“Dune” vs. “The Power of the Dog”, “Don’t Look Up”, etc. (Updated continuously.)
Last updated February 10: Editorial Oscar nominations – “Don’t Look Up” (Netflix), “Dune” (Warner Bros.), “King Richard” (Warner Bros.), “The Power of the Dog” (Netflix) and “Tick” Tick Boom” (Netflix) – all of which use different rhythmic styles to convey their strange worlds and get inside the minds of their troubled protagonists. For those wondering about retouching as a Best Picture predictor, especially since “Belfast” isn’t included here, they’ve only overlapped twice since 2012 with “Argo” and “Nomadland” .
Denis Villeneuve’s sci-fi film “Dune” is beloved for its ambition and complexity. It gave three-time Oscar nominee Joe Walker (including “Arrival” and “12 Years a Slave”) the challenge of balancing this epic tale of politics, religion, and environmentalism with the journey of a more personal hero than savior Paul Atreides (Timothée Chalamet). Add to that an additional narrative layer of Paul’s prophetic dreams and visions of leading the Freman nomads in a holy war on the desert planet Arrakis. It all comes together very early on in the Gom Jabbar scene, in which Paul’s exceptional mental abilities and impulse control are put to the death test by Mother Superior Bene Gesserit (Charlotte Rampling). . Walker played with vision but achieved a breakthrough when he inserted a medieval hymn from Hans Zimmer’s otherworldly score to demonstrate how Paul summoned inner strength to pass the test.
“The Power of the Dog,” Jane Campion’s western psychology of repression, is skillfully edited by Peter Sciberras, who provides escalating tension while exploring Phil (Benedict Cumberbatch)’s brutal behavior toward Other characters: his sensitive brother George (Jesse Plemons), his vulnerable sister-in-law Rose (Kirsten Dunst), and Rose’s tender son Peter (Kodi Smit-McPhee). It’s sure to be an ambiguous power play of savagery and affection between Phil and Peter, and Sciberras has made good use of its intricate performances, stunning views, grandiose farmhouse and Jonny Greenwood’s discord score.
Kirsty Griffin / Netflix
The apocalyptic absurdity of director Adam McKay’s “Don’t Look Up” abounds in the arsenal of three-time Oscar nominee Hank Corwin (including “Vice” and “The Big Short.” ), allowing for another variation of the duo’s fun improvisational style. However, the fictional story has freed them to find new creative opportunities with their talented cast (Leonardo DiCaprio, Jennifer Lawrence, Meryl Streep, Jonah Hill, Cate Blanchett, Mark Rylance, Tyler Perry and Timothée Chalamet ). The odd premise that astronomy professor Randall (DiCaprio) and student Kate (Lawrence) can’t convince the powers that be in DC to do something about a comet on its way to destroy Earth prompts Corwin to do so. working with layers of chaos and anxiety, both visually and verbally.
Lin-Manuel Miranda’s “Tick Tick Boom” requires a particular rhythm to deliver the super-biographical story of genius composer Jonathan Larson (Andrew Garfield) telling his story of a failed musical. before “Rent”. This is an experimental musical within a musical, but it needs to be cut at an easy pace without confusing the viewer. Editors Myron Kerstein and Andrew Weisblum succeed in a nuanced expression that makes music feel alive, surreal, and emotional. The past is everything in ’90, while the present takes place in ’92, and each takes a different approach. The highlight is the stunning “Sunday” diner setting, which is a tribute to Stephen Sondheim’s masterpiece, “Sunday in the Park with George.”
“King Richard” by Reinaldo Marcus Green, a biopic about Richard Williams (Will Smith)’s uncompromising mission to push his daughters Venus (Saniyya Sidney) and Serena (Demi Singleton) to the pinnacle of her troubling career. racket, which requires a delicately balanced Pamela editor. Martin. While the focus is on Richard’s obsession and psychological warfare, the story of the Williams family has always been much more hidden. Unsurprisingly, the third action tennis match for Venus was the most difficult and required a lot of calibration. It’s like cutting an action movie for the editor, with the back-and-forth suspense of the match and Venus ultimately making her own decisions, and raising the stakes for the Williams family.
Here are the candidates ranked in order of likelihood of winning:
“The Power of the Dog”
“Don’t look up”
“Tick Tick Boom”
https://www.indiewire.com/feature/oscars-2022-editing-predictions-1234678497/ Oscars 2022: Best Editing Predictions