TELLURIDE – Before we jump into who earned the annual Oscar boost at the 2024 Telluride Film Festival, let’s take a quick step back, shall we? In what has been framed by many as a “weird” Oscar season (honestly, they are all weird) it’s important to recognize that no matter what happened with the many AMPAS members in the Mountains this past weekend or whatever media buzz is generated in Toronto over the next week, there is no giant behemoth about to dominate the season. This is no “Oppenheimer” or “Everything Everywhere All At Once” on the horizon. Well, certainly not yet, anyway.
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The current awards season also already has three significant players in “Dune: Part Two,” “Challengers,” and “Civil War” with the latter two having more industry support than even their studios likely envisioned. And in some timeline, “Sing Sing” will either become a word-of-mouth awards screening wonder for A24 or just a deserving Best Actor for Colman Domingo. Oh, and then there are the contenders that will intentionally drop after Venice, Telluride, and the New York Film Festival including Steve McQueen’s “Blitz,” Todd Phillips’ “Joker: Folie à Deux,” Ridley Scott’s ‘Gladiator II,” Jon M. Chu’s “Wicked: Part One,” James Mangold’s “A Complete Unknown,” and Robert Egger’s “Nosferatu.” But, once again, Telluride did its job. It sent tons of AMPAS members back to LA, NY, and Europe with a short list to share of films their fellow members have to see.
Not so surprisingly, the two films you heard everyone talking about the most were Sean Baker’s Palme d’Or winner “Anora” and Jacques Audiard’s “Emilia Perez.” We expected that from Baker’s crowd-pleaser but were genuinely surprised there was a less polarizing reaction to the Netflix pickup (it was not universally loved at Cannes). That may still come down the road, or it may not, but both Neon and the global streamer have the two movies every industry, guild, and Academy member who pays attention to such things, need to see. Tangentially, while movies that have debuted at other festivals have won the TIFF People’s Choice Award in years past, the last Cannes world premiere to win it was “Crouching Tiger, Hidden Dragon” 24 years ago. Even “Parasite” came in third in voting in 2019. Could either “Anora” or “Perez” break that streak? Ponder, pt. 1.
The other movie that generated strong reactions under the radar was Jesse Eisenberg’s “A Real Pain.” Like “Anora,” “Perez,” “Saturday Night,” and “Maria” (more on the latter two in a minute) pass holders were turned away from packed screenings,* but standing ovations indicate you might not want to ignore this one. Following its Sundance debut, many framed it as just a Supporting Actor play for Kieran Culkin and an Original Screenplay contender for Eisenberg. It may give the Park City Fest another Best Picture nominee yet.
*This is indicative of interest or sure, but there were a few factors at play this year. First, the festival was down a theater with the Nugget being under renovation. That limited the options for the entire weekend. Second, two out of the last three Telluride Film Festivals were five days with the movies spread out and a slew of screenings. This year was back to just four days which made the screening options tighter.
As for Pablo Larrain’s “Maria,” the movie received a more positive reaction in Colorado than it did on the Lido. We’re not sure it can crack the Best Picture field, but in an incredibly competitive Best Actress race, Angelina Jolie is right in the mix…for a nomination. Yes, this is a race that is threatening to be as competitive as the infamous 2015 Best Actor campaign which saw five great performances snubbed. Prepare yourselves. Speaking of Best Actress contenders…
Out of the world narrative premieres, three films stood out as awards season players. First is Edward Berger’s well-received “Conclave,” a likely Best Picture nominee (not a lock, but “likely”). The Focus Features release has an excellent shot of rewarding a deserving Ralph Fiennes with a Best Actor nomination while Adapted Screenplay, Editing, Original Score, and, perhaps, Cinematography are also in the mix. The film also features fantastic supporting turns from Stanley Tucci, John Lithgow, and Lucian Msamati. But as one competing awards consultant noted, Tucci is just missing one extra scene to snag that Supporting Actor nod. Now, if the movie is a box-office hit? Anything is possible.
Another Netflix player, Malcom Washington’s “The Piano Lesson,” is arguably. the best cinematic adaptation of an August Wilson play yet. We’re not sure it can land a Best Picture nomination, but Danielle Deadwyler is spectacular and deserving of a nomination. SAG and AMPAS members watching the film will likely think it’s a lead actress role, but the original play earned a nomination in the equivalent supporting category and Netflix will likely try to push her for Supporting Actress. Netflix already has two Best Actress contenders in Jolie and “Perez’s” Karla Sofía Gascón and will have to deal with voters’ assumption that “Perez’s” Zoe Saldana is racing in lead as well (nope, she is being positioned in Supporting Actress). Where does that put Deadwyler when it comes to voters? Ponder, pt. 2.
The other Best Picture nominee contender to look out for is Jason Reitman’s “Saturday Night.” Reviews may be mixed to positive (the New York critics appear to have few improv comedian friends), but this 90-minute look at a unique piece of television history should play to the industry (ironically, more in LA than in NY). Whether it can be positioned correctly or soon enough is the big question. Color us concerned. If it’s a box office success, probably more important to Sony Pictures anyway, its chances to land a nomination increase tenfold.
In regards to International Film contenders, Germany’s entry “The Seed of the Sacred Fig,” and India’s potential submission “All We Imagine Is Light” were buzzed about the most. This writer rarely has time to see documentaries at Telluride, but usually, you hear more conversation regarding them. This year Daniel Roher and Edmund Stenson’s “Blink” and Netflix’s Sundance pick-up, “Will & Harper” appear to be the best received overall.
In regards to Michael Gracy’s Paramount release “Better Man,” its awards season hopes may be pegged to Visual Effects, Original Song, and Costumes. If it qualifies for this year, there are several songs from Joshua Oppenheimer’s “The End” that have a shot at piquing the interest of the Music Branch. However, at this point, the former may need to use any potential Golden Globes love to help it open in the U.S. where its subject, Robbie Williams, is barely known.
Up next, the media and industry trek to the Great White North where few Academy members get to see any films besides their own. So, remember, TIFF is just a big ol’ publicity opportunity when it comes to Oscar. The real campaign starts afterward when the early tastemaker and guild screenings begin back in LA.
Read all of The Playlist’s reviews from the 2024 Telluride Film Festival