|Sally Hawkins stars in Maudie|
|Brigitte Poupart in Les affamés - the only Best Picture nominee that's truly excellent|
Emmanuel Crombez / Les Films Séville
The Canadian Screen Awards are tonight and it’s an evening to quietly celebrate a so-so year in Canadian film. The roster of nominees indicates that the nomination committees went out of their way to find a diverse group of contenders and unearthed some buried nuggets, but few of these films screened theatrically and some of them barely made a peep on the festival circuit. A lot of the best Canadian work was short changed. The blink-and-you’ll-miss-it qualifying runs don’t help much either when it comes to giving audiences a chance to see the films. Canadian television seems to be picking up steam with Schitt's Creek and Alias Grace expanding their wow factors beyond the land of the maple leaf, but our films are struggling.
The Heart is What Dies Last (C’est le cœur qui meurt en dernier)
(Canada, 105 min.)
Dir. Alexis Durand-Brault, Writ. Gabriel Sabourin
Starring: Gabriel Sabourin, Denise Filiatrault, Paul Doucet, Geneviève Rioux, Céline Bonnier, Sophie Lorain
|Denise Filiatrault in The Heart is What Dies Last|
Les Films Séville
This year’s totally random Canadian Screen Award nominee for Best Picture is The Heart is What Dies Last. It’s titled less awkwardly as C’est le coeur quit meurt en dernier in its native français, but presenters probably won’t be stumbling over syntax while ripping open the envelopes. It’s a fine, decently acted drama, but nothing to make the heart stir.
Never Steady, Never Still
(Canada, 112 min.)
Written and directed by Kathleen Hepburn
Starring: Shirley Henderson, Théodore Pellerin, Mary Galloway, Nicholas Campbell, Jared Abrahamson, Lorne Cardinal
Shirley Henderson, the actress with the squeaky voice, is a tremendous force in Never Steady, Never Still. This debut feature from Kathleen Hepburn gives the British actress an outstanding lead role as Judy, a woman living in oil country, BC, who experiences a tragic illness because of contamination from the fields. Judy suffers from crippling tremors having lived with Parkinson’s disease for twenty years and Henderson finds in the character the same empathy and strength that Sally Hawkins brought to her performance as severely arthritic painter Maud Lewis in Maudie. The physical power of this performance is incredible, but the emotional might is even greater.
“This is a really long show,” said Jimmy Kimmel while introducing last night’s Academy Awards broadcast. Kimmel started on the wrong note. The Oscars never seemed to end, but the duration wasn’t the problem. The monotony was. I could barely hear much of the show at the Oscar party I attended, and after a while, that wasn’t a bad thing because the banter in the room was often much livelier than the telecast. There wasn’t any big hiccup in the show, yet Kimmel kept apologizing and asking folks to move it along when he had no reason to say sorry. The absence of Envelopegate 2 stressed a big takeaway from the evening: safe doesn’t make for great TV.
The ballots are printed, the predictions are set, and the red carpet is ready! A laid back atmosphere can make or break any good Oscar party as friends become rivals when battle lines are drawn between Three Billboards, Lady Bird, and Get Out. (Anyone without a stake in the race should take a bathroom break during Best Original Screenplay.) Help create a cozy and convivial mood with some themed Oscar noms for this year’s contenders. Draw out the finer points of the films over bubbly and have a good laugh: tonight’s for celebrating.
|Billboards, Lady Bird, Darkest Hour, The Post, The Shape of Water, and I, Tonya|
For every ‘yup’ there’s a ‘but.’ This year’s Best Picture race is an unlikely field. Some major stat looks to be broken since all the contenders have a bit of baggage that decreases the odds of a confident win. Get ready for the Oscars to break the Internet on Sunday night! Awards season ends its six-month grind of toxic mudslinging on March 4th when either Three Billboards outside Ebbing, Missouri or The Shape of Water takes Best Picture. It’s a tight race with Get Out, Dunkirk, and Lady Bird having adoring fans, and after last year’s crazy finale, the memory of #OscarsSoWhite, the shadow of Harvey Weinstein, the stench of Donald Trump, and the energy of #TimesUp, it feels as if there are many factors percolating with the usual stats and precursors. With an open mind, let’s look at who will win and should win in the top categories!