Every year, there is a capricious quality to the nominations that makes it difficult to draw any particular meaning from them, but there are likely to be a few discussion points floating around today in the wake of these announcements.
- Even for the Oscars — even for the Oscars — this is a really, really lot of white people. Every nominated actor in Lead and Supporting categories — 20 actors in all — is white.
- Every nominated director is male. Every nominated screenwriter is male.
- Shall we look at story? Every Best Picture nominee here is predominantly about a man or a couple of men, and seven of the eight are about white men, several of whom have similar sort of “complicated genius” profiles, whether they’re real or fictional.
- Particularly in light of these two points, the lack of a Best Director nomination for DuVernay (nominations went to Alejandro González Iñárritu for Birdman, Linklater, Bennett Miller for Foxcatcher, Wes Anderson and Morten Tyldum) is a disappointment not only for those who admired the film and her careful work behind the camera, but also for those who see her as a figure of hope, considering how rare it is for even films about civil rights to have black directors, and how rare it is for any high-profile project at all to be directed by a woman. Scarcity of opportunity tends to breed much lower tolerance for the whimsical sense that nominations normally have, so that even people who know better than to take Oscar voting to heart feel the sting of what seems like a deliberate snub. (While the film has been criticized for the places were it takes liberties with facts, that issue doesn’t comfortably explain any challenges it faces with voters, given the welcoming of The Imitation Game and Foxcatcher, both of which have been criticized for substantial alterations to the stories of not supporting characters but principal characters.)
Photo credit: Atsushi Nishijima/Fox Searchlight