It’s just the name I came up with on the sot, though I’m sure other folks have called it that already. Ch 88 is literally titled “shingeki no kyojin” in Japanese, and the last pages reveal that the title of the series does in fact refer refer to Eren’s titan form, making him the “shingeki no kyojin” (translated to “attack/attacking) titan in English).
That in itself is kind of a huge deal thematically speaking and for the series as a whole, and the pages here illustrate that beautifully. It’s an important moment.
And this moment is accompanied by Eren making this curious gesture, something he seemingly never did before (unless we include that ch 3 parallel I pointed out). Hange proceeds to call him out on him saying the name and even imitates his gesture. Since its an important moment and attention is given to said unique gesture, the fandom figures it’s probably something important, and some folks, myself included, have given it the “attack titan pose” nickname. Since the name accompanies it, ya know.
Il cuore di una donna è un profondo oceano di segreti. Ma ora sapete che c'era un uomo di nome Jack Dawson, e che lui mi ha salvata, in tutti i modi in cui una persona può essere salvata. Non ho niente di lui, neanche una sua foto… Vive solo nei miei ricordi.
Now that the narrative is finally clarifying and giving more concrete evidence for the Arrow Family I think I’m ready to make a few comparisons and also churn out some theories.
Are The Arrow’s royalty ?
In a sense it seems like the answer is ‘yes’, but also potentially ‘no’. At one point their home was lavish, they have a family crest, there are many Arrow descendants, they have family heirlooms of significant value; like Odin’s journal and the ring. Their lives imply at one point there was a system in place. Michelle has also revealed concept art of Odin wearing something similar to a crown. What throws me off though is Odin’s disdain for overly lavished society represented by TiTAN. I think the potential for warring clans and families could appear too. The Arrow Family’s aesthetic is a weird combination of Lemony Snicket and Game of Thrones
His disdain could have religious ties; he considers TiTAN a cult and believes in his own polytheistic gods.Yet a significant clue for Odin’s character has always been his hatred of over controlling governments (ie, his official spotify playlist), Michelle confirming he would love Robin Hood, and his first remarks about TiTAN’s HQ involving how expensive it is. These traits don’t scream royalty in a conventional sense. I’m still betting on the Arrows having control in the same way a mafia or criminal syndication would. I think the potential for warring clans and families could appear too. The Arrow Family’s aesthetic is a weird combination of Lemony Snicket and Game of Thrones, so other families making grabs for the top and displacing the Arrows feels likely to me even with the lack of evidence to support it.
Is Olai The Eldest Son ?
Olai clearly holds the most power over his siblings and the current family affairs, yet it is Odin who must fulfill a role that his parents wanted for him. What we know about their relationship primarily comes from assumptions, other characters, and cross referencing.
Odin has sentimental value and a respect for the objects that hold heavy meaning to his family lineage. Olai does not.
Odin bickers with Crow and Raven, but he takes on an elderly brother persona with them ( i.e “You’re too young to be dating !”) Olai seems more like a ‘boss’ to the sisters or a means to an end.
Olai has ‘moods’. This seems to have affected Raven substantially. When we are first introduced to her she’s complaining about how Olai treats her. Raven then jumps at the opportunity to belittle Odin and assert that she and Raven are the more favored siblings. This is actually a very gross form of manipulation enacted by Olai.The idea that the siblings can fall in and out of favor with the ‘good siblings’ be lavished with new clothes and toys and that naturally Raven and Crow are messengers to remind Odin of their superiority feels very wrong. Reminder that Raven and Crow are twelve.
Possible resentment of Odin could spawn from him having been the favorite son at one point. Olai has taken control of the family, but he seems to have driven it into a very hostile place and also seems to find no issue with having Odin be the scapegoat. Olai could potentially hate that Odin (who is younger) could have been given the birthright of control of the family.
The theory that the Arrows worshiped Wrathia and Pedri makes this even more complex. The story would then take on a very biblical slant, with Odin being ‘chosen’ by god and Olai shunned. The irony though is that Odin hates Pedri and Pedri is less than benevolent.
They’re not as pressing or as interesting, but here we go!
