From the sharp sting of platonic rejection in “The Banshees of Inisherin,” to suicide and self-destruction in “Tár,” to death on a sinking cruise ship in “Triangle of Sadness,” grief and loss are a…
,” grief and loss are a collective current running throughout this season’s Oscar contenders in the screenplay category.
On the surface, Pádraic is a simple man — unmarried, childless, no remarkable talents of which to speak. But an emotional storm brews beneath that surface. Pádraic is gutted, broken. Isolated and without much of anything else to tether him, Pádraic’s menagerie of animals — goats, cows, but mainly donkey Jenny — remain his only solace.
“‘Tár’ is a film centered on the acquisition and attainment of power, and how this shapes and, of course, ultimately distorts an individual,” Field says. “There is most certainly a component of grief with the loss of that power. However, the way this manifests for Lydia may be more akin to something like substance withdrawal. We first meet her standing atop a power structure, a structure carefully crafted around a self-constructed narrative that forms her mask.
“They are at the top of the hierarchy on the yacht, but when they ended up on that deserted island, their abilities that they have that made them successful in business or whatever it was, are not very useful anymore,” says Östlund. “They do not have the basic, practical skills needed to survive. And if you look at modern human beings, very few of us have that ability.”
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