hollywood has attached great importance to the works of minority, LGBT and other marginal and low-level people. The winning of films such as water story, moonlight boy, green book and parasite undoubtedly has a lot to do with Hollywood's left-wing tendency to pay attention to the bottom. Interestingly, parasite not only involves the global contradictions such as the polarization between the rich and the poor and the division of social classes, but also satirizes the mutual strife between the "poor". Its ideological dimension is multi-directional. This subtle attitude may also make the film more widely recognized among the Oscar judges. 




In addition to best picture, the other Oscars are relatively stable, four performance awards are no surprise. Huajin Phoenix, Brad Pitt, Renee Zellweger and Laura Dunne are all at the level of movie queen, just waiting for an opportunity. It's very interesting that except for Renee Zellweger who won the best supporting actress for "cold mountain", the other three actors all won the Oscar for the first time! You're not mistaken. Brad Pitt has never won an Oscar (he got a little golden man for being the producer of twelve years of slavery...)! The actor who said that he could not settle the relationship between idol school and acting school finally won a supporting actor award. I think in a few years, the best actor might finally fall on him. 

That's the case with the Oscars. They attach great importance to the so-called "qualification". It's better to be late than early. Fengjunhao has accumulated some popularity in Hollywood with films like "Yuzi" and "Snowy train" before he can get today's glory. In recent years, the Oscars have been determined to change, and have crowned some "fledgling" actors (for example, Lamy Marek, who won the best actor with "Rhapsody of Bohemia"), but generally speaking, the performance award is a very old award. 

The best animated feature film, best documentary feature film and other awards are often more conservative than the best film award, which is related to the failure of animation Klaus: the secret of Christmas and documentary land of honey. For many years, Oscar animated feature films have been around in Pixar, Disney animation and other hands. For example, last year Sony won the Oscar with spider man: parallel universe, which is a special case. 

Generally speaking, Oscar is not completely free from the influence of old age and white members. Its changes are slow, limited, and even a little uncertain. Has commercial production failed Oscar? Between the exploration of film art and the expression of reality, where should Oscar be placed? Will the Academy accept more streaming media platforms such as Netflix, Amazon, HBO and apple into the field of film production and distribution? These questions are waiting for the best picture award to be answered by the future Oscar. 




Oscar is really aware of the decline of his influence, the stagnation of film creativity and other issues, trying to face it and make some voices. In the future, it's not necessarily because the winning of a "parasite" will change dramatically, especially not because it's a sign of the rise of Asian films. Because Korean films originally started from the study and imitation of Hollywood models, especially genre films, there are natural and Hollywood compatible elements in their blood (so Korean filmmakers have achieved far more success in Hollywood than in the mainland in the past). 

As a counter example, you will find that Oscar has not paid special attention to Japanese films for a long time. Since 1972, only two Japanese films, the encoffiner and the thief family, have been shortlisted as the best foreign language film of Oscar. Among them, the encoffiner has won the best foreign language film, which is the best performance of Japanese films in Oscar. In terms of standard, the thief family and Japan's top animated films have reached the level of Oscar. However, the completely Oriental theme and aesthetic style of the thief family, as well as the restrained and plain expression, are far less likely to impress the Oscar judges than the explosive Korean films. To make a breakthrough in Oscar, the most influential film award in the world, Asian films need to grasp the subtlety between their unique cultural expression and global production

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