Elephant in the room first: that envelope debacle has never, ever happened before at the Academy Awards. There was an urban legend after Marisa Tomei won Supporting Actress in an upset for My Cousin Vinny that presenter Jack Palance read the wrong name, but that’s been proven to be false. This is the only time a legitimate gaffe has been made in presenting an Oscar.
Moonlight has made history in several ways with its Best Picture win! Not only is it the first film with an LGBTQ+ storyline to win the award, it is also the first with an all-black cast. It also, at $1.5 million, it’s by far the lowest budgeted winner in Oscar history. It’s only the second Best Picture winner where the sole protagonist of the film is black (the first being 2013′s 12 Years a Slave), and only the fourth to have a black protagonist of any kind (after 1989′s Driving Miss Daisy, where Morgan Freeman is a clear co-lead, and 2005′s Crash, which is a heavy ensemble film, but has four different black protagonists).
While La La Land tied with Titanic and All About Eve for nominations (14), it is, of course, the only one of the three to not win Best Picture. All three won Best Director.
Damien Chazelle is now the youngest Best Director winner, usurping the 85-year-old record set by Norman Taurog, who won in 1931 for the film Skippy. He is also the first American director to win the award since Kathryn Bigelow in 2009.
Mahershala Ali is the first Muslim actor to win an Oscar.
Viola Davis is the first black performer to win an Oscar, a Tony, and an Emmy. Grammy next?
This is the second consecutive year where the Best Picture winner ended with the word —-light. So there’s that, I guess.
O.J.: Made in America, clocking in at a brisk 467 minutes (almost eight hours), is the longest film to win an Oscar of any kind. It is also the first Oscar win for ESPN.
Zootopia is Disney’s third film to win Animated Feature, after Frozen (2013) and Big Hero 6 (2014).
It’s often said that there’s a strong tie-in between the winners for Best Film Editing and Best Picture, however, the last couple years have begun to buck that trend. In 2014, when Birdman won Best Picture, it became the first film to do so without getting nominated for Film Editing. This year, with Hacksaw Ridge’s somewhat surprising win, it marks the sixth time since 2010 that the Best Picture winner actually won Editing. The only film to win both awards since has been Argo (2012). Meanwhile, The Social Network (2010), The Girl with the Dragon Tattoo (2011), Gravity (2013), Whiplash (2014), Mad Max: Fury Road (2015), and Hacksaw Ridge (2016) all won editing and failed to win Picture.
With wins for Fantastic Beasts and Where to Find Them and Suicide Squad, the Harry Potter and DC Films franchises each won their first Oscar.
With Colleen Atwood’s Costume Design win for Fantastic Beasts and Where to Find Them, she is now tied for third most decorated costume designer in Oscar history. This is her fourth Oscar. The record to beat: eight, held by the queen of costume design, Edith Head.
Sound designer Kevin O’Connell finally wins his first Oscar in 21 nominations with his win for Hacksaw Ridge. He is no longer the unluckiest nominee in Oscar history. That title, now extra true, belongs to sound mixer Greg P. Russell, who was nominated–and then was disqualified–this year for 13 Hours: The Secret Soldiers of Benghazi. He’s been nominated 16 times, not including his disqualification.
This is the seventh year in a row where the Best Picture winner wasn’t the sole most decorated film of the year. This year, that still went to La La Land, with six wins; Moonlight won three.
I started thinking seriously about “What if Annie did get out of the crystal? What if she encountered Mikasa, who is mortally wounded, and finally explained her actions?” And then I tied it into my titan!Mikasa idea and this happened.
Welcome to the Oscars 2017: who will win, who should win.
My analysis and guide into the most important night of Hollywood.
We are back for
another year of surprises, snubs and, at times, predictable awards. Tonight
will be full of fancy dresses, brand new memes and political undertones in
every speech of the night. But, in between a beautiful dress and an A-lister
falling gracefully in the red carpet, a film will be crowned as the best of
2016 or, at least, Hollywood’s favourite.
I usually make
several posts analysing the most important categories with a couple weeks to go
before the big awards. But as this year I’ve been busy with some creative work
of my own, I am going to try to summarise my usual rant in a single post. So
prepare for a long, and hopefully interesting, look into tonight’s show. And if
you need tips to fill your ballot, you can always count on me!
