by Chris Montanelli
Cillian Murphy’s J. Robert Oppenheimer ominously proclaims, “And now I am become death,” contemplating the cataclysm unleashed, gazing into the nuclear fire. “The destroyer of worlds,” he declares, as the blast takes hold. Director Christopher Nolan, a master of cinematic promotion, forewarns of Oppenheimer‘s release, acknowledging the theoretical physicist’s pivotal role in developing the atomic and hydrogen bombs, thrusting humanity into the realm of potential planetary destruction.
Oppenheimer, a billion-dollar box office juggernaut, is not alone in its exploration of destruction. A wave of brilliant films, grappling with true stories of monumental devastation, genocide, and cultural carnage, emerges as the awards season unfolds. From Martin Scorsese‘s Killers Of The Flower Moon, revealing white America’s massacre of the Osage Nation, to Jonathan Glazer’s The Zone Of Interest, contrasting Auschwitz’s horrors with domestic tranquility, and J.A. Bayona’s Society Of The Snow, chronicling the 1972 Andes plane crash and its harrowing aftermath, these films blaze with intent, fueled by a desire to confront impossible circumstances and delve into generational ripple effects.
Navigating murky moral waters without hesitation, directors compel audiences to ponder their responses to atrocity, corruption, and murder. As the films gear up for multiple Oscar nominations, Hollywood prepares for a ceremony that promises a reckoning with the sins of the past. Oppenheimer‘s doom-laden portrayal of nuclear tragedy aligns with Scorsese’s and Glazer’s narratives, each probing historical atrocities with unflinching resolve.
Scorsese exposes the callous exploitation of the Osage people, their wealth attracting insidious schemes leading to a quiet massacre, contributing to the Native American genocide. Glazer, in The Zone Of Interest, offers a chilling glimpse into Auschwitz, where indifference and bickering coexist against the backdrop of unspeakable horror.
The burden of responsibility ties these films together, with directors acknowledging the weight of events on their shoulders. Scorsese pays tribute to Mollie Burkhart in Killers Of The Flower Moon, prompting reflection on complacency and racism. Glazer and Nolan intentionally avoid explicit depictions, compelling viewers to confront the banality of evil.
These filmmakers, committed to honoring the suffering, navigate authenticity with Scorsese collaborating with the Osage people, Bayona dedicating a decade to the development of Society Of The Snow, and Glazer filming near Auschwitz. The resulting films become a testament to the perseverance of authenticity, showcasing a commitment to telling stories respectfully and truthfully.
As the world grapples with a pandemic, terror, invasions, and climate crisis, these films resonate with global anxiety. Yet, the directors assert that their explorations of these themes predate current challenges. The industry’s readiness to support culturally, sensitively, and authentically demanding projects, facilitated by streaming platforms, enables filmmakers to bring their visions to life.
Beyond escapism, these films challenge audiences to confront uncomfortable truths and assume social and personal responsibility. In the aftermath of a pandemic and amidst daily consuming news, the quest for detachment wanes. The desire to confront, to ask difficult questions, and to hold ourselves accountable takes center stage. Regardless of the trophies they may win, these films offer a profound gift — the gift of social consciousness and personal reflection.
* * *
The Nominees for the 2024 Oscars: Latest predictions
The nominees for the 2024 Oscars have not been announced yet.
The nomination period will run from January 11-16, 2024, with the official nominees named on January 23, 2024.
However, there are some predictions for the nominations:
Best Supporting Actress:
Da’Vine Joy Randolph for “The Holdovers”
Emily Blunt for “Oppenheimer”
Danielle Brooks for “The Color Purple”
Penélope Cruz for “Ferrari”
Juliette Binoche for “The Taste of Things”
Viola Davis for “Air”
America Ferrera for “Barbie”
Claire Foy for “All of Us Strangers”
Anne Hathaway for “Eileen”
Taraji P. Henson for “The Color Purple”
Sandra Hüller for “The Zone of Interest”
Jodie Foster for “Nyad”
Best Actress Category:
Lily Gladstone for “Killers of the Flower Moon” (Apple Original Films/Paramount Pictures)
Carey Mulligan for “Maestro” (Netflix)
Emma Stone for “Poor Things” (Searchlight Pictures)
Aunjanue Ellis-Taylor for “Origin” (Neon)
Sandra Hüller for “Anatomy of a Fall” (Neon)
Natalie Portman for “May December” (Netflix)
Fantasia Barrino for “The Color Purple” (Warner Bros.)
Annette Bening for “Nyad” (Netflix)
Best Actor:
Willem Dafoe for “Poor Things”
Bradley Cooper for “Maestro”
Cillian Murphy for “Oppenheimer”
Paul Giamatti for “The Holdovers”
Leonardo DiCaprio for “Killers of the Flower Moon”
Colman Domingo for “Rustin”
Matt Damon for “Air”
Zac Efron for “The Iron Claw”
Michael Fassbender for “The Killer”
Gael García Bernal for “Cassandro”
Anthony Hopkins for “Freud’s Last Session”
Barry Keoghan for “Saltburn”
Joaquin Phoenix for “Napoleon”
Andrew Scott for “All of Us Strangers”
Best Supporting Actor:
Gosling for “Barbie”
Charles Melton for “May December”
Robert DeNiro for “Killers of the Flower Moon”
Robert Downey Jr. for “Oppenheimer”
Mark Ruffalo for “Poor Things”
Holt McCallany for “The Iron Claw”
Sterling K. Brown for “American Fiction”
Jamie Bell for “All of Us Strangers”
Colman Domingo for “The Color Purple”
Corey Hawkins for “The Color Purple”
Glenn Howerton for “BlackBerry”
John Magaro for “Past Lives”
Best Picture:
“American Fiction” (MGM) by Cord Jefferson.
“Barbie” (Warner Bros.) by by Greta Gerwig
“The Holdovers” (Focus Features) by Mark Johnson.
“Killers of the Flower Moon” (Apple Original Films/Paramount Pictures) by Martin Scorsese
“Maestro” (Netflix) by Bradley Cooper
“May December” (Netflix) by Todd Haynes
“Oppenheimer” (Universal Pictures) by Christopher Nolan
“Origin” (Neon) by Ava DuVernay
“Past Lives” (A24) by Maxim Varen
Best Foreign Film:
“The Taste of Things” from France
“The Zone of Interest” from the UK
“The Teacher’s Lounge” from Germany
“Perfect Days” from Japan
“Society of the Snow” from Spain
“Io Capitano” from Italy
“Fallen Leaves” from Finland
“20 Days in Mariupol” from Ukraine
“Do Not Expect Much From the End of the World” from Romania
“Godland” from Iceland
“Inshallah a Boy” from Jordan
“The Mother of All Lies” from Morocco
Please note that these are just predictions and the official list will be announced on January 23, 2024.
