Gus Van Sant
Directing Nominations: “Good Will Hunting” (1998) and “Milk” (2008)
Other Oscar History: Those two movies were both Best Picture nominees: ‘Hunting’ took nine nods in total, winning Oscars for Robin Williams as Supporting Actor and Ben Affleck and Matt Damon for Screenplay, while “Milk” got eight, winning for Sean Penn and Dustin Lance Black.
What Should He Have Won For? Gus Van Sant’s career, at least in recent years, has been virtually schizophrenic, veering between Oscar-bait (sometimes successfully, sometimes not, as per “Finding Forrester,” “Restless” and “Promised Land“), and more experimental fare. As for his finest work, we’re most fond of his early films like “Drugstore Cowboy” and “To Die For,” but would probably just edge 2003’s “Elephant” over them, even if it’s not a film that would have a chance with the Academy. The second of his so-called “Death Trilogy” (after “Gerry” but before “Last Days“) the film is a docudramish, Alan Clarke-influenced tale of a school massacre (inspired by the Columbine shootings four years earlier), with Van Sant showcasing a spare, low-key style in a hypnotic and hugely powerful way, expertly juggling sickening violence and moments of curious beauty. It’s a tricky tightrope to walk, and Van Sant pulls it off beautifully. The film won the Palme d’Or at Cannes that year as well.
Next Chance To Win: Van Sant looks to be returning to more awards-friendly territory next year with “Sea Of Trees,” starring recent Best Actor winner Matthew McConaughey and Ken Watanabe. Could that be the one to finally win him the Oscar?
Alejandro Gonzalez Inarritu
**This piece ran in 2014. Inarritu’s obviously won an Best Directing Oscar since then for “Birdman”**
Directing Nominations: “Babel” (2006)
Other Oscar History: “Babel” was also nominated for Best Picture, and picked up seven nods in total, winning for Best Score for Gustavo Santaolalla. Both 2000’s “Amores Perros” and 2010’s “Biutiful” were also nominated for Best Foreign Language film, with Javier Bardem grabbing a nod for the latter.”21 Grams” also earned nods for Naomi Watts and Benicio Del Toro.
What Should He Have Won For? We’d actually argue that the only film he’s been nominated for, “Babel,” is his weakest film. You could argue for any of the others: “Amores Perros” is a stunning debut, if uneven, while “Biutiful” is beautiful, if bleak. But our favorite to date (at least that’s hit theaters) is 2003’s “21 Grams.” A time-fractured melodrama with Sean Penn, Naomi Watts and Benicio Del Toro that reteamed Inarritu with screenwriter Guillermo Arriaga, it’s occasionally a touch contrived, and is pretty tough going, but it packs a hell of a punch throughout, thanks in part to the stellar performances from the leads (plus supporting players like Charlotte Gainsbourg and Eddie Marsan), but mainly down to Inarritu’s filmmaking, which is as visceral and muscular here as in his debut. Up to this year, this was Inarritu’s most wholly satisfying picture.
Next Chance To Win: We’ll say this year, because the director’s “Birdman,” a serious change of pace, is about to hit theaters, and as you’ll know from our review and others, it’s a directorial tour-de-force that looks certain to earn Inarritu a second nod, and could well see him take the prize. Even if he doesn’t, he’ll have another chance next year with Leonardo DiCaprio v. bear drama “The Revenant,” which he starts shooting shortly.
Mike Leigh
Directing Nominations: “Secrets & Lies” (1996) and “Vera Drake” (2004)
Other Oscar History: Leigh also has five screenplay nods, for the two films above, and for 1999’s “Topsy-Turvy,” 2009’s “Happy-Go-Lucky,” and 2010’s “Another Year.” “Secrets & Lies” also got a Best Picture nod and nominations for Brenda Blethyn and Marianne Jean-Baptiste, while “Topsy-Turvy” won for Costume and Makeup.
What Should He Have Won For? There’s essentially no such thing as a bad Mike Leigh film, but if we were going to pick one as his finest directorial achievement, it’d have to be his least awards-friendly film: 1993’s “Naked.” Far more bruising and abrasive than Leigh’s work is typically understood, it centers on Johnny (a stunning, Cannes-award-winning performance from David Thewlis), a young man who flees Manchester after a rape to hole up with and essentially torment his ex-girlfriend in London. A brutal portrait of post-Thatcher Britain, it has a fire in its belly that’s rarely been seen with Leigh before or since (bar perhaps Eddie Marsan‘s character in “Happy-Go-Lucky”), and if the film had gotten more awards exposure, perhaps the wider view of Leigh would be a different one. But given that this is a film that practically dares you not to like it, that was always going to be a bit unlikely.
Next Chance To Win: Leigh will be in the running this year again, for “Mr. Turner,” one of his very best films. Again, the competition is tough, but he’s certainly viable.
Sofia Coppola
Directing Nominations: “Lost In Translation” (2003)
Other Oscar History: “Lost In Translation” also picked up a Best Picture nomination, a Best Actor nod for Bill Murray, and Coppola won the prize for Best Screenplay that year. Three years later, “Marie Antoinette” won the Costume Design Oscar.
What Should She Have Won For? If, like us, you’re cooler on her last couple of films, most would lean towards “Lost In Translation,” still her most widely-liked film. We rate “Marie Antoinette” better than most, but we’re going to argue for her gorgeous debut, “The Virgin Suicides.” Based on Jeffrey Eugenides‘ novel, it tells the story of five sisters in 1970s Detroit who are dominated by their overbearing parents, with Kirsten Dunst, Josh Hartnett, Kathleen Turner and James Woods among the cast. The film is a woozy, bittersweet coming-of-age tale, opaque and hypnotic, and aided to no end by Air‘s hall-of-fame score. Though it stands distinct from her father’s work, it was immediately clear that she inherited his great capacity for filmmaking, and a hugely promising career was launched. Coppola has done great work since, but this still feels like her finest hour to us.
Next Chance To Win: Coppola’s possible next film is an adaptation of “The Little Mermaid,” which could well turn out to be her best chance at awards in a decade or so, but that depends on if it starts rolling, or if she takes on another project something else first.