Oscar nomination voting is almost at an end and major ceremonies like the Golden Globes and Critics Choice Awards have provided potential nominees that last-minute For Your Consideration push needed to secure a nod.
But after such a stellar year in cinema, I want to implore the Academy to dig a little deeper than the “expected” nominees and ensure they don’t forget about several performances and technical work that also deserve acknowledgment.
Academy, hear my FYC pleas for the following under-the-radar contenders you may have forgotten.
Palm Springs – Best Picture
Now that we know Max Barbakow’s ingenious, charming, and genuinely hilarious Palm Springs couldn’t nab a nomination from the Producers Guild of America, a Best Picture nomination is likely off the table. But never say never. If the Academy is looking for something beyond their usual Best Picture fare, Barbakow’s comedy fits the bill perfectly.
Palm Springs was a film that brought some much-needed comedic joy to the world during a time of such tremendous darkness. Wouldn’t it be something for such a film to be acknowledged by the Academy? Barbakow delivered a unique spin on the well-worn time-loop conceit that was only further elevated by the magic pairing of Andy Samberg and Cristin Milioti and Andy Siara’s terrific screenplay. This category will be typically stuffed with Oscar-bait dramas, so the inclusion of something like Palm Springs would be such a breath of fresh air.
Darius Marder for Sound of Metal – Best Director
Back in the early days of this awards season (which feels like an absolute lifetime ago), Sound of Metal was really only seen as a competitor for Best Sound and potentially Riz Ahmed for Best Actor. As Ahmed emerged as a genuine contender, Paul Raci became the darling of critics season and a real challenger for Best Supporting Actor. Soon enough, the film edged its way into Best Picture contention, which has only been further cemented by that PGA nomination. Is it that far of a stretch to send a nomination the way of director (and co-writer) Darius Marder?
With his directorial debut (okay, technically it’s his sophomore effort after directing a doco in 2008), Marder has stamped his name as a filmmaker to keep an eye on. Working off the screenplay he wrote with his brother Abraham, Marder delivers a compelling portrait of hearing loss that places us directly in his protagonist’s auditory condition. The result is one of the year’s most staggeringly affecting pieces of cinema. The Academy would be wise to give him his dues.
Yeri Han for Minari – Best Actress/Alan Kim for Minari – Best Supporting Actor
As someone who has proudly been on the Minari bandwagon since October, it’s a pleasure to see the film truly emerge as a genuine contender across the board. While acting nominations for Steven Yeun and Youn Yuh-Jung now appear highly likely, it’s criminal two other deserving key members of the ensemble cast haven’t been swept along for the ride. And the Academy would be right to nominate both Yeri Han and Alan Kim.
Despite Kim being campaigned in supporting (where all child actors seem to end up these days), he’s essentially Yeun’s co-lead. It’s a huge responsibility for a child actor, but Kim handles it with aplomb, courtesy of his effervescent energy and cheeky attitude that are both truly irresistible. And, after that gorgeous tear-filled speech at the Critics Choice Awards, who wouldn’t want to see his reaction to nabbing an Oscar nomination?
Han is equally impressive as the troubled wife who’s been biting her tongue for so long it’s down to a nub. She instils Monica with a tight defence mechanism that threatens to unleash at any moment, but it’s merely a sign of the stoic strength of a mother gripped with fear over her family’s future. We all believe the 5th spot in Best Actress is open for the taking and Han would be a worthy recipient.
Minari is growing stronger as a dark horse to snatch Best Picture, especially if it winds up winning Best Ensemble at the SAG Awards. If it scores either of the two acting nominations (or even both), you’d have to believe it’s a strong chance to steal the big prize away from Nomadland.
Delroy Lindo for Da 5 Bloods – Best Actor
When Da 5 Bloods dropped on Netflix back in June, Delroy Lindo emerged as the first genuine contender for Best Actor. But that summer release date may have proven to be a curse and Lindo is now struggling to be remembered. His unconscionable snubs at the Golden Globes and SAG certainly haven’t helped his campaign. But it’s not too late to right these wrongs, Academy.
