Every year there’s always at least one Oscar contender for Best Picture that was shot for $50 and had a marketing budget of about $20. This year’s Little Engine That Could is Room, which I’ve been interested in ever since we saw the trailer at the Heartland Film Festival preview night back in September. Unfortunately, its initial run lasted in Indianapolis for a week or two at a single theater on the other side of town, in a month when when we had far too many things going on. Its Best Picture nomination gave it a new reason to live, its distributor dug some spare change out of their couches, and it reopened here on twice as many screens last month. Behold the power of awards-season prestige.