较小的预算文档在奥斯卡列表上大放异彩
Smaller Budget Docs Make Big Splash on Oscar Shortlist
在过去的十年中，在纪录片市场中纳入流媒体服务使越来越难以资助的较小纪录片闯入非小说类特征奥斯卡竞赛。但是，尽管他们有深深的口袋，但每年不可避免地会将其列入候选名单。今年也不例外。今年的专题DOC候选名单与竞争者相提并论，媒体和技术集团的数百万美元的竞选预算包括Apple，Netflix，Viacomcbs，Walt Disney Co.和Warnermedia。很明显，金钱和品牌认可是奥斯卡黄金竞赛的关键因素，这使“ Faya Dayi”，“ PR”媒体”和“用火的写作”的几率，即获得学院的诺姆·普（Academy nom Partodd Haynes）的“天鹅绒地下”（苹果原始电影），罗伯特·格林（Robert Greene国家地理）苗条。并不是说不会发生。在过去的三年中，没有大支持者的纪录片包括“集体”，“痣代理人”，“今天早上，今天晚上”和“父亲和儿子”的“黑尔县”，均获得了奥斯卡提名。但是胜利似乎是不可能的。 （Netflix获得了前两个功能学院奖，而Nat Geo在2019年获得了“免费独奏”的小金子。不可否认，公司美元和2012年的规则更改，使整体成绩（不仅仅是Docu分支）可以对五个提名的非小说类作品进行投票，这不仅是如何赢得比赛的方式，而且是哪种类型的电影WI赢得了比赛。NS.S的流行纪录片（或曝光率最高并获得了奥斯卡前的荣誉的电影）在当前的比赛中具有优势。纪录片入围食堂中最受欢迎的孩子是有争议的，乔纳斯·波斯·拉斯穆森（Jonas Poher Rasmussen），“逃亡”（霓虹灯）安赫米尔·汤普森特（Andahmir Thompsonbetter）的董事乔纳斯·波斯特森（Jonas Poher Rasmussen）已知萨灵魂（Summer of Soul电视转播）（Hulu/Searchlight图片）。拉斯穆森的“逃亡”（动画文档）被邀请参加每个主要的奖项季节，包括圣丹斯，特柳赖德，多伦多和纽约。这部电影除了纪录片，动画和国际电影类别外，还由霓虹灯提交了奥斯卡最佳图片考虑。 （“逃亡”，是挪威条目，马丁帕斯的纪录片和国际电影入围名单。）12月，“逃亡”，已经获得了纽约电影评论家圈子和哥谭独立电影奖的硬件，被提名为金球奖在动画功能中类别。非小说类分支机构中的一些人抱怨“逃离”是一个动画项目，而不是纪录片，但这部电影很可能会在美国不在美国的纪录片巨大的纪录片分支选民中得到提名近年来，更多的外国文档成为奥斯卡决赛选手和提名人。就像“逃跑”，Questlove的“ Souls of Soul”以来，自2020年1月在Sundance首次亮相以来，一直在Hulu并被Hulu收购，并以1200万美元的价格收购。电影赢得了六个评论家选择纪录片奖，包括本年度的Doc Peapor。 “ Soul of Soul of Soul”是Questlove的纪录片Fea-Ture首次亮相，不可否认的是，非小说类分支机构喜欢Newbie Directors。在过去的二十年中，九名舵手因其第一部纪录片戏剧专题而获得了奥斯卡金像奖。它们包括以斯拉·埃德曼（Ezra Edelman）（“美国制造”），路易·佩斯霍约斯（Louie Psihoyos）（“ cove”）和皮帕·埃里希（Pippa Ehrlich）（“我的章鱼老师”）。此外对于Questlove，今年的入围名单中有五个首次专辑登记主管：Ghosh和Thomas（“用火写”），Haynes（“ The Velvet Underground”），Beshir（“ Faya Dayi”）和“ Ascention”导演Jessica Jessica金登（Kingdon）正在与一系列资深非小说类电影制片人竞争，这些电影制片人将候选名单包括在内卡特勒（“ Billie Eilish：世界有点模糊”），Matthew Heineman（“第一波”），Nanfu Wang（“同样的呼吸”），Julie Cohen和Betsy West（“ Julia”）和Megan Mylan（“ Julia”）和Megan Mylan（“”简单的水”。）。无论是由首次导演还是资深导演制作，今年入围的15部电影中的每部都是由熟练的双手制作的优质内容。但是，当涉及到非小说类奥斯卡竞赛时，这项工作不一定是被判断的内容。
In the past decade, the inclusion of streaming services in the documentary market has made it increasingly harder for smaller docus struggling with funding to break into the nonfiction feature Oscar race. But in spite of the deep pockets they are up against, a number of cash-strapped docs inevitably make it onto the shortlist every year. This year was no exception.
