Ninety-eight. I was able to see 98 movies, documentaries, and shorts released to the public in 2021—and I’m lowkey wishing I made it to 100. Nevertheless I am so happy to have made a new mark in my annual watchlist, missing just one Oscar nominee (Ala Kachuu – Take and Run).
Still, I am also quite happy that towards the end of 2021 (and late releases in 2022), I was able to watch several of these movies in the cinema. Many of these filmmakers intended their works to be seen on the biggest screen possible, accompanied by stellar sound systems to match the “oohs” and “ahhs” of audiences. With another year of films down, it’s time for the Academy to take center stage and award who they feel is deserving of its most prestigious honours.
I want to take a moment to say that I don’t agree with the Academy’s decision to relegate several categories to pre-taping and editing them into the show proper. These artists deserve as much respect and prestige as their colleagues, and treating them like this to focus on views to me is ignorant of why people watch in the first place—they do because they love films. Make specialized categories for social media voting all you want, but treat every artist fairly.
I also want to use this opportunity to encourage people to watch some of the films that weren’t nominated at the Oscars, but are equally as amazing watches that a golden trophy could never honour them for how good they are:
C’mon, C’mon
The French Dispatch
The Harder They Fall
Annette
Procession
The Green Knight
Pig
Red Rocket
Titane
In The Heights
Eternals
Godzilla vs. Kong
Candyman
The Humans
Mass
Passing
Finch
Streamline
As I have done in previous versions of this series, I will list down who I think the Academy will award, who I think deserves to win, and my personal bets among the given nominees. Because the Academy have the Fan Favourite and Cheer Moment awards, I’ll include my guesses for those as well. Afterwards I’ll discuss my thoughts in each category for why I chose them as such for each section, starting with the major awards leading to the craft awards. This will never get old—lights, camera, action.
BEST PICTURE
WHO I THINK WILL WIN: The Power of the Dog, CODA
WHO I THINK SHOULD WIN: Dune, The Power of the Dog, CODA, Drive My Car
WHO I WANT TO WIN:
1. Dune
2. The Power of the Dog
3. CODA
4. Drive My Car
5. West Side Story
6. Belfast
7. Licorice Pizza
8. King Richard
9. Nightmare Alley
10. Don’t Look Up
Last year Nomadland was the guaranteed winner weeks before it actually did. This time around, the frontrunner’s lead isn’t as distant but still somewhat comfortable, though I will be content if the surprise winner is one among those I think deserve it. The Power of the Dog has sustained its early momentum, and what Jane Campion has done here is nothing short of brilliant. The tension she builds in the American frontier is so riveting, perfectly balanced by its performances, story, and score. Many point to it as heavy favourite, though that may not be the case for everyone.
I am so happy that CODA won the SAG Best Ensemble award, and has been gaining late momentum of its own after being victorious at the PGAs. Cheesy as it may be, it’s a movie you just can’t hate and is guaranteed to have you in tears no matter what. To quote a friend of mine, “Watching this movie reminds us of the things we take for granted,” and that is so true. I also recall what another friend said that the winner of the Oscars represents their respective year. This is an ideal year then for a streamer like Netflix (The Power of the Dog) or AppleTV+ (CODA) to succeed, though success for the latter shows a move for inclusivity which I think the film industry really needs to focus on more. The train ride for the love of this film is always welcome for more passengers.
From an “artsy” point of view, I’d give Drive My Car the edge over The Power of the Dog, simply by the way Ryusuke Hamaguchi manages to navigate grief in a three-hour film that feels more like car ride (allusion very much intended). Every scene is perfectly placed and directed, and it all works out from the late title sequence to its destination ending. Despite all that, I have no regrets in admitting what my personal pick for Best Picture. Dune was very much the cinematic return this industry needed, which is why it might sweep the craft categories. The only thing holding it back is it’s an incomplete story, but I am more than willing to acknowledge the tremendous achievement that Denis Villeneuve has done, and I can’t wait to see where he takes us next.
Belfast has a special place in my heart because of how similar it is to my dad’s own life, so I understand the way Kenneth Branagh makes it a personal tale even when others don’t. So I won’t mind interchanging it sometimes with Steven Spielberg‘s version of West Side Story, a cherished classic viewed through the lens of a master filmmaker, again also a special selection because of my admiration for musicals. Licorice Pizza was a wholesome adventure I did not expect from Paul Thomas Anderson, and was better than what I expected. That and King Richard I feel are the middle-ground nominees where they are worthy enough of their nominations, though they may not come away with the top prize. Nightmare Alley feels the odd selection (no offense meant, even though Guillermo del Toro likes it odd) because its best features are outmatched by other films (actually Dune, it will lose a lot to Dune)—I just think of it like Ford vs. Ferrari, just grabbing enough votes to make the cut. I hate that I guessed right Don’t Look Up being here, but that doesn’t mean I have to talk about it. Better films deserve to be in its place.
