OSCAR 2022: THE PREDICTION FOR THE STATUETTES

As happens every year, the predictions in view of the assignment of the Academy statuettes, give way to a series of predictions that then risk being proven wrong.

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In fact, the ceremony has always given surprises, although perhaps in recent years everything has appeared a bit predictable and has already been addressed for some time, either for the assignment of the Golden Globesand other acknowledgments that are increasingly coherent with each other, also for a certain increasingly greater political stance. Certainly the result of disaffecting the public was one of the side effects of this trend, and it can also be expected that the deferred broadcast of a whole series of Oscars dedicated to the workers, will prove to be a useless and also not very respectful attempt to raise the listen to a ceremony that is perhaps too married to stardom and useless self-congratulatory speeches. Be that as it may, certainly there is no shortage of valuable titles and exceptional performers, on which to focus in order to understand which of them will have the highest recognition that a film artist can have in his career.

Surely having enlarged the number of films nominated for the statuette for Best Film to 10 , if on the one hand it has increased the feeling of abundance of quality, on the other it certainly appears a bit dispersive is also useless, since the statuette now seems already been assigned for some time.

HERE you will find all the nominations

It is hard to escape Jane Campion and her The Power of the Dog , which she can claim so many awards since it was presented at this year’s Biennale. The only ones who could subvert an already announced victory are Branagh’s Belfast and especially Sian Hader ‘s CODA who is recovering many positions. But it will be tough.

The Campion, however, appears to be truly unrivaled as regards directing, an element that even the detractors of her film have placed among the elements of merit. A desirable alternative might be our Lord and Master Steven Spielberg with his West Side Story , but that’s asking too much of Hollywood’s fate and meritocracy.


Surely one of the categories that at the moment is causing the most discussion that of the Best Lead Actor , since everything appears ready to crown Will Smith , protagonist of King Richard . If reality counted, the monumental Denzel Washington should grab it, capable in MacBeth of sending everyone home or Andrew Garfield for Tick, Tick… ​​Boom! but c’est la vie. Perhaps the most talked about category to date and that of Best Actress in a leading role, especially by virtue of a truly scandalous absence is unacceptable: that of Jodie Comer , who in The Last Duelby Ridley Scott  had clearly sent all the others home as they say.

Not even included in the top five, in favor of the still good Jessica Chastain for the mediocre and very rhetorical Tammy Faye’s Eyes , a sort of feminist revisionism for the American Wanna Brands. However, fans of Kristen Stewart ‘s Lady D won’t give up until the end.

Best Supporting Actor there is a lot of meat on the fire, a lot of quality. But let’s face it: the deaf Troy Kotsur for CODA deserves it very much. Alternatives? Realistically none, theoretically maybe a little bit can Jesse Plemons for The Power of the Dog . But we are talking about pure science fiction.

Best Supporting Actress is perhaps the one that will annoy the most since the favorite Ariana DeBose in West Side Story appears to be the classic politically correct operation. She is good but not even nominated and here too Comer wanders like a ghost, since she had tried to put her among the eligible finalists (already an insult to herself given the role she played in Scott’s film). Jessie Buckley from The Dark Daughter is the only other name I’d put a dollar on.

Original Screenplay , on the other hand, it is interesting. Branagh with his Belfast , PT Anderson for Licorice Pizza are the two on pole. But those who love outsiders might like to see Eskil Vogt and Joachim Trier for The Worst Person in the World .

On the Best Non-Original Screenplay the match is all between women: Sian Heder ‘s CODA , Campion ‘s Il Power of the Dog and finally Gyllenhaal ‘s The Dark Daughter , who after the award in Venice risks winning here too for the element that is actually more lacking. of his first film as a director: Miracles of cinematic quotas.

Italy will cheer for Sorrentino of course. The Best International Film has already won with our much divisive La Grande Bellezza , but repeating it is quite hard. Drive My Car by Ryūsuke Hamaguchi this year does not beat anyone and even if there is Trier’s Worst Person in the World .

A bit of Italy also in Animation: Luca by Enrico Casarosa has little hope against the mediocre but very pumped Encanto by Howard and Bush, although in a just world it would win Flee by Jonas Poher Rasmussen but 90% will take home the statuette for Best Documentary.

The technicians should theoretically make the big voice Dune of the always refined Villeneuve, who deserved a nomination for the Direction hands down. Photography, Editing, Scenography, Costumes, Soundtrack (even here Encanto could snatch), Sound, Visual Effects should be his stuff. Trucco plays with The Eyes of Tammy Faye , but so much will be recorded and broadcast when the bulk of the audience is expected to be already out of reach. Or not? Who knows what Billie Eilish will do when they award her for her hideous song of hers for No Time To Die .

Follow the Oscar Night with ScreenWEEK

Also this year we will follow the Live event and you will be able to experience the Oscar Night with us! On Sunday 27 March at 11:45 pm the live broadcast will start on our Twitch channel , HERE you will find more information.