Actor in a Supporting Role
surprising turn it took last year when Mark Rylance (Bridge of Spies) took the coveted award over clear favourite
Sylvester Stallone (Creed), it seems
this year this may be one of the most predictable categories in this year’s
This year, we
have three first timers in this category, one of them as young as 20. Alongside
them are veterans Michael Shannon (Nocturnal
Animals,one previous nomination)
and Jeff Bridges (Hell or High Water,1 Oscar, 5 previous nominations). The
awards season has been pretty divided (the Golden Globe went to an actor who
wasn’t even nominated to the Oscars: Aaron Taylor-Johnson, Nocturnal Animals), but there seems to be a clear winner.
Who will win: Marhershala Ali (Moonlight) is the obvious frontrunner. He has won the Critics’
Choice Award and the Actors Guild. And although Dev Patel (Lion)snitched the BAFTA
just two weeks ago, it seems Ali is a locked deal for every ballot around the
Who should win: Marheshala Ali isn’t only the favourite
but, in my opinion, the best out of a bunch of really talented actors. His
performance in Moonlight, although
brief, was intense, powerful and moving. His character also drove the main
character’s growth into the different stages of life.
Among the other
nominees, it is worth to mention Lucas Hedges (Manchester by the Sea). Although only 20 years old, newcomer Hedges’
performance was incredible and touching, a great portrait of growing up and
dealing with grief.
Actress in a Supporting Role
A year after the
Academy was called out for not nominating any people of colour in the acting
categories for two years in a row, it seems it has finally reacted to the heavy
criticism. And this is the category with the most diversity this year.
Naomie Harris (Moonlight) has already
been nominated at least once before. This includes two actresses who have
already been winners: Nicole Kidman (nominated this year for Lion) and Octavia Spencer (Hidden Figures). Viola Davis (Fences) is a third time nominee and
Michelle Williams (Manchester by the Sea),
a four timer.
Who will win: Viola Davis has this award in the bag.
She has won big during the whole season: Golden Globe, BAFTA, Actors’ Guild,
Critics’ Choice. It’d be a real upset if anyone else won. No one is even
considering another possibility.
Who should win: Viola Davis has been playing incredible
roles for years, both on TV and on film. After not winning for The Help in 2012 (film for which her
category buddy Octavia Spencer did win), it is only right she wins for her
amazing performance in Fences. Her
portrayal is emotional and raw, difficult to find in cinema nowadays.
favourite, though, had to be the incredible Naomie Harris in Moonlight.
Her performance was, as Viola’s, raw and deep. However, Michelle Williams’ intensity
was probably, and regrettably, the thing I liked the least about an otherwise
Actor in a Leading Role
This may be the
closest race of the night. Once a clear win for Casey Affleck (Manchester by the Sea), Denzel
Washington (Fences) has sneaked into
the predictions in the last few weeks and seems to be ready to win.
Although the race
is clearly a 50/50 in between those two actors, months ago it seemed like
nominee Ryan Gosling (La La Land)
also had a chance. Unfortunately, his Golden Globe winning in January deflated
and it seems it will be the film that takes the awards, not him. First time
nominee Andrew Garfield (Hacksaw Ridge)
is a long shot, but it is easy to see this has been his best year yet (also
starring in Scorsese’s Silence) and
we will probably see him back in the Oscars in many years to come. Finally,
Viggo Mortensen (Captain Fantastic) comes
to his second nomination in a little known but highly praised role that both
critics and audience have acclaimed since the film premiered in Sundance last
Who will win: It is such a
50/50 that I have been struggling for weeks and still struggle to call a final
choice. Although the maths clearly point to Casey Affleck (a 49.5% according to Ben
Zauzmer’s Maths Predictions on The Hollywood Reporter), Denzel Washington is said to be the
favourite by most experts (at least since he won the Actors’ Guild a few weeks
ago). Affleck did win the Golden Globe, the BAFTA and the Critics’ Choice (an
almost complete sweep), but scandal has been following him the whole race for a
sexual harassment suit filed against him in 2010.
