Amidst the vast award ceremonies held each year, the Academy Awards reigns above them all. It notoriously highlights brilliant actoral direction, original scores and each aspect of the directorial artistic vision. I was first introduced to the cinematic celebratory phenomenon when I was about twelve. Prior to the Oscars itself, my mother would put on the red-carpet exclusive interviews on the television. Together we would gawk at all the beautiful women in their triple dollar priced gowns, creating imaginary personal connections with each and every celebrity that attended. I remember vividly gasping in bewilderment at the men’s lack of style, of course with the exception of Christian Bale, Jared Leto and maybe Brad Pitt. I would always blush in perplexion at all the grown-up jokes that never actually matured into comicality as I grew to understand. It is safe to say I think of the Oscars rather fondly.

In the current cinematic climate, we are finally able to witness films like Steven Spielberg's West Side Story, Denis Villeneuve’s reimagined Dune, Pablo Larrain’s Spencer, and various others. The big screens’ amplified cinematography gives way to their well deserved justifications for this year’s Oscar Nominations.

Nominees for Best Actor include Andrew Garfield (tick, tick…Boom!), Benedict Cumberbatch (The Power of the Dog), Javier Bardem (Being the Richardos), Will Smith (King Richard), and Denzel Washington (The Tragedy of Macbeth). Andrew Garfield has my heart, I mean vote. The film came recommended by a friend and I am extremely thankful that it did. The musically inclined film in its entirety was brilliantly executed, prompted by its top tier casting. Andrew Garfield as Jonathan Larson, during his construction of his semi-autobiographical play, was nothing short of spectacular. I caught myself singing along to most of the melodies, once the chorus set its roots. The British sensation learned pinnacle vocal inflections from the ground up specifically for this performance. Flashes of red and cases of disappointment would flush over me if his skills get overlooked. Another nomination worthy of noting is Denzel Washington in The Tragedy of Macbeth. The black and white film commemorates Shakespearean language to a rather soft degree, permitting even Old English critics to indulge in its presence. It also helps that Denzel Washington has a richly cantabile voice, one you can blatantly listen to for hours without a care in the world.   

For Best Actress, I will most certainly be rooting for Kristen Stewart. Her performance in Spencer was one of the most heartfelt and refined pieces she has made in her career. Her rendition of Princess Diana’s mental state unfolding during Prince Charles' infamous affair was breathtaking to say the least. Kristen Stewart being the most superior being to ever have lived has nothing to do with my personal nomination of her for the award. Jessica Chastain, Nicole Kidman, Olivia Colman, and Penelope Cruz for their respective roles in The Eyes of Tammy Faye, Being the Ricardos, The Lost Daughter, and Parallel Mothers could also justifiably win the award, as well. From a more statistical stance on who will win, Oscar predictors and connoisseurs of the sort account for other prestigious occasions commemorating actors and actresses alike, such as the Screen Actors Guild (SAG) Awards. Those aware of Jessica Chastain’s acceptance of the previously mentioned award for The Eyes of Tammy Faye would prophesize her future as glistening in Oscar gold, but it is anyone's game.

For Best Picture, my bets on Dune. The remaining nominees consist of West Side Story, Licorice Pizza, King Richard, Don’t Look Up, Drive My Car, Nightmare Alley, and The Power of the Dog. To be frank, I have only seen Dune and the other first two contenders listed, thus my judgment clings to biases. From the films I can righteously dissect, plot wise, I found Dune to be overrated and almost humorous in some areas. Through a more theatrical lens, the lighting, concept design, and visual effects are what allow the film its respective high credentials in the cinematography realm. I found the quick alternating shots from dark to light hazardous to my eyes, but as the film progressed, I learned to appreciate the necessity of the lighting and contrast of it for a film set in the desert. The concept design effortlessly depicts space and complex characters such as the sand worm: a ginormous worm-like creature that devours its prey based on even the slightest of sound waves its prey creates. The visual effects of that creature were equally stupefying as it was terrifying. It felt more than Oscar worthy.

Some less becoming Oscar nominees include West Side Story and Licorice Pizza. Despite being an avid musical fan, I was skeptical of West Side Story from the beginning. I was afraid it would seem redundant to its origin story, yet it pleasantly shocked me to see Rachel Zegler perform with one of the magnificent voices of our generation. That being said, that is all I have to say about West Side Story. The plot of Licorice Pizza consisting of the romanticizing of an older woman pursuing an underage boy was too off putting for me to acknowledge any of the film’s other attributes. The Oscars nominations were slightly lacking this year, but with Wanda Sykes and Regina Hall hosting it should still be very exciting.   

The annual Academy Award ceremonies have captured the hearts of many and will continue to do so for generations to come. Despite not watching the Oscars with my mom this year, surrounding myself with fellow movie mavens will pleasantly counter the tradition. I hope you also are able to enjoy yourselves for this year's 94th annual Oscars night, premiering on March 27th at 8:00 pm Eastern Time.
 

The ASLC will host an Oscars screening event on 3/27/2022 at 6:30 PM.
 

Written by Yenesis Sotomayor
Art by Cassidy Elibol