BEST DIRECTOR
WHO I THINK WILL WIN: Jane Campion (The Power of the Dog)
WHO I THINK SHOULD WIN: Everyone nominated here, and Denis Villeneuve
WHO I WANT TO WIN:
1. Ryusuke Hamaguchi (Drive My Car)
2. Jane Campion (The Power of the Dog)
3. Steven Spielberg (West Side Story)
4. Kenneth Branagh (Belfast)
5. Paul Thomas Anderson (Licorice Pizza)
I think there is no question that Jane Campion is going to win, given how she is sweeping this category everywhere else. Historical as this win will be, I just really see this as honouring her for the amazing filmmaker that she is, one who understands a great way to tell a visual story from behind the camera. She isn’t just a good female director, she is good director, period.
This might be the best bunch of nominated directors I’ve seen in quite a while, so good that there isn’t a spot for Denis Villeneuve (who is also deserving of this award for all his films in the last decade). I will honestly be happy with any one of these filmmakers winning, though the one I think up to par with the prestige that Campion delivers through her film is Rysuke Hamaguchi. His three-hour navigation of grief came from a Haruki Murakami short story, and he directs each moment with such captivation that one is glued for each of them. I went into Drive My Car with no expectation whatsoever, and came away with so much thoughts that I needed more time to reflect—Hamaguchi did that.
I really find it hard to believe that West Side Story is Steven Spielberg‘s first-ever musical, from a stellar career that spans decades. You really wouldn’t have guessed it by the way he revamps this adaptation, and its a real testament to just how good a director he is no matter what he is thrown into. The same goes for Kenneth Branagh and Paul Thomas Anderson, both who drew from very personal young lives to sheer cinematic entertainment. I can’t separate these directors apart because they did their jobs so damn well. I’m certain the latter two and Villeneuve will have a Directing Oscar soon to their name, and I’ll be excited to see the films that win them that.
BEST ACTOR
WHO I THINK WILL WIN: Will Smith (King Richard)
WHO I THINK SHOULD WIN: Andrew Garfield (Tick, Tick… BOOM!)
WHO I WANT TO WIN:
1. Andrew Garfield (Tick, Tick… BOOM!)
2. Will Smith (King Richard)
3. Benedict Cumberbatch (The Power of the Dog)
4. Denzel Washington (The Tragedy of Macbeth)
5. Javier Bardem (Being the Ricardos)
I remember six years ago, when Leonardo DiCaprio was set to finally win an Oscar, an individual asked why Will Smith hasn’t been honoured as well. I answered that while Leo‘s win for The Revenant felt like a career win (he’s done better elsewhere, admittedly), it was definitely long overdue. History feels like it is repeating itself for Smith this time, though without a doubt his portrayal in King Richard is among his best, it also feels more like a career win. I don’t mean anything ill by this, this performance (as well as Benedict Cumberbatch for The Power of the Dog) would definitely win any given year, but an Oscar for Will Smith should have come sooner.
The performance that really blew me away, and for me really deserves Best Actor for 2021, is Andrew Garfield for Tick, Tick…BOOM! Garfield has been churning out amazing work for over a decade now, and in a year where he did THREE movies (all great outings), he is nominated for one where he flips a new page to show a side of him we never knew. He breathed life into Jonathan Larson‘s re-imagination of himself, belting out vocals like it has always been a part of him. I didn’t think Garfield could surprise me more, yet he did so with such pizzazz.
With those two high favourites, it kind of feels sad to see Cumberbatch‘s (another actor who did three movies in 2021) performance to be only third-best, when it clearly is a contender and one of his finest. Benedict Cumberbatch as a gay cowboy? That’s range (no pun intended). And we should give endless standing ovations for Denzel Washington for the outstanding career he has had and continues to expand, where even through an outing as one of William Shakespeare‘s most popular characters he manages to effortlessly do a fantastic job and gets a record-nomination for it. I love Javier Bardem, but Being the Ricardos just wasn’t the ultimate impact I expected from him and under Aaron Sorkin at that. Still, all these men are great actors who deserve every praise possible.
BEST ACTRESS
WHO I THINK WILL WIN: Jessica Chastain (The Eyes of Tammy Faye)
WHO I THINK SHOULD WIN: Kristen Stewart (Spencer)
WHO I WANT TO WIN:
1. Kristen Stewart (Spencer)
2. Olivia Colman (The Lost Daughter)
3. Jessica Chastain (The Eyes of Tammy Faye)
3. Penélope Cruz (Parallel Mothers)
3. Nicole Kidman (Being the Ricardos)
Yes Lady Gaga isn’t here, let’s move on. This category isn’t as competitive as I hoped it would be like last year, still I think each of these actresses delivered such great performances. All directions are pointing to Jessica Chastain to scoop the award here, and I wouldn’t put it past her because her Tammy Faye was a real transformation—as was Nicole Kidman‘s Lucille Ball, which is why it surprises me why many aren’t putting them on the same level of distinction. Kidman had me totally convinced she was being someone else.
