Longtime MCC readers know this time of year is my annual Oscar Quest, during which I venture out to see all Academy Award nominees for Best Picture, regardless of whether I think I’ll like them or not, whether their politics and beliefs agree with mine or not, whether they’re good or bad for me, and whether or not my friends and family have ever heard of them. I’ve seen every Best Picture nominee from 1997 to the present, and look forward to pushing that statistic even farther back into cinematic history if only some kindly programmer would — pretty please with sugar on top –bring Mike Leigh’s Secrets and Lies back into print, or at least show it on basic cable. I mean, just once would be lovely. I refuse to settle for watching someone’s grainy YouTube upload or pay collectors’ prices for a vintage VHS copy.
Some nominees stuck with me for weeks and months after; some were pleasantly surprising; some I could take or leave; and some like Chocolat and The Reader, I’d rather forget forever. It’s entirely possible that one day the Academy of Motion Picture Arts & Sciences will nominate something that I absolutely, positively refuse to watch (they came close one year), but it hasn’t happened yet. For now, I remain on a roll.
As of February 21st I’ve officially seen all nine of this year’s Best Picture nominees, but have only written about two of them, Dunkirk and Lady Bird, which I caught in theaters in 2017. I’m not sure I’ll be able to cover the other seven in full before the Oscars telecast on March 4th, but let’s see how far I can get before I burn out.
Every year I can always rest assured there’ll be at least one Best Picture nominee that I won’t be able to bring up at church. This year the most obvious candidate is Call Me by Your Name. Why not start the attempted writing marathon there?
(Fair warning: mild spoilers ahead. It’s not a plot-twist kind of film, but I dug in on a couple of points.)