{"id":2084,"date":"2018-01-04T16:33:32","date_gmt":"2018-01-04T16:33:32","guid":{"rendered":"http:\/\/tomsalinsky.co.uk\/blog\/?p=2084"},"modified":"2025-06-20T20:25:41","modified_gmt":"2025-06-20T19:25:41","slug":"pre-oscars-2018","status":"publish","type":"post","link":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/2018\/01\/04\/pre-oscars-2018\/","title":{"rendered":"Pre-Oscars 2018"},"content":{"rendered":"

Although the nominations have not yet been announced, I\u2019ve got my eye on what films are getting \u201cbuzz\u201d. One leading candidate I\u2019ve already seen (Dunkirk<\/em>) and at least a couple of other slightly more left-field possibilities are also in the bag (Get Out<\/em> and Bladerunner 2049<\/em>) but back in London with a less-than-usually hectic schedule, I sought out a couple of indie films likely to get mentions on 23 January.<\/p>\n

Please remember, my reviews are not guaranteed to be spoiler-free. Proceed at your own risk.<\/p>\n

\"\"<\/a><\/p>\n

The first film I took in was The Florida Project<\/strong>, Sean Baker\u2019s depiction of a young mother struggling to make ends meet for her and her six-year-old daughter in her run-down motel in the shadow of Walt Disney World in Orlando. Brooklyn Prince as Halley and Bria Vinaite as her daughter Mooney are outstanding as is the rest of the mostly-unknown cast who all give hugely engaging, truthful performances. Really only Willem Dafoe is at all familiar, but he slips in beautifully as Bobby, the wearily compassionate manager of the Magic Castle.<\/p>\n

Halley scams, makes friends, makes enemies. Mooney plays, makes friends, makes enemies. Bobby bears witness, tries to protect Halley from herself and the motel from Halley, and all of this takes place walking distance from The Happiest Place On Earth\u2122. Baker is very aware of the irony, but to his credit, never leans on it too heavily. It\u2019s all beautifully observed and never less than fascinating to watch, but although to some extent Halley\u2019s misdeeds do start catching up with her at the end of the film, I never quite got the sense of the dominoes starting to topple. Sean Baker has essentially made a dozen or so short films set in this fascinating location, but for me there’s no sense of crescendo even when social services arrive and try and take Mooney away. And the eventual (slightly inexplicable) trip to the real Magic Kingdom at the end doesn\u2019t deliver the necessary catharsis either, because it’s all over with very quickly, and too many threads are left hanging.<\/p>\n

\"\"<\/a><\/p>\n

Similarly episodic, but (slightly) more in control of the narrative structure is Call Me By Your Name<\/strong> which arrives festooned with awards and critical acclaim. Directed by Luca Guadagnino with a script by James Ivory from the novel by Andr\u00e9 Aciman, this is a coming-of-age story in four languages set in a bucolic Italian retreat some time in the 1980s.<\/p>\n

Elio, the slightly feckless son of academic Jewish couple the Perlmans, sees his regular summer sojourns as a tedious stretch to be endured, but he begins experimenting sexually with one of the local girls, not least as a distraction from this year\u2019s visiting student Oliver, played with brawny intelligence by Armie Hammer. Eventually, the two of them develop a sexual relationship.<\/p>\n

As Elio, Timoth\u00e9e Chalamet is revelatory, his unstudied awkwardness and fleeting articulacy capturing with pure honesty the way a young life is slowly assembled through different experiences. But while this film doesn\u2019t have the near-random order of events that weakens Florida<\/em>, it does get a bit bogged-down in the long middle section where Elio and Oliver continue their affair, happily, warmly, equally and without fear of discovery or approbation. The desire to avoid melodrama is laudable, but the danger is that one avoids drama.<\/p>\n

Looking at a synopsis, I can see that the plot of the novel has been streamlined, and I can understand why, but when it becomes clear that this is not an older man taking advantage of a younger man, nor a foolish infatuation of a teenager with an adult, but a genuine meeting-of-minds, then simply watching that play out is not quite as interesting to me as it apparently is for Guadagnino. So I found that the episodic feeling was a bigger problem here than with\u00a0The Florida Project<\/em> simply because the stakes feel so low here.<\/p>\n

Unlike Florida<\/em>, though, when the catharsis comes, it really hits home. In a movie which is largely concerned with visuals, where many scenes play out with little or no dialogue, the crucial scene is essentially a monologue from Michael Stuhlbarg to his son. Stuhlbarg, a fabulous actor, pulls it off magnificently, and so finally, and without ever tipping into hysteria, the film delivers a real punch of an ending, which considerably makes up for the sluggish preceding half hour or so.<\/p>\n

That’s it for now. Other movies which I imagine are in the running include\u00a0The Post<\/em>, Molly’s Game<\/em>,\u00a0Three Billboards Outside Ebbing Missouri<\/em>, Lady Bird<\/em>, and Detroit<\/em>. I also wouldn’t rule out\u00a0The Big Sick<\/em>,\u00a0The Shape of Water<\/em> and\u00a0I Tonya.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Although the nominations have not yet been announced, I\u2019ve got my eye on what films are getting \u201cbuzz\u201d. One leading candidate I\u2019ve already seen (Dunkirk) and at least a couple of other slightly more left-field possibilities are also in the bag (Get Out and Bladerunner 2049) but back in London with a less-than-usually hectic schedule, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[25],"tags":[509,19],"class_list":["post-2084","post","type-post","status-publish","format-standard","hentry","category-at-the-cinema","tag-oscars-2018","tag-reviews"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p5JY5l-xC","jetpack-related-posts":[],"_links":{"self":[{"href":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/wp-json\/wp\/v2\/posts\/2084","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/wp-json\/wp\/v2\/comments?post=2084"}],"version-history":[{"count":6,"href":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/wp-json\/wp\/v2\/posts\/2084\/revisions"}],"predecessor-version":[{"id":4000,"href":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/wp-json\/wp\/v2\/posts\/2084\/revisions\/4000"}],"wp:attachment":[{"href":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/wp-json\/wp\/v2\/media?parent=2084"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/wp-json\/wp\/v2\/categories?post=2084"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/wp-json\/wp\/v2\/tags?post=2084"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}