Gary Oldman already has his Oscar. He doesn’t need a nomination for drunkenly stumbling around Hollywood in Mank. What Lindo delivers is on another level and he deserves to receive his first Oscar nomination after four decades in the business. Lindo is in electrifying form in Spike Lee’s scathing indictment on American imperialism. The Academy will look foolish if they overlook this stunning performance.
Dominique Fishback for Judas and the Black Messiah – Best Supporting Actress
While Daniel Kaluuya is deservedly receiving overwhelming praise (and very likely a win for Best Supporting Actor) for Judas and the Black Messiah, the true heart and soul of the film is the magnificent Dominique Fishback. In an understated performance, Fishback consistently steals focus as Fred Hampton’s stoic tower of strength Deborah Johnson.
In the hands of a lesser actress, this role may have been little more than a doe-eyed girlfriend. But Fishback crafts Johnson with such rich complexity and fierce strength with a genuine fire in her belly. The pain and fear Fishback wears on her face in practically every scene tell you everything Johnson is feeling without a single word of dialogue. If there is to be a Marina de Tavira-style nomination from nowhere this year, my gut tells me it will be Fishback.
Never Rarely Sometimes Always – Best Original Screenplay
Let’s be honest; Never Rarely Sometimes Always should be absolutely showered in Oscar nominations. We all know it won’t be, so the bare minimum the Academy could do is acknowledge Eliza Hittman’s stellar screenplay. Make it happen. Please.
Promising Young Woman – Best Costume Design
While contemporary nominees are extremely rare in this category (and we haven’t seen a contemporary winner since The Adventures of Priscilla, Queen of the Desert in 1994), Promising Young Woman deserves to steal a spot away from the period dramas.
Nancy Steiner’s dazzling costume designs are intrinsically linked to Emerald Fennell’s plot and ultimately form an integral part in telling Cassie’s story. Cassie uses these costumes as part of her revenge games to lure men into her trap. Every element of Cassie’s attire has been purposely crafted to appeal to her intended target, highlighting how ruthless and meticulous she is in achieveing her goal. It would be such a statement from the Academy to acknowledge Steiner’s work and prove contemporary designs are just as impressive as those from period pieces.
The Prom – Best Production Design
Okay, I know this one is completely left-field. And The Prom was far from the most well-received film of the season (55% on Rotten Tomatoes…yikes). But if there was one technical element of Ryan Murphy’s glitter explosion of a movie musical that absolutely sparkled on screen, it was Jamie Walker McCall’s gorgeous, over-the-top production design. Contemporary work rarely breaks into this category, but McCall delivered spectacular designs that perfectly fit Murphy’s penchant for the extravagant.
The opening number, “Changing Lives,” is set on a reimagined vision of Broadway where all the major theatres are literally a step apart from each other. I tend to think those who haven’t been lucky enough to visit Broadway believe this is how the theatre district exists in real life (in reality, they’re generally miles apart), so McCall’s entire construction felt like one big tongue-in-cheek joke. Murphy resisted the urge to create this fictionalised version of Broadway using CGI, meaning McCall’s designs were all constructed from scratch. Throw in meticulous recreations of the stunning lobby of the Schubert Theatre and the iconic New York restaurant Sardi’s and you can see why McCall deserves acknowledgement by the Academy.
My Octopus Teacher – Best Documentary Feature
Who would have thought a documentary about a man and a wild octopus could be so damn touching? Back in September, this unassuming little doco quietly dropped on Netflix with very little fanfare. But it soon found an adoring audience and tremendous online word-of-mouth helped it spread far across the globe.
It’s a simple tale of how a South African free-diver caught the attention of a curious octopus who inexplicably invited him into her world over the course of a year. Compared to other documentary feature contenders this year, My Octopus Teacher may not have the importance, but it certainly has the heart. It’s a beautiful portrait of humanity’s connection to nature and a pertinent reminder of how bonds can often form in the strangest of places.
