Hollywood reached its golden age during the Great Depression, as millions of Americans flocked to theaters to avoid tragic economic opportunities.
Last year, during the pandemic, theaters were no longer a way to escape, but a place to escape. The confinement on the couch has become a new movie theater for millions of Americans, and their escape has come from a multitude of streaming providers.
Hoping to change that, Coral Gables Art Cinema invites the community to theatrically experience – or re-experience – some of this year’s best films. From April 16 to 22, during its annual Oscar Week before the Oscars on Sunday, April 25, the theater presents all 2,021 nominees for best film.
“The Oscars mark the end of the film year, and this time the end of the dark saga,” says Brenda Moe, co-executive director of the cinema.
Moe sees Oscar Week as “a way to highlight what’s next, showing great films from the past year – which are in abundance.”
This year, all films competing for the best film, which together make up 51 individual nominations, will be screened at the cinema.
Films vying for the U.S. Film Industry Grand Prix:
- Father, in which a man and his daughters struggle with memory loss
- Judas and the black messiah, which highlights Fred Hampton’s progressive work and the FBI’s conspiracy to neutralize him and the Black Panther movement
- Man, a behind-the-scenes narration of the origin Citizen of Kane
- Threat, which records the trials and tribulations of a Korean immigrant family rooting in rural Arkansas in search of the American dream
- Nomadland, in which a middle-aged woman moves without the consequences of America’s new rootless economy
- A promising young woman, a young woman’s quest for revenge on rapists
- The sound of metal, an attempt by a drummer to come to terms with his degenerative hearing loss
- The Chicago Trial 7, after anti-war protests at the 1968 Democratic National Convention
A promising young woman i Nomadland
Photo courtesy of Focus Features and Searchlight Pictures
Assistant director Javier Chavez reveals the difference from last season’s Oscars as “one of the most diverse lists of nominees,” citing the nomination of BIPOC directors and actors, as well as the presence of two women in the Best Director category (Chloe Zhao for Nomadland and Emerald Fennell for A promising young woman).
A few years after the #OscarsSoWhite campaign took over social media, the Academy recognizes the work of Riz Ahmed, Chadwick Boseman, Andre Day, Viola Davis, Daniel Kaluuya, Leslie Odom Jr., LaKeith Stanfield, Steven Yeun and Yuh-Jung Youn, as well as work of Ramin Bahrani behind the camera (White tiger), Lee Isaac Chung (Threat), Kemp powers (One night in Miami) and Zhao.
With so many variables being played over the past year, it’s hard to see why so many valuable BIPOC candidates have finally finally broken through.
Chavez hopes this signals that “the Hollywood establishment is listening and making changes.”
Of course, this could be the result of the Academy’s attempts to diversify its own membership. More cynically, perhaps the industry would realize that there is a financial incentive to saturate a larger and more diverse audience that goes to the cinema.
In any case, Chavez hopes that “this trend continues and is not just a one-off response to the racial showdown that was 2020.”
Another type of reckoning has hit the film industry in terms of the way movies are spent. After the theater shut down, studios and producers had to rethink their distribution methods. By creating confusion among filmmakers, exhibitors and studios, this seismic shift has strengthened streaming platforms such as Netflix, Hulu, HBO Max and Disney +. Experimentation and uncertainty make the long-term effects unknown. But the continuous reduction of the theatrical window during which films are presented in cinemas does not bode well for exhibitors and audiences who go to the cinema.
This year, the Academy suspended the requirement that the films even have a theatrical release, as long as the theatrical release was planned before the pandemic. This adjustment was necessary because almost every film released in 2020 had to re-examine traditional theatrical releases.
Threat,, A promising young woman, i Father they successfully debuted at the 2020 Sundance Film Festival just months before the shutdown, but had to postpone their general releases for almost a year. The sound of metal debuted earlier at the Toronto Film Festival 2019, but announced that the release is limited to Amazon Prime. Nomadland debuted at the Venice Film Festival in 2020 at the Venice Film Festival in 2020 at a socially distant screening after a particularly deadly summer rush in Italy. The film won the Best Picture award at the festival before its distributor, Disney-owned Searchlight, decided to release it via Hulu in February.