Both portrayals are good, honestly, but I really want to give this one to Kristen Stewart. We have seen many different versions of the late Princess Diana over the years, but Stewart does a portrayal perfect for Pablo Larraín‘s vision in Spencer. It’s gloomy and dream-like, full of scoffs that Stewart clearly mastered, which really aligns with what an actress like her can deliver. Stewart has received more flak than praise over the years, but this performance and nomination should prove edgy haters otherwise. To think that many thought she wouldn’t make the cut scared me a bit because she was just amazing as Diana.
Olivia Colman has been absolutely killing it since gaining international recognition and is loved by everyone, so if she won a second Best Actress trophy I’m sure everyone wouldn’t mind a safe win. I cannot find it in myself in to rank one over the other among Chastain, Kidman, and Penélope Cruz—one of her career-best in Parallel Mothers, a performance full of emotion and devotion—so I just played it even among them. Not every year will be an exciting race, but a good actress will always strive to put forward their best, as these women have shown.
BEST SUPPORTING ACTOR
WHO I THINK WILL WIN: Troy Kotsur (CODA)
WHO I THINK SHOULD WIN: Troy Kotsur (CODA) OR Kodi Smit-McPhee (The Power of the Dog)
WHO I WANT TO WIN:
1. Troy Kotsur (CODA)
2. Kodi Smit-McPhee (The Power of the Dog)
3. Jesse Plemons (The Power of the Dog)
4. Ciarán Hinds (Belfast)
5. J.K. Simmons (Being the Ricardos)
For a long time it looked like Kodi Smit-McPhee had this bagged. And I was not at all surprised, he only added more to the tension being built in The Power of the Dog (if Cumberbatch rallied the subtle sexual tension, Smit-McPhee filled in the eerie and discomfort kind). He had me second-guessing so much about his intentions and abilities, and just blew me away when he wrapped it all up.
But the momentum has shifted now in Troy Kotsur‘s favour, and I couldn’t be happier about it. I enjoyed Smit-McPhee‘s performance, but Kotsur‘s was one of my favourites from the whole year—he was a riot to watch! He was such an adorable father, so pure and good-hearted, and that comes out during his interviews and speeches. Both are still a toss-up for the award, but my personal pick is to ride the CODA train with Kotsur.
I had low expectations for Jesse Plemons to get a nomination even though he impressed me once again opposite Cumberbatch, Smit-McPhee, and his wife Kirsten Dunst. So you can imagine how happy I was when he landed it, further proof that he’s always been a good actor and has the credentials to prove it. Undoubtedly though his two colleagues carry much of the film’s drama, but Plemons really shined opposite Dunst—it came out so natural, which was to be expected, but having seen what he can do he still made an impression. Among the Belfast boys, I think Jude Hill was the best but he had little chance of squeaking in his category, and between Jaime Dornan and Ciarán Hinds I personally felt it was the former who did a receptive job. And like Bardem, I love J.K. Simmons in everything he does, but Being the Ricardos just wasn’t it. I really feel like Bardem and Simmons are here because they’re Bardem and Simmons.
BEST SUPPORTING ACTRESS
WHO I THINK WILL WIN: Ariana DeBose (West Side Story)
WHO I THINK SHOULD WIN: Kirsten Dunst (The Power of the Dog)
WHO I WANT TO WIN:
1. Kirsten Dunst (The Power of the Dog)
2. Ariana DeBose (West Side Story)
3. Jessie Buckley (The Lost Daughter)
4. Aunjanue Ellis (King Richard)
5. Judi Dench (Belfast)
Where’s Catriona Balfe? I know Ariana DeBose is going to sweep this award, with a feisty Anita worthy to rival Rita Moreno‘s (who could have been nominated as well), but Balfe has been a constant in this category and is arguably the best performance in Belfast alongside Hill. As much as Judi Dench is a revered actress capable of endless roles, I think her nomination this year should have gone to Balfe.
I am content with DeBose winning, though I would really love to see Kirsten Dunst pulling off an upset on Oscars night. The Power of the Dog had four different extraordinary performances (could have been five if Thomasin McKenzie wasn’t subdued), and Dunst definitely stood apart from her male peers. She had a tough task ahead of her, and she came through—I really hope she and Plemons will be showered with the recognition they truly deserve.
I always knew that Aunjanue Ellis was a lock for this category, King Richard wasn’t a one-man job and her kitchen scene proved that. Jessie Buckley was a welcome surprise, portraying a younger version of Olivia Colman different from Olivia Williams‘ in The Father, this time providing more depth behind their character as to why they are surrounded with strained relationships. Overall glad with these nominees, just appalled that Balfe isn’t among them.
BEST ORIGINAL SCREENPLAY
WHO I THINK WILL WIN: Licorice Pizza OR Belfast
WHO I THINK SHOULD WIN: Licorice Pizza
WHO I WANT TO WIN:
1. Licorice Pizza
2. The Worst Person in the World
3. Belfast
4. King Richard
5. Don’t Look Up
Not exactly a strong year for what should be an interesting category given the vivid imaginations of filmmakers. If you ask me, the truly original story that captivates you is The Worst Person in the World—you can count on me watching this again at 30 years old reflecting on my life if I have achieved enough and been surrounded by the right people, and as it is marketed, “a rom-com for those who don’t like rom-coms.”
