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The Post-Cannes Awards Race: Do We Know Anything Yet?

by Peter Knegt (May 29, 2009)
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But shockingly, Campion might even have some female competition.  Kathryn Bigelow’s “The Hurt Locker” (which premiered in Toronto last year, and is being released next month by Summit Entertainment) and Lone Scherfig’s “An Education” (which premiered at Sundance, and is being released by Sony Pictures Classics in the fall) were both very well received in their fest debuts, and look like strong possibilities for Oscar buzz.  “Locker” is definitely the least likely of the two - the Iraq war-themed film Oscar nod count isn’t exactly high - but if it manages to rise above its predecessors (and it’s going to have the reviews to help it do that), technical nods are certainly possible, and Bigelow could be a strong candidate for the lone director slot.  “Education,” meanwhile, might give “Bright Star” a run for its Brit-produced, beautifully shot, romantic period piece money.  Up-and-coming star Carey Mulligan was whispered as a best actress contender from the second the film hit Sundance screens, while Alfred Molina is a potential best supporting actor contender and the screenplay by Nick Hornby is a pretty sure bet.
Mo’Nique in a scene from Lee Daniels’ “Precious.” Image courtesy of the Sundance Film Festival.

Other possibilities have sprinkled themselves throughout Sundance, Berlin, Cannes, and even Tribeca: Cannes opener “Up” is 1000% certain to become Pixar’s latest best animated feature nominee, and almost just as likely the winner (I’m sure there will also be a push for a best picture nod, but history has shown that’s probably not going to happen); Berlin premiere “Cheri” might find Stephen Frears directing both Michelle Pfieiffer and Kathy Bates to their fourth nominations;  Tribeca opener “Whatever Works” seems like it has an outside shot of giving Patricia Clarkson her second acting nod, and Woody Allen his 15th screenplay nod;  “Inglourious Basterds” and Cannes best actor winner Christoph Waltz might be a fun long shot for supporting actor contention; Sundance is sure to offer a documentary nominee or two - “The Cove” being the most obvious, but who knows…

But it’s Lee Daniels’ “Precious” that might be the best positioned of all.  The film roared out of Sundance with intense acclaim and major awards, only to be met with a slot in Cannes’ Un Certain Regard lineup, and a huge distribution deal with Lionsgate that involves Tyler Perry and Oprah Winfrey. Winfrey, it should be remembered, was credited with playing a little role in “Crash”‘s success at the Oscars - a film also released by Lionsgate.  At this point, the film’s screenplay and Mo’Nique’s performance seem like givens, but perhaps it could push even further?  It’s set for an early November release, following a similar strategy to what “Slumdog” used last year.  It’s bound to be a crowd pleaser, and find some serious love from critics.  If it manages to get a best picture nod, it would be the first film in history directed by an African-American to be nominated for best picture.  And he’s openly gay to boot. Calling “Precious” a frontrunner for this kind of success seems extremely premature, but when factoring everything into its future, one can’t help but ponder the possibilities.

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posted on May 29, 2009
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