Taking last year’s criticism on board for its predominant exclusion of people of colour and women in the majority of its categories, the British Academy of Film and Television Arts (BAFTA) has overhauled its 2021 voting process with a far more inclusive mindset. Continuing to throw the eventual Oscar nominations into chaos, this year’s BAFTA…
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Towards the beginning of French Exit, Azazel Jacobs‘s at once tragic and surreal comedy, Michelle Pfeiffer‘s initially icy New York socialite Frances Price seemingly mocks the romantic uncertainty of her adult son, Malcolm (Lucas Hedges). “Menstruating?”, she asks when he refuses to divulge any type of answer to his sullenness, confirming screenwriter Patrick deWitt‘s penchant…
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The opening of Chloe Zhao’s Nomadland opens with a sobering statistic. In Nevada, a small town – Empire – has essentially become a ghost town due to the local Gypsum plant closing down amid the recession. The Empire residents, most of whom lived in company-owned homes, had to vacate in masses, deactivating the town’s zip…
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Despite this year’s Oscars honouring one of 2019’s more diverse offerings (Bong Joon-ho’s Korean black comedy/thriller Parasite), the whitewashing of the event was overwhelming. In a cinematic year where actors of colour delivered universally-praised performances (see Lupita Nyong’o in Us, Awkwafina in The Farewell, and Jennifer Lopez in Hustlers, for a start), it was disappointing that…
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