Of course though among these filmmakers with an imagination for great stories is Paul Thomas Anderson. Licorice Pizza may not be my favourite of his, but I can still tell by its charm and youthful vibe that it is a throwback tale to enjoy. Plus I think it’s high time that Anderson win an Oscar, a bigger chance here than for directing. In his way is another respectable filmmaker, Kenneth Branagh for Belfast, which again has a story close to my heart but I just feel Licorice Pizza has more originality to it where they both have personal touches. Those two are battling for the award, though I wish The Worst Person in the World was also in the conversation as much. I don’t want to take away anything from King Richard, a truly inspirational story about Venus and Serena’s dad—and again I hate that I guessed right Don’t Look Up being here, oh Adam McKay I have a bone to pick with you.
BEST ADAPTED SCREENPLAY
WHO I THINK WILL WIN: The Power of the Dog OR CODA
WHO I THINK SHOULD WIN: The Power of the Dog OR Drive My Car
WHO I WANT TO WIN:
1. Drive My Car
2. The Power of the Dog
3. CODA
4. Dune
5. The Lost Daughter
This category is more jam-packed, if it can be called that. I have heaps of praise for Dune, especially for the amount of world-building it provides never seen in quite a while, but it has still a mountain to climb in telling Frank Herbert‘s epic plus it only showed part of an unfinished tale. The Power of the Dog‘s tense script has been the frontrunner for quite a while, but the CODA train is picking up steam which again I’m happy for though I still think Jane Campion should take this one (doesn’t mean I’ll love CODA any less).
If not The Power of the Dog, I really, really hope Drive My Car manages a complete surprise. Again, Hamaguchi and co-writer Takamasa Oe pulled off this three-hour film from a Murakami short story, and it’s a reflective watch worth pouring deep thoughts over. I haven’t seen a film concern tragedy and loss the way Drive My Car did, and would really love to see it win more than once. And I think Maggie Gyllenhaal deserves a round of applause for her debut outing in The Lost Daughter, I look forward to more of her contributions from behind the camera.
BEST ANIMATED FILM
WHO I THINK WILL WIN: Encanto
WHO I THINK SHOULD WIN: The Mitchells vs. the Machines OR Flee
WHO I WANT TO WIN:
1. Flee
2. The Mitchells vs. the Machines
3. Encanto
4. Luca
5. Raya and the Last Dragon
Everyone is talking about Encanto after it pulled all the right strings. I’m not exactly heads over heels about it like most people are, but I can see the appeal in it. This category has mostly been between Encanto and The Mitchells vs. the Machines, with the former having more of an edge—if you ask me that should have gone to the latter. The animation style Sony did for The Mitchells vs. the Machines is much like their work for Spider-Man: Into the Spider-Verse, with emphasis on the doodling creativity rather than comic re-imagination. Plus it was a pandemic film that many people needed, particularly families and the kids who feel left out.
Equally worthy for how it utilized animation is the documentary Flee. From afar the style looks simple, however through it manages to observe anonymity and emotions through various colours and strokes which is something that animation does extremely well. Animated films don’t always have to be colourful and cheery, it can be a cinematic technique which Flee pulled off brilliantly. So I hope it and The Mitchells vs. the Machines can sway some voters.
Luca shows a shift in Pixar’s filmography, an expansion in their animation styles and the themes they are covering, which I look forward to in a company such as theirs. I almost forgot that Raya and the Last Dragon made the eligibility cut, because it was outshined by Luca and Encanto by their more direct stories rather than being an amalgamation of cultures. Additionally, it would be really nice to see someone that isn’t Disney winning here every so often.
BEST INTERNATIONAL FILM
WHO I THINK WILL WIN: Drive My Car
WHO I THINK SHOULD WIN: Drive My Car
WHO I WANT TO WIN:
1. Drive My Car
2. The Worst Person in the World
3. Flee
4. The Hand of God
4. Lunana: A Yak in the Classroom
In an ideal world where Drive My Car wins Best Picture, this award would go to The Worst Person in the World. But because this is the Oscars, life isn’t that fair. With that it seems only right that Drive My Car be the winner given how it truly is not just the best “international” film but one of the best movies of 2021, and with The Worst Person in the World having the best stories of the year.
I’ve already spoken of my praise for Flee, which it totally deserves, and I think Bhutan should receive the same for Lunana: A Yak in the Classroom. Slam the Academy all I want, it provides an avenue for touching films like this to reach wider audiences. As for The Hand of God, I can see that it is well-made but it never striked me as spectacular, so I decided to put it on the same level as Lunana: A Yak in the Classroom.
BEST DOCUMENTARY
WHO I THINK WILL WIN: Summer of Soul
WHO I THINK SHOULD WIN: Summer of Soul OR Flee
WHO I WANT TO WIN:
1. Summer of Soul
2. Flee
3. Writing with Fire
4. Attica
5. Ascension
Also one of the best films of 2021 is Summer of Soul, which really felt a live performance edited to perfection while also resurfacing memories of a movement that continues to be active today. This was incredible work by Questlove and his team, and deserves all the love and praise just as I did for Flee (which is a close second in my opinion in this category).