I wouldn’t say
for sure, but the development in the last few weeks seem to give Denzel Washington a small lead. But don’t
be surprised if Casey Affleck manages to win tonight.
Who should win: When all
is said and done and if we leave out anything that isn’t just performances, I
would have to say Casey Affleck
should win. His performance was really good and he he carried the enormous
emotional weight of this film almost sorely on his shoulders. Although Denzel
Washington was great, Fences was a
bit too theatrical to me, seeming to forget cinema doesn’t have the same rules,
even for its actors.
Actress in a Leading Role
This is a
category that has had me thinking a lot this season. Not because the winner is
a tough call (it hasn’t been for the past few weeks), but because of how it is
decided who is leading and who is supporting. Because, honestly, wouldn’t you
say Viola Davis was a main character in Fences?
I’m also conflicted by the wonderful Amy Adams not being nominated for any of
her performances this year (Arrival,
But going back to the race, it is a pretty
easy call. Natalie Portman (Jackie) may
have had a possibility back in January, but the road to the Oscar has been
pretty clear for Emma Stone (La La Land)
category, we also see legend Meryl Streep (Florence
Foster Jenkins) achieving her 20th acting nomination. French
actress Isabelle Huppert (Elle) gets
a consolation nomination after the film was forgotten in the Foreign Film
category. Finally, Ruth Negga (Loving)
gets her first nomination in a year in which she starred in both an incredible
film (Loving, 89% on RottenTomatoes)
and in a poorly received blockbuster (Warcraft,
Who will win: Emma Stone seems to have no competitors
this year. After being nominated two years ago for Birdman or (The Unexpected Virtue of Ignorance), she has won almost
everything this year. The only exception is the Critics’ Choice, which went to
Natalie Portman. But Stone has her award pretty secured, a 67.8% according to
Who should win: Hard call.
There were many amazing performances this year, all of them earning high
praise. Personally, I loved Portman’s Jackie, but I have to say Emma Stone was my favourite. Although
it isn’t a difficult role, she shined in La
La Land. Particularly, her performance during the audition scene was one
for the books. I already rooted for her two years ago (when, for me, she
unfairly lost against an only decent Patricia Arquette), so she is my pick this
Nine films will
fight tonight for the biggest award of the night. All of them have been praised
by the critics and, honestly, I think we have had one of the strongest years in
the past few years. Also, it has been one of the most low-key. Many of the
films weren’t very popular before awards season, and only raised to be well
known once award season chatter started.
From sci-fi Arrival to the masterpiece that is Moonlight, these are all stories about
humanity, finding oneself and, well, surviving in life when everything seems
Who will win: It would be
a surprise if La La Land didn’t win the night. It has tied Titanic and All About Eve at 14 nominations. It has won awards all over the
globe. It has been highly praised by both critics and audience. It has even
suffered the Frozen effect, meaning
it had so much praise and hype around it, that people (even those who haven’t
even seen it) are so tired of hearing about it, they seem to hate the film now.
And although films like Moonlight may
have a slight chance, it’d be a real showstopper if La La Land didn’t win.
Who should win: Although I
really liked La La Land (artistically
it was a masterpiece, script-wise it was good enough. As an homage to musicals
it was wonderful), in a year so full of talent, it wasn’t my favourite. I think
and Manchester by the Sea were the greatest achievements this year.
They are both masterpieces: amazing screenplays, outstanding performances,
great cinematography and editing, perfect pacing… a long list of praise for
both of them. They are very emotional and human pieces that really touch their
audience in a way that films often aren’t able to reach.
not mentioned before include Fences, Hacksaw Ridge, Hell or High Water, Hidden
Figures and Lion. Although I didn’t
quite love Fences (too dialogue heavy
for my taste), they are all incredible films worthy of being in this category.
Also, praise to the Academy for nomination a sci-fi (Arrival) that surprises being so human when it is dealing with
Animated Feature Film
For the past few
years, the Academy has decided to mix more popular all-American-industry films
(Zootopia and Moana this year) with less known, usually foreign, underdogs (The Red Turtle, My Life as a Zucchini). This year is no exception, although it is
remarkable to point out Disney earned two nominations, whereas Pixar (a usual
contender, only three of its films before this hasn’t been nominated), even
though it did release a film in 2016, got zero.
nominees are rounded up by the highly praised Kubo and the Two Strings, which took home the BAFTA only weeks ago.
