The Oscars are going through the same crossroads as the industry they represent, they are lost in a universe as mutant as that of the film that starts as a favorite, Everything at the same time everywhere,
a
kaleidoscopic entertainment directed by Daniel Kwan and Daniel Scheinert whose imaginative and crazy journey through family ties and the multiverse - a box office phenomenon with a global collection of 100 million euros - ends up being exhausting.
The list of finalists for this 95th edition —marked by the attempt to overcome the event that blew up the gala a year ago: Will Smith's unpresentable slap to Chris Rock for an unfortunate joke about his wife, Jada Pinkett's alopecia— reflects the state of confusion of a Hollywood faced with a new crisis in its eventful history.
Beyond the
Daniels' film,
as the directors of
All at Once Everywhere are known,
just James Cameron's
Avatar: The Water Sense
and
Top Gun: Maverick
, by Joseph Kosinski, have restored hope to an industry hit by a pandemic and the new habits of audiovisual consumption.
The rest of the candidates for the most important statuette, that of best film, have not achieved large figures or directly, like
Tár
, by Todd Field, or
The Fabelmans
, by Steven Spielberg, have crashed at the box office, something unthinkable not so long ago. with films of that invoice.
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Los Fabelmans,
an autobiographical family fable from the director of
Tiburón,
is a film superior to the rest of its rivals and which unexpectedly contains some of the most beautiful moments in recent cinema and many intimate keys of an author who undresses like never before before his audience. .
“I didn't do therapy, I did
ET
”, Spielberg said when talking about a work that solves with genuine mastery the reasons behind the feeling of orphanhood that runs through his best filmography.
Everything indicates that
The Fabelmans
will not be chosen in a year in which the Academy has left some of the best films of the season in the gutter, such as
Armageddon Time
, by James Gray, or
Nope!,
by Jordan Peele.
Once again, the Oscars do not reflect a harvest, that of 2022, much more uplifting.
The final selection is made up of a very contemporary hodgepodge.
A logic in which the fireworks of
Elvis,
by Baz Luhrmann, coexist with the feminist austerity of
Ellas habland
, by Sarah Polley;
or where the scatological comedy that won at the last Cannes festival,
The Triangle of Sadness
,
by the Swedish Ruben Östlund, is measured against another type of mud, that of the anti-war plea of another European film,
All Quiet on the Front
, by the German Edward Berger.
The latter is also the representative of the most challenging guest, Netflix, a platform that is not going through its best moment either.
Almas en torment by Inisherin,
by the British Martin McDonagh,
would remain as a loose verse .
whose strange, black humor wraps around the painful melancholy of a broken friendship: the story of two men whose old camaraderie is destroyed by their stupid and stubborn egos.
These men respond to the faces of two stupendous performers, Colin Farrell and Brendan Gleeson, who are up for the Oscar for best actor and best supporting actor, respectively.
Neither of them have it easy.
Farrell has few chances against the two favourites: Austin Butler, for
Elvis
, undoubtedly the best of Luhrmann's film, and Brendan Fraser, for
Darren Aronofsky's
The Whale .
The epic of rewarding an actor who fell into oblivion after films like
Gods and Monsters
(1998) and who now returns backed by the brutal physical transformation of the morbidly obese he gives life to in
The Whale
could favor his candidacy.
One of the strengths of
Todo a la vez en todos partes
is, without a doubt, its cast, capable of lowering the emotions of its bizarre script to the ground.
The actress Michelle Yeoh could steal the Oscar from the hitherto favourite, Cate Blanchett, that titan capable of making sense of
Tár's most grotesque decisions.
And once again, Michelle Williams, who plays Spielberg's mother in
The Fabelmans.
, would be at the gates of a statuette that resists him despite the talent he displays in such a complex character.
It's a shame that the subtlety of an actress like Williams, who always takes risks, never finds support in an industry that loves more obvious performances.
There is so much light in Williams' portrayal of a woman whose strength and vitality hurt her children that she deserves to unseat her rivals, including the great Blanchett, for once.
Another Oscar that seems sung for the
Daniels film
It is that of the supporting actor for Ke Huy Quan, child star of
Indiana Jones and the Temple of Doom
and
The Goonies
, and that of the veteran Jamie Lee Curtis, charismatic daughter of Hollywood who has fought like few others to break the scorn for mature actresses and wrinkled.
Be that as it may, Oscar night will be, as always, that of that particular multiverse of haute couture dresses, glowing faces, jokes from a master of ceremonies —this year, Jimmy Kimmel—, and the increasingly disparate and global inhabitants of an industry that, as the daughter tells the mother of
Everything at the same time everywhere
when they are lonely rocks on top of a mountain, they are just looking for the center of a new universe to adapt to, like the rest of the “stupid little humans”.
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