I understand the omission of The Rescue here because of its incomplete narrative, and this gave me an opportunity to explore more exemplary documentaries. Of the remaining three, I connected the most to Writing with Fire naturally because of its subject, truly an inspiration about the power of journalism. Attica really did feel like a Showtime project, still with enough energy to give a glimpse of the events of the Attica prison riot. I can appreciate the direction taken in creating Ascencion, some interest but maybe too much difference for me to be truly invested.
BEST DOCUMENTARY SHORT
WHO I THINK WILL WIN: Audible OR The Queen of Basketball
WHO I THINK SHOULD WIN: Audible
WHO I WANT TO WIN:
1. Audible
2. The Queen of Basketball
3. Lead Me Home
4. Three Songs for Benazir
5. When We Were Bullies
From these nominees, only two stood out—Audible and The Queen of Basketball. The former feels quite cinematic for a documentary short, and some moments do appear staged, but as a whole does not distract from its core. These remarkable individuals have faced such adversities, but are succeeding so well that it gives one hope they will be able to get along in the future. The Queen of Basketball feels like your staple documentary short, but more than trip to a Wikipedia page because Lusia Harris herself is guiding audiences through her historic past. So it would be the safe winner, but if CODA‘s rise has shown anything, it’s that Audible may do the same.
I feel like there was more paths to explore in Three Songs for Benazir apart from Shaista’s view that entering the army is the only choice he has. I gained more insights about homelessness in America from a YouTube video than I did from Lead Me Home, though I sense the genuine attempt to spotlight this ongoing issue. On the other hand I’m confused about the intentions behind When We Were Bullies, which could have gone very wrong very quickly—instead it went wrong slowly.
BEST LIVE-ACTION SHORT
WHO I THINK WILL WIN: The Long Goodbye OR Please Hold
WHO I THINK SHOULD WIN: Please Hold
WHO I WANT TO WIN:
1. Please Hold
2. The Long Goodbye
3. The Dress
4. On My Mind
* Ala Kachuu – Take and Run
Personally I think there is one outright winner for this category this year. Please Hold has a great concept, very good direction and execution, and is a much better satire than Don’t Look Up. The perceived frontrunner I think is The Long Goodbye, where Riz Ahmed is of course amazing in from beginning to end, but I feel I might appreciate it more if I listen to his album which accompanies the short film. Still both these films had good narratives and I hope both are in high contention for the award.
Of the other two short films nominated, I lean towards The Dress more because of Anna Dzieduszycka‘s performance alone as it feels lacking and could have been told differently. No offense meant, but On My Mind looks simply shot with an almost average story, with enough raw cheesiness to be admired. Ala Kachuu – Take and Run remains the only nominee I haven’t seen this year, so close to making a milestone.
BEST ANIMATED SHORT
WHO I THINK WILL WIN: Robin Robin
WHO I THINK SHOULD WIN: Bestia OR Robin Robin
WHO I WANT TO WIN:
1. Bestia
1. Robin Robin
3. Boxballet
4. The Windshield Wiper
5. Affairs of the Art
I am still not over the non-inclusion of Blush, and now as well of Us Again—both touching shorts about love and relationships and how they are kept. But I won’t let that distract me from the calibre of the animated shorts that were nominated. Th easy favourite would be Aardman’s Robin Robin, taking their stop-motion expertise to adorable, miniature levels. As a holiday short that also features Richard E. Grant and Gillian Anderson, this is one everyone can enjoy. But again this category doesn’t always have to be light and cheery, which is the case I want to argue for Bestia—probably the darkest nominee from the entire 2021 roster. Also stop-motion, the porcelain dolls reflect the narrative’s cold nature, and acts as a chilling reminder to never forget history.
Even with these stop-motion marvels, I find my admiration leaning towards Boxballet—a new animation style that fits its story, where I found myself rooting for the two characters. The Windshield Wiper features a vignette animation style reminiscent of Spider-Man: Into the Spider-Verse and has an interesting dive into attempting to answer “What is love?” On pure animation alone I think this short film takes the cake. I was weirded out by the way Affairs of the Art was drawn and told, clearly I’m not the audience for it.
BEST ORIGINAL SCORE
WHO I THINK WILL WIN: Dune
WHO I THINK SHOULD WIN: Dune OR The Power of the Dog
WHO I WANT TO WIN:
1. Dune
2. The Power of the Dog
3. Parallel Mothers
3. Encanto
5. Don’t Look Up
From this moment on, expect me to be talking about Dune a lot. Far and beyond Dune is the technical masterclass among the films of 2021. Denis Villeneuve had the difficult job of creating and impossible adaptation, and what he produced was a world-building wonder. Forefront among its technical prowess is the booming score by the one and only Hans Zimmer. Zimmer matched the vision Villeneuve had for Dune, and he dipped the music into celestial fascination through drums, smashing electric strings, and a chorale of voices echoing from a galaxy far away (the allusion should not come as a surprise). It’s surprising though that this may be Zimmer‘s only second win since his 1995 award for The Lion King. But if there was anyone who could have made a spectacular Dune score and be given an Oscar for it, it just had to be Hans Zimmer.
