But the difference in nominations this year is refreshing and has meant that the conversations around awards in general are so much broader, and more films are being recognised for specific craft elements.
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Both academies have been trying to enable a more representative membership, and this is beginning to show. I believe that these conversations will be more conducive to change than unconscious bias training at the end of the day.
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Another notable change was the expansion of the Outstanding British Film category, again enabling a wider but also rich and dynamic group of films to be celebrated and this in some ways makes up for the glaring omission of any recognition for Cosmo Jarvis, and his exceptional, stand out performance in Calm With Horses.
Only Collective by Alexander Nanau feels deserving of this level of attention for its integrity and craft. The rest of the films are subject-driven films — content over craft — which suggests a disturbing Dating Woman Annecy for the form algorithm generated non-fiction is what this list tells me. But this is what happens when an industry is decimated.
When creative documentary becomes conflated with reality TV. When celebrity-driven docs take precedence and usher in a new game of pre-existing audience-driven filmmaking.
Where is the curiosity? Where is the dialogue with ethics, ideas, even simply with films of the past? Where is the meaning and care for what is Dating Woman Annecy built in the future? I have flippantly suggested that anyone opting in to vote on docs has to name a female documentary filmmaker working pre to be able to cast their vote.
We Dating Woman Annecy sold documentary short for years — there is limited funding, limited broadcast potential, limited interest from the wider industry. Documentary is never celebrated in the main categories and silo-ed in a way that neglects that some of the most inventive sound design and cinematography can be found in the creative documentary space.
This list should be a stark warning to us all because documentary is a mirror onto Dating Woman Annecy world. Yes, this list is also the result of a lot of campaigning, but it is also a reflection of the respect that documentary is afforded in the US — it is an eco-system, a space of craft, of peers, of new voices in dialogue with past and building towards the future.
It really shows — perhaps more than anywhere else in the Oscar nominations. Finally, the biggest surprise of the Oscar nominations was that LaKeith Stanfield was nominated as a supporting actor and not lead actor for Judas And The Black Messiah — alongside Daniel Kaluuya in the Dating Woman Annecy category. I read this as both odd and strategic, yet at the same time somehow insulting.
He deserved leading role recognition.
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I feel like five years ago that never happens. Not much else surprised me.
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Maybe Riz for an Oscar, but more a surprise that he got the nomination, not because of his talent. I believe the Bafta jury system has resulted in better nominations. Thrilled for the support for Sound Of Metal and Minari across both Bafta and Oscar nominations and the Bafta inclusion of Shannon Murphy for best director on Babyteeth — a wonderful film.
The Bafta nominations mostly felt much more balanced and fair, with great representation across all categories. Oscars Dating Woman Annecy better this year, but Dating Woman Annecy odd inclusions and exclusions here and there.
Generally, Bafta perhaps got the categories of actor, actress, film and director slightly more varied and interesting. The nominations seemed to me to reflect better watching, engaging and debating from voters.
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Executive, male, Bafta and Ampas voter Four female directors nominated at Bafta — about time. Why was there such a big discrepancy this Dating Woman Annecy at Bafta? Oscars were more in synch between director and film and quite rightly if Promising Young Woman is a best film, Emerald Fennell should be a best director.
Smaller intimate and indie films felt better rewarded by Bafta in many categories. Overall the Bafta jury system feels simply far more equal and rewarding to the very best work of the year. This space has turned out to be one of the most interesting, especially regarding new acting, directing and writing talent.
Also good to see recognition for some international titles where, overall I feel the quality has been higher than for English language this year. It goes to show that conscious and proactive measures to broaden the voting membership, and changes to the voting process can result in a greater variety and diversity of nominees.
Having said that, it Dating Woman Annecy be very interesting to see how this plays out in the post-Covid world. Is this year of diversity a one off driven by extraordinary circumstances? The Bafta list has a more British flavour with the strong showing for Rocks. Nomadland is the fave pic of the US bunch, which feels like the American film with the sensibility we Dating Woman Annecy lean to.
The breadth of representation of actors of colour across the board feels in no way like a result of positive discrimination but of a redressed bias and the best performances getting acknowledgment.
It would be so interesting to be able to contrast what the nominations would have been without the jury system.
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Outstanding British Film is always my favourite category where you find the most exciting and bold and heart-stopping films. I was surprised not to see Saint Maud breaking out of that and the debut category with best film and best director nods. Commissioning executive, male, Bafta and Ampas voter In many ways the most pleasant surprise is, despite the fact so few of the contenders have actually been seen in cinemas, the screening and voting process appears to have run very smoothly.
Overall both academies, in their different ways, have done a pretty good job of righting some of the wrongs of previous years and avoiding the plethora of hashtags that have tended to follow the nomination announcements!
Perhaps Bafta should look to increase the number of best film nominees from six to a maximum of 10 as the Oscars have done.
That would leave room for deserving titles such as Judas And The Dating Woman Annecy Messiah and Sound Of Metal, which would make the best film choices look a bit more representative of the overall quality of filmmaking on offer — as the five nominees in the Bafta best film selection seem a bit sparse to me. But it appears the heavy hand of juries was overused in some cases.
This year is no different, but the fact Collective and Another Round are still Dating Woman Annecy play is enough to prevent steam from coming out of my ears. I am not totally convinced that juries are the way to go. Bafta needed to push the reset Dating Woman Annecy and, in order to see instant results whilst leaving nothing to chance, this was the option they chose.
However, the changes to the membership and voting rules enacted by the American Academy has managed to create a set of nominations that address many of the same issues that Bafta faced. This has been achieved without disenfranchising their members, who I suspect feel more connected to the choices that have been made than their Bafta counterparts.