Threat i Man
Photo courtesy of A24 and Netflix
Netflix productions Man i The Chicago Trial 7 debuted on the streamer, giving up any theatrical releases that the company otherwise reluctantly prepares for its award nominees to appease the Academy. Judas and the black messiah, the latest release of nominated films, debuted at the 2021 Sundance Virtual Film Festival, followed by a limited edition of HBO Max in February, before returning to theatrical screenings as more cinemas opened across the country.
In relation to the Academy, the exhibitors promise a sign that five of the eight nominees seemed to benefit from waiting for a pandemic for as long as possible as theaters slowly opened, while award-winning films awarded earlier during the pandemic seem to have been forgotten.
Chavez points to movies like The first cow,, Never Rarely Sometimes Always, i Da 5 Bloods, which failed to get a single nomination.
In the Coral Gables art cinema, which has continued to show theatrical performances on its own, while retaining the possibilities of virtually showing certain titles, everything is in adaptation in an ever-changing landscape. Chavez welcomes virtual screenings as an opportunity to seize more opportunities in the cinema program and hopes that in some way they will be able to continue in the future.
In addition to encouraging discussions about presentation and distribution, screenings at Oscar Week provide an opportunity to reflect on how this year’s candidates will get in touch with a major cultural zeitgeist. Although none of the nominees react directly to the pandemic – which will happen in a year or two – they can be seen as a response to changing social, economic and political values in American society.
After the incessant attack of the previous presidential administration on the immigrant community, a personal and humanistic story of Threat is a welcome respite. The story of economic difficulties and a woman who dares to liberate consumer cultures in Nomadland meditation on our capitalist system is needed. A promising young woman is a truncated rape culture coated with sweets.
The trio of nominees also took politics from the past to reflect on our modern times. Behind the metal Hollywood story, Man talks about how the gatekeepers used their power, wealth, and media to stop the socialist revolution in America. The Chicago Trial 7 presented after a summer of protests demanding racial justice. The same, Judas and the black messiah illuminates the view of how the police and established institutions are used to systematically eliminate progressive attempts at racial equality and equity.
Father and Judas and the black messiah
Photo courtesy of Sony Pictures Classics and HBO Max
Even less politically motivated cinema The sound of metal i Father are stories of isolation and the human desire for a relationship that feel more tangible after a year of social distancing than when they were conceived.
Apart from the topics, there is certainly a reason for all theater candidates to be seen even for those who have already enjoyed movies at home. Sound design The sound of metal deserves proper Dolby surround sound. No matter how many inches the TV screen covers, the vistas are open Nomadland cry for the big screen. The suspense of a thriller like Judas and the black messiah i A promising young woman they are calibrated for a true cinematic cinematic experience.
Even Father, adapted from a stage play, uses a film technique that inspires empathy. And nominations for cinematography for Man i The Chicago Trial 7 will make so much more sense when the Netflix compression algorithm is released.
Man leads all nominees for best film in the nominations, proving the saying that Hollywood really loves Hollywood movies. But Chavez and his boss, program director Nat Chediak, are betting Nomadland win Best Picture this year, which would prove that the only thing Hollywood loves more than Hollywood is something completely anti-Hollywood.
Perhaps populist themes and a transcendentalist view of America are what the Academy and the country need right now.
- A promising young woman 18:25 on Friday, April 16 and Saturday, April 17
- Judas and the black messiah 21:00 Friday, April 16 and Saturday, April 17
- Man 15:30 Saturday, April 17 and 15:15, Sunday, April 18
- Trial in Chicago 18:05, Sunday, April 18
- Father 18:00, Monday, April 19 and 20:30, Tuesday, April 20
- Nomadland 8:30 p.m., Monday, April 19, and 6:00 p.m., Tuesday, April 20
- The sound of metal 18:00 Wednesday, April 21 and 20:40, Thursday, April 22
- Threat 20:40 on Wednesday, April 21 and 18:00 on Thursday, April 22
Coral Gables Art Cinema. 260 Aragon Ave., Coral Gables; 786-472-2249; gablescinema.com.
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