Another composer I absolutely admire is Jonny Greenwood. He scored three films this year, and surprisingly his collaboration with Paul Thomas Anderson wasn’t the best of them (though admittedly the soundtrack overpowered him). Greenwood‘s score for Spencer—which easily could have been nominated—emphasizes the musician’s skills with strings to evoke an impending and inevitable fate, which matches the dreaminess and solemness seen in Kristen Stewart‘s Diana, as well as a jazz-like exhibition for the overwhelmingness of Diana‘s thoughts. What Greenwood is nominated for is The Power of the Dog, where he produces a score just as intense and emotional. His score here jumps from playful to pensive, then suddenly the strings bare into uneasiness that becomes the audible definition of anxiety. The battle for this award is really between Hans Zimmer and Jonny Greenwood, both exceptional composers.
I can’t pick apart Alberto Iglesias‘ score for Parallel Mothers and Germain Franco‘s for Encanto. On my part, I think Iglesias‘ is one of the most riveting scores of the year, with such emphatic and energetic strings one might have guessed this was a horror or thriller. For Encanto, it was Lin-Manuel Miranda‘s (who has had a very busy 2021) songs rather than the score that jumped at me more.
This will be the only time I will talk about Don’t Look Up. Nicholas Britell is another composer I adore, but admittedly there were only one or two sequences in that film which affected me. Now, I cannot and will not accept that he win this time around when he didn’t get an Oscar for his work on Moonlight, The King, and most especially If Beale Street Could Talk. Do yourselves a favour and listen to “Eden,” “Agape,” “Eros,” “Storge,” “Philia,” “Ye Who Enter Here,” “Encomium,” and “P.B.A.,” all of those pieces more excellent than Don’t Look Up.
BEST ORIGINAL SONG
WHO I THINK WILL WIN: “No Time to Die” (No Time to Die)
WHO I THINK SHOULD WIN: “No Time to Die” (No Time to Die) OR “Dos Oruguitas” (Encanto)
WHO I WANT TO WIN:
1. “Dos Oruguitas” (Encanto)
2. “No Time to Die” (No Time to Die)
3. “Be Alive” (King Richard)
4. “Somehow You Do” (Four Good Days)
5. “Down to Joy” (Belfast)
Let’s take a moment to acknowledge this is a year where Billie Eilish, Beyoncé, Jay-Z, Ariana Grande, Kid Cudi, H.E.R., Jennifer Hudson, and U2 were among the shortlist of this category—in the end only the first two made the cut. No surprise that “No Time to Die” has been the frontrunner a year before its movie was even released. “Skyfall” remains my favourite Bond song, but Billie Eilish’s new entry to the fold is very welcome among the fellow hits that came before it.
I’ve had to explain many times why “We Don’t Talk About Bruno” was not for consideration, and besides I think the Encanto gambled right in submitting “Dos Oruguitas” which is truly the heart of the film. I was touched listening to the song for the first time, then I was close to tears when I saw the English translation and remembered its sequence. So yes, “Dos Oruguitas” over “We Don’t Talk About Bruno” and “Surface Pressure” any day.
It just felt right to have Beyoncé make a song for King Richard and hand her a nomination—I won’t lie, Oscar-winning singer-actress Beyoncé Knowles has a nice ring to it, but so does EGOT winer Lin-Manuel Miranda. I wasn’t expecting Van Morrison‘s song for Belfast to qualify, though again it is sad that Diane Warren may be missing out on a 13th opportunity at an Oscar. The chances of her beating Billie Eilish aren’t huge, just a career win to honor her, but “No Time to Die” is too big a hit to lose.
BEST CINEMATOGRAPHY
WHO I THINK WILL WIN: Dune
WHO I THINK SHOULD WIN: Dune OR The Power of the Dog
WHO I WANT TO WIN:
1. Dune
2. The Power of the Dog
3. West Side Story
4. The Tragedy of Macbeth
5. Nightmare Alley
I have to admit this a tough one to decide, each of the nominated directors of photography brought their A-game to these films. Greg Fraiser bought into Villenueve‘s gamble for Dune and came out with a cinematography majestic to see and will have you staring at absolutely vivid sceneries and shots—jaw-dropping to say the least inside and out. A historic nomination for Ari Wegner comes from not just her magnificent shots of New Zealand landscapes but for how she lets close-ups and silent moments step in for unsaid words, powerfully felt in the simplest looks and stares. This happens so many times each time the camera begins to focus during a scene, elevating The Power of the Dog‘s themes where it becomes a visual lesson of relationship and power dynamics, an anxious battle of fragile egos and minds, and of wills.
