It’s tempting to draw a straight line between the Academy’s increasingly global composition and the unprecedented triumph of Bong Joon Ho’s “Parasite” in 2019. And if we regard the Academy’s changing attitude less as a driver and more as a symptom of a more general broadening of cultural horizons, the correlation is more than pure coincidence.
But the real story of international talent making waves at the Oscars is more complex, differing from category to category and complicated by varied international release strategies. With respect to the role international festivals can play in this process, “Parasite’s” win at Cannes gave it an enviable profile boost in 2019, but even that was a little anomalous: in recent years Venice has eclipsed Cannes and U.S. festivals as a launchpad for Oscar players.
Cannes prizewinner “Drive My Car” has a shot at Oscar noms in several categories.
After 2020’s instability,...
But the real story of international talent making waves at the Oscars is more complex, differing from category to category and complicated by varied international release strategies. With respect to the role international festivals can play in this process, “Parasite’s” win at Cannes gave it an enviable profile boost in 2019, but even that was a little anomalous: in recent years Venice has eclipsed Cannes and U.S. festivals as a launchpad for Oscar players.
Cannes prizewinner “Drive My Car” has a shot at Oscar noms in several categories.
After 2020’s instability,...
- 1/21/2022
- by Jessica Kiang
- Variety - Film News
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