Kubo has been a surprise in the race,
from being a not very well known film to being the second favourite tonight.
Who will win: From early
on, Disney’s Zootopia has been the frontrunner. In the last few weeks,
though, Kubo and the Two Strings has been coming closer and closer. Ben
Zauzmer’s maths call a close 50.9% - 41.8% race in favour of Zootopia. And it is true no BAFTA
animated winner nominated to the Oscars has ever lost the Oscar. But Zootopia long string of wins (including
the Annie), plus the message of the film, will probably make it the winner. Be
open to a surprise, anyway.
Who should win: Although
all of the nominees are incredibly creative and Disney’s Moana has wonderful animation and sountrack (script a bit lacking),
my vote would go for Zootopia. It is a beautiful and
creative story that reflects today’s society while also telling the tale of an
extraordinary friendship between unusual companions.
Writing: Adapted Screenplay + Original Screenplay
categories haven’t been without controversy this year. The Academy has a
different point of view of what qualifies as original and what qualifies as an
adaptation. Surprisingly, Moonlight
has been considered an adaptation when it was determined it was an original
script in the Writers Guild Awards. It is true is was based on a play, but as
they play was never producer, it is tricky to determine who is right. The
Academy is very strict in this sense, though, Whiplash was considered an adaptation of Damien Chazelle’s own
short film (which he made to get the opportunity to do the feature). Any sequel
is considered an adaptation because it uses characters of a previous film.
Anyway, back to
Who will win in Adapted Screenplay: It would have had tougher competition in Original, so Moonlightcould actually be lucky to be in this
category. It also won for original screenplay in the Writers Guild. Other
nominees (Lion, Arrival) have gotten
some awards, but highly praised Moonlight
seems the frontrunner.
Who should win in Adapted Screenplay: Moonlightis one of a kind. The storytelling is sweet and
moving, poignant and simply incredible. It is a simple tale told beautifully.
Every person I talk to has been blown away by it. I have to say I also find Arrival was a great adaptation, and Hidden Figures has been incredibly
praised. My only pet peeve here is Fences,
as I wouldn’t count it as an adaptation because, according to all sources,
director Denzel Washington didn’t want to change a single word of the play, so
they didn’t. Is that adapting? Is just taking a script and performing it in
another media worthy of this nomination?
Who will win in Original Screenplay: Tougher race, one may say one of the toughest alongside Actor in a
Leading Role. Because of the previously mentioned confusion with which film
goes in which category, looking at other awards isn’t really useful. Moonlight won the Writers Guild, La La Land got the Golden Globe, Manchester by the Sea, the BAFTA. It
should be a close call between Manchester
and La La Land, but I feel like this
is usually an award that is given to great films which wouldn’t get any
recognition otherwise, so my bet is on Manchester by the Sea.
Who should win in Original Screenplay: Although I really enjoyed La
La Land, I don’t think its screenplay is its best quality. It is good, but
it isn’t outstanding. The Lobster was
a very original film that really surprised me, so it is a close second, but my
favourite was Manchester by the Sea, because it felt true and raw in the best
of senses. I also went in with the feeling it’d just depress me, and it was
actually the perfect measure of melancholic and sweet.
This is a
category usually tied to Best Picture, and this year seems no exception.
Who will win: Damien Chazelleis clearly the favourite with La La Land. He won the Directors Guild, the BAFTA, the Golden
Globe, the Critics’ Choice… So he is here on a landslide. Also, he is Hollywood’s
golden boy, so it would be difficult for him not to win.
Who should win: I think
many of these films are a big achievement, but I consider directing a musical
is always a challenge, so my choice would be Damien Chazelle. I also have to confess I have a soft spot for him
after Whiplash, which I honestly preferred
to La La Land and thought was
For me, one of
the most interesting categories of the night. Usually overlooked,
cinematography is what gives a film its tone, its personality. This year, there
are some great contenders.
