“There was far more artistic accomplishment available in the year’s releases than the Academy acknowledged,” tnyfrontrow writes, about this year’s Oscar nominations. See his list of what should have been selected.
” rather than “adapted,” but, deferring to the Academy, I’ve listed them both here. “The French Dispatch” and “Licorice Pizza” both have an ecstatic profusion of ear-catching, gleefully expressive dialogue; if the situations of “The French Dispatch” are dazzling for the intricacy of their construction , those of “Licorice Pizza” are all the more astounding for being constructed so imaginatively on a nonetheless realistic foundation that opens out into political history as well as Hollywood lore.
Janicza Bravo and Jeremy O. Harris, in transforming A’Ziah King’s 2015 Twitter thread into a complex and nuanced drama, also maintain the dual consciousness of speeding recklessly into trouble and looking back with tall-tale wonder at having got through it intact.
The extreme stylization of “The French Dispatch” makes it uniquely dependent on the quality of production design.It should be named the Wes Anderson Award; the design of “The French Dispatch” could be watched in freeze-frame without reference to the story and still be a drama. On the other hand, a footnote for “Robert Yeoman, “The French Dispatch”Ari Wegner, “Zola”In “Passing,” André Holland and Tessa Thompson are spotlighted by Eduard Grau’s skillful use of the black-and-white palette.
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