Jessica Beshir’s “Faya Dayi” (Janus Films, pictured above), Camilla Nielsson’s “President” (Greenwich Entertainment) and Sushmit Ghosh and Rintu Thomas’ “Writing with Fire” (Music Box Films) are three films on this year’s feature doc shortlist that are up against competitors with multi-million-dollar campaign budgets being paid by media and tech conglomerates including Apple, Netflix, ViacomCBS, the Walt Disney Co. and WarnerMedia.
As the field narrows and lobbying and marketing takeover, it’s clear that money and brand recognition are key factors in the race for Oscar gold, which makes “Faya Dayi,” “President” and “Writing With Fire’s” odds of receiving an Academy nom over Todd Haynes’ “The Velvet Underground” (Apple Original Films), Robert Greene’s “Procession” (Netflix), or Jimmy Chin and Elizabeth Chai Vasarhelyi’s “The Rescue” (National Geographic) slim.
That’s not to say it won’t happen. In the past three years, docus without big backers including “Collective,” “The Mole Agent,” “Hale County This Morning, This Evening” and “Of Fathers and Sons” all received Oscar nominations. But a win seems out of the question. (Netflix garnered the previous two feature docu Academy Awards while Nat Geo took home the little gold man in 2019 for “Free Solo.”)
An argument can be made that the Oscar doc race has never been a completely level playing field, but there is no denying that corporate dollars and a 2012 rule change that allowed the entire Academy — not just the docu branch — to vote on the five nominated nonfiction features altered not only how the race is won, but what type of film wins.
So-called popular documentaries — or films that have had the most exposure and have garnered pre-Oscar kudos — have the advantage in the current race. This year the most popular kids in the documentary shortlist cafeteria are, debatably, Jonas Poher Rasmussen, director of “Flee” (Neon) and Ahmir Thompson better known as Questlove, director of “Summer of Soul (…Or, When the Revolution Could Not Be Televised)” (Hulu/Searchlight Pictures).
Rasmussen’s “Flee” — an animated doc — was invited to every major award season festival including Sundance, Telluride, Toronto and New York. The film was submitted by Neon for Oscar best picture consideration in addition to the documentary, animation, and international film categories. (“Flee,” a Norway entry, made AMPAS’ docu and international film shortlist.) In December “Flee,” which has already garnered hardware from the New York Film Critics Circle and the Gotham Independent Film Awards, was nominated for a Golden Globe in the animated feature category.
While some in the nonfiction branch complain that “Flee” is an animated project and not a docu, the film will most likely receive a nomination in part due to the huge block of documentary branch voters not based in the U.S, which has turned more foreign docs into Oscar finalists and nominees in recent years.
Like “Flee,” Questlove’s “Summer of Soul” has been in the spotlight since January 2020 when it debuted at Sundance and was acquired by Hulu and Searchlight for $12 million.
In November the film won six Critics Choice Documentary awards including doc feature of the year. “Summer of Soul” is Questlove’s documentary fea-ture debut and there is no denying that the nonfiction branch likes newbie directors.
In the past two decades, nine helmers have taken home the Academy Award for their very first documentary theatrical feature. They include Ezra Edelman (“O.J.: Made in America”), Louie Psihoyos (“The Cove”) and Pippa Ehrlich (“My Octopus Teacher”).
In addition to Questlove, there are five first-time feature docu directors on this year’s shortlist: Ghosh and Thomas (“Writing With Fire”), Haynes (“The Velvet Underground”), Beshir (“Faya Dayi”) and “Ascension” director Jessica Kingdon.
They are competing with a slew of veteran nonfiction filmmakers that made the shortlist including Stanley Nelson (“Attica”), R.J. Cutler (“Billie Eilish: The World’s a Little Blurry”), Matthew Heineman (“The First Wave”), Nanfu Wang (“In the Same Breath”), Julie Cohen and Betsy West (“Julia”) and Megan Mylan (“Simple as Water”).
Whether they were made by a first-time director or a veteran director, each of the 15 films on this year’s shortlist is premium content created by skillful hands. But when it comes to the nonfiction Oscar race, the work is not necessarily what’s being judged.
本文资料/文案来自网络，如有侵权，请联系我们删除。
|
发表于 2022-7-5 02:47:52
发表于 2023-5-9 05:59:41