Who will win: La La
Land seems to be going to sweep all the technical awards it can. In true
Mad Max: Fury Road fashion, La La Land is a frontrunner because
honestly, like it or not, it is technically great. As Ben Zauzmer points out,
in the past seven years only Birdman
has won without a production design nomination. That would only leave La La Land and Arrival on the run. And there has been a lot of buzz around the
prettiness of La La Land and, of
course, that wonderful last sequence.
Who should win: I was
honestly surprised by how beautiful Moonlight was. Although the shots
were kind of too harsh at the beginning for me, the beach scene completely made
me fall head over heels. Although I think La
La Land is a true beauty, Moonlight
is my favourite.
It also blows my
mind how they create such wonderful worlds in film. Production Design is an
underrated art that is able to create from spaceships (Passengers) to magical worlds (Fantastic
Beasts and Where to Find Them) and make us believe for two hours they are
Who will win: As I said,
it seems like La La Land is going to win everything technical. It won on the
Art Directors Guild (although Passengers did
too, in the Fantasy genre) and it has been praised, particularly on that
already mentioned last sequence. Fantastic
Beasts did win the BAFTA, but I tend to think that might have been British
voting for the British (although its production design was truly wonderful).
All things considered, there could be a surprise in this category.
Who should win: It is a
tough choice. All of these films have created such wonderful worlds. I particularly
loved Passengers design of the
spaceship and Fantastic Beasts take
on the American magical world. Hail,
Caesar! had a great look, but didn’t quite impress me. And Arrival was great, too, but once again
it didn’t stay with me in the same way. But if I had to think of a film in
which the production design really took my breath away, I’d have to go with La La
Land because, above it, that film is pretty.
call, and there aren’t even only two frontrunners.
Who will win: Difficult to
say. La La Land did get a Costume
Designers Guild Award in its Contemporary category (unlike Jackie which lost to Hidden
Figures, not even nominated in the Oscars; and Fantastic Beasts, that lost to Doctor
Strange, also not nominated). But it is certainly difficult for a
contemporary film to win this award. If we look into the BAFTAs, we see Jackiewon. It also won the Critics’ Choice. So, relying on numbers and Oscars
tendencies, I’d say Jackie is my
Who should win: Jackie may have wonderful clothes (it is
Jackie O after all), and La La Land is
pretty but not extraordinary. Fantastic Beasts and Where to Find Them
was for me the most outstanding in this category.
Makeup and Hairstyling
I am always surprised
there are only three nominees in this category. Also, they have nothing to do
with the rest of categories, so it is hard to predict in relation to the
Who will win: There is not
much to consider, not that many awards consider Make Up and Hairstyling. I’d
opt out A Man Called Ove, because The 100-Year-Old Man Who Climbed Out of the
Window and Disappeared didn’t do that good last year and I consider they
were nominated for similar reasons. Between Star
Trek Beyond and Suicide Squad, they
have both won some awards for their makeup. I’d say it also depends on the
effort the voters see in the creations, so this would be a matter of Killer
Croc (Suicide Squad) against Star Trek’s aliens. As I think Star
Trek Beyond was an all-around better film and it did better with
critics and audience, that is my bet.
Who should win: I honestly
have no preference.
Who will win: Musicals
always seem to be favourites in this category. Also, La La Land did win both
an Eddie (Arrival also got one) and
the Critics’ Choice. The race is also joined by BAFTA winner Hacksaw Ridge. As I think voters usually
start voting on technical awards in group (they give them all to someone, look
at Mad Max last year), I think La La Land will be it.
Who should win: I don’t
really have a clear favourite here, but I did think Moonlight did a great job
in pace, rhythm and structure. Its editing was really good, so that is my pick.
Sound Editing & Sound Mixing
not even the voters know how to differentiate, so it is tough to know what
would win which. It is true musicals usually win Sound Mixing, whereas
war/action films usually win Sound Editing. Also, I don’t know enough about
sound to have a favourite, so I won’t make a personal judgement on who should
Who will win Sound Mixing:
La Land seems the favourite. It is a musical, which means there is a
lot of work into the sound. It also has won a handful of sound awards already.
