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In the late 1960s, young cineastes shook up a moribund film industry by delivering idiosyncratic, startlingly original work. The moment became known as New Hollywood. When film historians look back at the 95th Academy Awards, they may mark it as the start of a new New Hollywood. Voters honoured A24’s head-twisting, sex toybrandishing, TikTok-era Everything Everywhere All at Once with the Oscar for best picture — along with six other awards — while naming Netflix’s German-language war epic All Quiet on the Western Front the winner in four categories.
The Daniels, the young filmmaking duo behind the racially diverse Everything Everywhere All at Once , won Oscars for their original screenplay and directing. (The Daniels is an oh-so-cool sobriquet for Daniel Kwan and Daniel Scheinert. They are both 35. ) The film, which received a field-leading 11 nominations, also won Oscars for film editing, best actress and best supporting actor and actress, with Michelle Yeoh, Ke Huy Quan and Jamie Lee Curtis honoured for their performances. “Ladies, don’t let anybody ever tell you that you are ever past your prime,” Yeoh, 60, said when accepting the best actress Oscar. “Never give up. ” She was the first Asian woman to receive the award.
Quan’s win provided the Academy Awards with a hall-of-fame comeback story: After early success in movies like “The Goonies” and “Indiana Jones and the Temple of Doom,” his acting career grew so cold that he turned to stunt work. “Dreams are something you have to believe in,” Quan said as tears streamed down his face and A-list attendees gave him a standing ovation. “I almost gave up on mine. To everyone out there, please keep your dreams alive. ”
Curtis was also in tears by the time she reached the fiery conclusion of her acceptance speech. “To all of the people who have supported the genre movies that I have made for all these years,” she said, “the thousands and hundreds ofthousands of people, we just won an Oscar together!”
The Academy of Motion Picture Arts and Sciences spread nominations remarkably far and wide this year. Two blockbuster sequels, Avatar: The Way of Water and Top Gun: Maverick, made the best picture cut. So did the little-seen art films Triangle of Sadness, Women Talking and Tár. Voters also made room for a musical(“Elvis”) and a memory piece (The Fabelmans).
In some ways, spreading nominations widely reflected the jumbled state of Hollywood. No one in the movie capital seems to know which end is up, with streaming services like Netflix hot then not, and studios unsure about how many films to release in theatres and whether anything but superheroes, sequels and horror stories can succeed.
The Daniels, the young filmmaking duo behind the racially diverse Everything Everywhere All at Once , won Oscars for their original screenplay and directing. (The Daniels is an oh-so-cool sobriquet for Daniel Kwan and Daniel Scheinert. They are both 35. ) The film, which received a field-leading 11 nominations, also won Oscars for film editing, best actress and best supporting actor and actress, with Michelle Yeoh, Ke Huy Quan and Jamie Lee Curtis honoured for their performances. “Ladies, don’t let anybody ever tell you that you are ever past your prime,” Yeoh, 60, said when accepting the best actress Oscar. “Never give up. ” She was the first Asian woman to receive the award.
Quan’s win provided the Academy Awards with a hall-of-fame comeback story: After early success in movies like “The Goonies” and “Indiana Jones and the Temple of Doom,” his acting career grew so cold that he turned to stunt work. “Dreams are something you have to believe in,” Quan said as tears streamed down his face and A-list attendees gave him a standing ovation. “I almost gave up on mine. To everyone out there, please keep your dreams alive. ”
Curtis was also in tears by the time she reached the fiery conclusion of her acceptance speech. “To all of the people who have supported the genre movies that I have made for all these years,” she said, “the thousands and hundreds ofthousands of people, we just won an Oscar together!”
The Academy of Motion Picture Arts and Sciences spread nominations remarkably far and wide this year. Two blockbuster sequels, Avatar: The Way of Water and Top Gun: Maverick, made the best picture cut. So did the little-seen art films Triangle of Sadness, Women Talking and Tár. Voters also made room for a musical(“Elvis”) and a memory piece (The Fabelmans).
In some ways, spreading nominations widely reflected the jumbled state of Hollywood. No one in the movie capital seems to know which end is up, with streaming services like Netflix hot then not, and studios unsure about how many films to release in theatres and whether anything but superheroes, sequels and horror stories can succeed.