And then you have an expert like Janusz Kaminski flawlessly do an impressive job of capturing West Side Story‘s musical numbers with great effect through well-placed angles and a balance between coolness and warmth. Many creative changes for the movie worked in Kaminski and Spielberg‘s favour, and still came away with the same amount of love for the original. Of the many black-and-white films released in 2021, it was The Tragedy of Macbeth that got a nomination. Bruno Delbonnel bathes the film’s gothic sceneries gloriously, allowing shadows and well-placed light tell stories of their own—as if it were a classic film from a century ago, retelling a tale from a time even further. I’m also a fan of Dan Laustsen, whose strange and eerie cinematography plays into the noir vibe that Guillermo del Toro depicted for Nightmare Alley.
BEST FILM EDITING
WHO I THINK WILL WIN: Dune
WHO I THINK SHOULD WIN: Dune, The Power of the Dog, OR Tick, Tick… BOOM!
WHO I WANT TO WIN:
1. Dune
2. Tick, Tick... BOOM!
3. The Power of the Dog
4. King Richard
5. Don’t Look Up
I am also not entirely certain here but I can bet on Dune to win as much craft awards as it can if it’s not going to get the top prize. Its editing may not be its most prominent aspect, but it contributed to what makes Dune such a cinematic masterpiece. Tick, Tick… BOOM! is the only film here not nominated for Best Picture but I’d argue it’s very deserving to be here than a movie like Don’t Look Up. The narrative device it employs reminds me of Chicago, one of the films that got me into musicals, and it was helpful as it cuts from the story being told to the stage performances.
I go back to tensions that arose from The Power of the Dog, which many of those originate from the editing when carefully processed with Ari Wegner‘s cinematography, so from again from an “artsy” point of view it could win over Dune. Because King Richard is a part-sports film, maybe I expected too much of how exciting it would make its match sequences. I guess this and Tick, Tick… BOOM! are the most “cutty” of the crop, but the Academy might seek favour elsewhere.
BEST SOUND
WHO I THINK WILL WIN: Dune
WHO I THINK SHOULD WIN: Dune
WHO I WANT TO WIN:
1. Dune
2. West Side Story
3. The Power of the Dog
4. No Time to Die
5. Belfast
I may not be sure about editing and cinematography this year, but nothing can convince me otherwise that Dune deserves to win Best Sound, not even my love for West Side Story and personal attachment to Belfast. Dune was the first movie I watched in the cinema after nearly two years, but I’m not letting that sentimental fact distract me from my prediction. Its sound design was both booming and crisp, as if I was transported across space, and had the markings of a Villeneuve piece of work.
Of course I can’t disregard West Side Story’s chances given it is the most prominent musical in a year absolutely full of them. It might even have a better chance than The Power of the Dog where its silent moments shined the most when it came to sound design. There’s a timidness to Belfast‘s sound design, which I think was better employed in The Tragedy of Macbeth when you consider the production design, cinematography, and score as well. Alternatively you have jam-packed action in No Time to Die, as you would expect from a Bond film.
BEST PRODUCTION DESIGN
WHO I THINK WILL WIN: Dune
WHO I THINK SHOULD WIN: Dune OR West Side Story
WHO I WANT TO WIN:
1. Dune
2. West Side Story
3. The Tragedy of Macbeth
4. The Power of the Dog
5. Nightmare Alley
Again, I can’t understate how amazing the world-building of Dune is. From the different planets visited to the alien interiors of various rooms, the production created for this is on another level. It was the production design of West Side Story that saw most creative changes, but these were crucial in order to make it appear bigger and better—and to me it paid off. “America” has moved from the rooftop at night to the warm New York streets, “Gee, Officer Krupke” takes place in a police station, and “Cool” is now between Tony and Riff; all these were for audiences to better enjoy these sequence.
Speaking of creative decisions, I really admire the direction Joel Coen went for in The Tragedy of Macbeth. The gothic appearance of the film truly felt like a space out of time and reason. Stefan Dechant and Nancy Haigh created rooms, pathways, and areas that propelled how grim the circumstances of the prophecies were—it’s spine-shivering—and again, worked very well with the cinematography, sound design, and score. It surprises me then that I have ranked The Power of the Dog and Nightmare Alley at the bottom, even though their respective time periods—the American frontier, the hidden darkness of a circus, and the sinister look of the city—are a class of their own.
BEST COSTUME DESIGN
WHO I THINK WILL WIN: Cruella
WHO I THINK SHOULD WIN: Cruella OR Dune
WHO I WANT TO WIN:
1. Cruella
2. West Side Story
3. Dune
4. Cyrano
5. Nightmare Alley
Okay so Dune might not win sweep the craft awards, if it’s going to miss one it will be here. In true Cruella fashion (pun very much intended), Jenny Beavan fit the bill and killed it. It seems very apt why the film took place in 70s London, with looks that pop out of a devilish mind, plus we got to see fashion-crazy women duke it out on runways and red carpets in all their stylish glory. The case for Dune goes back to its world-building, but I think its costumes excel more individually—Lady Jessica’s golden attire arriving on Arrakis, the stillsuits—rather than as a whole which is why Cruella has the edge.