Its fellow nominees are Arrival, Hacksaw
Ridge, Rogue One: A Star Wars Story and 13
Hours: The Secret Soldiers of Benghazi. I can only think of Hacksaw Ridge as a competitor.
Who will win Sound Editing:
As I said, bet for the war film, which in this case is Hacksaw Ridge. It doesn’t
hurt it won a bunch of Golden Reel Awards. Its fellow nominees are Arrival, Deepwater Horizon, La La Land
Who will win: The
Jungle Book is the big favourite for this category. Its creation of all
the animals is truly remarkable, so it isn’t that difficult of a choice. It
also won on the BAFTAs and the Visual Effects Society.
Who should win: Although I
enjoyed The Jungle Book and always
love a Star Wars film, I found
outstanding the visual effects behind Doctor Strange. It is probably one
of the most creative things I have seen in a while.
Who will win: It seems La La
Landis also the favourite here. Although it isn’t that common for a
musical to win original score (surprising, huh?), its wins on the Golden Globes
and the Critics’ Choice give it advantage over the BAFTA winner (Lion) and fellow nominees Moonlight, Jackie and Passengers.
Who should win: I loved La La
Land’s music and couldn’t stop humming its soundtrack for weeks, so it
is my pick, too.
Choosing a song
is always a difficult thing. Do you have to consider the song by itself? In
relation to what it does to the film, how it contributes to its storytelling?
It is lucky when it’s a musical, but otherwise, it is tough to vote.
Who will win: La La
Land’s City of Stars is the frontrunner. Everyone hums it everywhere.
It is a memorable and lovely song. And although there could always be a
surprise if the La La Land lovers
divide in between its two nominated songs, I think it is mostly a safe bet.
Who should win: I love
some of these songs, so it if tough. Although Trolls’ Can’t Stop the Feeling is cute, I don’t find it worthy of
an Oscar (also happened with Happy).
I really love Moana’s How Far I’ll Go, an instant Disney
classic written by the one and only Lin-Manuel Miranda. The La La Land soundtrack made me fall in
love and, although City of Stars is
wonderful, I find the originality and sincerity of Audition (The Fools Who Dream)to be my favourite.
Foreign Language Film
Here come the
few categories which nominees I haven’t had the chance of seeing. So no
personal opinions, just facts and predictions.
Who will win: It seemed
Germany’s Toni Erdmann was the
frontrunner, and Sweden’s A Man Called
Ove was also well considered. But after Trump’s travel ban and controversy,
I’d say Iran’s The Salesman seems like the probable winner. But don’t count
the highly acclaimed Toni Erdmann out.
Who will win: O.J.:
Made in America has been so praised it seems difficult it won’t win. It
won the Critics’ Choice, the Directors Guild, the National Board of Review, the
PGA… only thing it didn’t win was the BAFTA (13th won), but it wasn’t nominated. Consider Ava
DuVernay’s 13tha true
contender (after all, is has been highly acclaimed and it talks about a very
relevant topic right now), but O.J.
seems to have the lead.
Documentary (Short Subject)
Who will win: Not even the
experts predict the shorts accurately. It is very difficult to know and these
all talk about sensitive current topics. My pick, though, is The
Animated Short Film
Who will win: Again,
difficult choice, but a bit easier. Pear
Cider and Cigarettes has been highly praised, but it also has a more adult
theme, and voters usually associate animation with a topic suitable for their
kids. Also, as Pixar was absent from the big animated category this year, I’m
inclined to think they will give them the award here as a consolation price, so
Live Action Short Film
Who will win: Silent Night’s director has already won
on this category twice. Timecode won
in Cannes, but that doesn’t really mean that much. Sing seems to be one of the favourites, alongside Ennemis
Intérieurs, a thriller that deals with immigration and terrorism in the
90s. The latter seems to be slightly on the lead, but only barely.
So these are my
predictions. Who do you think will win? Who should win? Tune in to watch the biggest
night in Hollywood and have fun!
PS: Am I going
to be struggling in between Casey Affleck and Denzel Washington until the
awards start? Probably.