In the late 1960s, young cinestars shook up a dying film industry with eccentric, shockingly original work. This moment became known as New Hollywood. When film historians look back on the 95th Academy Awards, they may mark it as the beginning of a whole new Hollywood. Voters respect A24’s turning heads, gender toybrandishing, tiktok-era everything together everywhere with the Oscar for best picture – along with six other awards – while Netflix’s German-language war epic All Quiet on the Western Front was declared winner in four categories.
Daniels, the young filmmaking duo behind the racially diverse Everything Together Everywhere, won Oscars for their original screenplay and direction. (Daniels is the oh-so-cool showstopper for Daniel Kwan and Daniel Scheinert. They’re both 35.) The film, which garnered a field-leading 11 nominations, also won Oscars for film editing, best actress and best supporting actor. Won. Actress Michelle Yeoh with Ke Hui quan and Jamie Lee Curtis was honored for her performance. “Ladies, no one should ever tell you that you’ve ever outgrown your prominence,” Yeoh, 60, said while accepting the best actress Oscar. “Never give up.” She was the first Asian woman to receive the award.
Kwan’s win provided the Academy Award with a Hall-of-Fame comeback story: After early success in films like “The Goonies” and “Indiana Jones and the Temple of Doom,” his acting career cooled off so much that he turned to stunt work. Kwan said, “Dreams are something you have to believe in.” “I almost quit my job. To everyone, please keep your dreams alive. ,
By the time she reached the fiery conclusion of her acceptance speech, Curtis was also in tears. “To all the people who have supported the genre films we’ve made for all these years,” she said, “thousands and hundreds of thousands of people, we just won an Oscar together!”
The Academy of Motion Picture Arts and Sciences this year spread the nominations remarkably far and wide. The two blockbuster sequels, Avatar: The Way of Water and Top Gun: Maverick, cut Best Picture. So did the little-known art films Triangle of Sadness, Women Talking and Tar. Voters also made room for a musical (“Elvis”) and a memory piece (The Fablemans).
In some ways, the spread of nominations reflects the disorganized state of Hollywood at large. With streaming services like Netflix hot, no one in the movie capital seems to know which ending is which, and studios unsure of how many movies will be released in theaters and whether superheroes, sequels, and horror stories will be released. Anything can be successful.
Daniels, the young filmmaking duo behind the racially diverse Everything Together Everywhere, won Oscars for their original screenplay and direction. (Daniels is the oh-so-cool showstopper for Daniel Kwan and Daniel Scheinert. They’re both 35.) The film, which garnered a field-leading 11 nominations, also won Oscars for film editing, best actress and best supporting actor. Won. Actress Michelle Yeoh with Ke Hui quan and Jamie Lee Curtis was honored for her performance. “Ladies, no one should ever tell you that you’ve ever outgrown your prominence,” Yeoh, 60, said while accepting the best actress Oscar. “Never give up.” She was the first Asian woman to receive the award.
Kwan’s win provided the Academy Award with a Hall-of-Fame comeback story: After early success in films like “The Goonies” and “Indiana Jones and the Temple of Doom,” his acting career cooled off so much that he turned to stunt work. Kwan said, “Dreams are something you have to believe in.” “I almost quit my job. To everyone, please keep your dreams alive. ,
By the time she reached the fiery conclusion of her acceptance speech, Curtis was also in tears. “To all the people who have supported the genre films we’ve made for all these years,” she said, “thousands and hundreds of thousands of people, we just won an Oscar together!”
The Academy of Motion Picture Arts and Sciences this year spread the nominations remarkably far and wide. The two blockbuster sequels, Avatar: The Way of Water and Top Gun: Maverick, cut Best Picture. So did the little-known art films Triangle of Sadness, Women Talking and Tar. Voters also made room for a musical (“Elvis”) and a memory piece (The Fablemans).
In some ways, the spread of nominations reflects the disorganized state of Hollywood at large. With streaming services like Netflix hot, no one in the movie capital seems to know which ending is which, and studios unsure of how many movies will be released in theaters and whether superheroes, sequels, and horror stories will be released. Anything can be successful.
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