Though I can’t deny how iconic the outfits in West Side Story are, especially Maria’s white dress and red belt which is now matched by Anita’s yellow dress. From the different ways the Jets and the Sharks dress themselves up, it would do the stage production proud. So much that they top the period films of this category—Cyrano and Nightmare Alley. I give Cyrano the edge because of how more distinctive its costumes are, though Nightmare Alley had some slick suits (and Rooney Mara always looked amazing).
BEST MAKEUP AND HAIRSTYLING
WHO I THINK WILL WIN: The Eyes of Tammy Faye
WHO I THINK SHOULD WIN: House of Gucci OR The Eyes of Tammy Faye
WHO I WANT TO WIN:
1. House of Gucci
2. Dune
3. The Eyes of Tammy Faye
4. Coming 2 America
4. Cruella
If House of Gucci was going to only have one nomination, it was going to be in this category (though its costumes originating from Gucci themselves should have accounted for something). Jared Leto disappeared into Paolo, and Lady Gaga had different hairstyles I’m certain the department took quite a while to work on. What makes the The Eyes of Tammy Faye the frontrunner is how the makeup team transformed Jessica Chastain into the titular character (clearly this is where the budget into).
Coming 2 America banks a lot on the different characters that Eddie Murphy and Arsenio Hall portray, though I personally think Ruth E. Carter‘s costume design was also worthy of a nomination. Cruella also shines more in its dresses than their hairstyling (courtesy of a frazzled Emma Stone). I don’t know how big a chance Dune has to overthrow The Eyes of Tammy Faye, but I’m sure it can afford to lose this one.
BEST VISUAL EFFECTS
WHO I THINK WILL WIN: Dune
WHO I THINK SHOULD WIN: Dune
WHO I WANT TO WIN:
1. Dune
2. Spider-Man: No Way Home
3. Shang-Chi and the Legend of the Ten Rings
4. Free Guy
5. No Time to Die
As big a film Spider-Man: No Way Home is, I just can’t see it beating Dune. The cinematography and production design already looked great, but the visual effects added the finishing marvellous touches to make it a grand space epic. And as much as I enjoyed Spider-Man: No Way Home and Shang-Chi and the Legend of the Ten Rings (particularly for its action sequences), I think the visual effects of Eternals deserve some credit too—and side note, Marvel is back in this category! Free Guy was a really fun watch mixing many familiar concepts and turned out a movie meant to be enjoyed. Meanwhile I’m surprised that No Time to Die beat out the likes of The Matrix Resurrections and Godzilla vs. Kong for a nomination, because if everything exciting about that film was all CGI well, I sure enjoyed being back in the Matrix and a giant ape fighting a radioactive lizard more.
OSCARS FAN FAVOURITE
WHO I THINK WILL WIN: Spider-Man: No Way Home
WHO I THINK SHOULD WIN: Spider-Man: No Way Home OR Dune
WHO I WANT TO WIN:
1. Dune
2. Spider-Man: No Way Home
3. The Suicide Squad
4. Zack Snyder’s Justice League
5. West Side Story
I think it should be pretty clear who is winning this fan-voted award, it was obviously created so that Spider-Man: No Way Home would win something. I won’t deny though that it is the biggest movie of 2021, but I have reservations about a category/award like this separate from the nominations. Still I am holding out that Dune could be the one to pull off a surprise and steal this one, but I won’t be disappointed either way. The Academy said there were ten films on the leaderboard, but I just chose my five favourites from them—the other three being The Suicide Squad (peak James Gunn!), Zack Snyder’s Justice League (which I’m surprised “qualifies”), and of course West Side Story.
OSCARS CHEER MOMENT
WHO I THINK WILL WIN: Avengers Assemble (Avengers: Endgame)
WHO I THINK SHOULD WIN: Avengers Assemble (Avengers: Endgame) OR Neo Dodging Bullets (The Matrix)
WHO I WANT TO WIN:
1. Avengers Assemble (Avengers: Endgame)
2. Neo Dodging Bullets (The Matrix)
3. Spider-Man Team Up! (Spider-Man: No Way Home)
4. The Flash Speed Force (Zack Snyder’s Justice League)
5. Effie White’s “And I Am Telling You I’m Not Going” (Dreamgirls)
I almost forgot the Academy created this fan-vote award as well. Twitter users will naturally be voting for Avengers Assemble and the Spider-Man Team Up given the power of Marvel films in the past decade or so. There is a hint of nostalgia behind the Spider-Man moment, which is why I’m not so keen on letting it win outright for that. I understand though why Avengers Assemble is a keen favourite, Captain America saying those words at the climactic culmination of the Infinity Saga was such an iconic bookend that very theatre bursted into literal cheers.
If only more people knew the power that “bullet time” held at the turn of the 21st century. The Matrix was an absolute game-changer for the film industry, and “bullet time” was among those contributing factors to the point it has been copied, rehashed, and parodied so many times, which to me deserves a fan-chosen award. Between the two remaining finalists I decided to go with The Flash’s scene over Effie’s performance, though I have a feeling we will get to see more of it when The Flash finally comes out.
What a lovely day. 