Cinema Complete list of Oscar winners
Cinema Oscar Awards 2021, live
Cinema The Spanish Sergio López-Rivera wins the Oscar for best makeup for The mother of the blues
The
Oscars
are already something else. If the world and even the United States of Joe Biden, they are, why not everything else.
Steven Soderbergh
, responsible for the ceremony, promised a
gala
conceived as a film. Neither as a television show nor as a stale musical nor as a
sad
'
show
' with a dwindling audience. I mean, the idea is to make it look as little like ... an
Oscars gala as possible
. It could be a movie, since this is all about cinema, or, to be imaginative, a mortadella sandwich. It did not matter. The idea, in any case, was to start over and do it from scratch. It is not by chance that we talk about the director who saw all this coming from the pandemic in '
Contagion
'. And the truth is that he succeeded, but only in part. Original, yes; nimble, not at all.
Like a movie, loading.
He surprised the technical and technological puzzle around the world that connected the headquarters in Los Angeles with Paris, London, Sydney ...; it bored the cascade of long and solemn speeches that disconnected the previously connected. Of course, all very political.
It is true that the film imagined by Soderbergh was not a '
thriller
' with a surprising ending. '
Nomadland
', by
Chloé Zhao
, started as a favorite something more than just indisputable after winning all the possible awards since its presentation last September in Venice where it won the Golden Lion. And more than fulfilling the forecasts, it devoured them. Hers were the awards as
director
(the second to do so after Katryn Bigelow in 2010), actress for
Frances MacDormand
and, obviously, film. The greatest and most desired.
It is strange that a film that basically bears testimony to the failure of all this, to the animal voracity of a system that has turned precariousness into a way of life; it is rare, we said, that a melancholic poem of agonizing and exhausting beauty ends up gaining nothing. Farewell to the aesthetic superiority of defeat. Remember, the story is told of a group of people who like
Swankie, Bob Wells and Linda May
They have turned their transhumant life in a van from one side of the immense United States to the other into, at the same time, a proud subculture and the most bloody proof of the collapse of a society victim of inequality, wages close to poverty and price unaffordable housing. They are part of a growing army of seniors (many over 70) and seasonal workers who exemplify the great American dream and their worst nightmare alike. The furiously independent film, based on
Jessica Bruder's
essay-report
,
navigates between fable and reality with frightening clarity. But the night was about that, about contradictions: a gala that did not seem like a
gala
to honor a chronicle of the deepest common frustration. And so.
Glenn Close in a moment of perreo.AP
And the rest followed suit.
On paper, everything indicated that the night was going to be historic.
Even though no one cared.
You know, the first
face-to-face
gala
after the disaster of all this.
But not only that.
Never before have the
Oscars
dared so much.
From the outset, there is no political argument of the agenda untouched: from the emergence of fake news in
David Fincher's
tape
'
Mank
' (which got two -photography and production direction- out of 10) to the necessary vindication of the old women social struggles in '
posttrumpist
'
times
by
Aaron Sorkin
in
'The Chicago 7 trial'
(He left empty), going through the inevitable actuality of racism signed by
Shaka King
in
'Judas and the black messiah'
(Oscar to the supporting actor and the song), without forgetting the insult of machismo in '
A promising young woman'
( the script was his) or the immigration wound in
Lee Isaac Chung's
'
Minari
'
.
And, more politically, diversity was imposed as something more than the slogan of a just aspiration of previous years to become fact. For the first time in history, two women were nominated for directing
(Zhao and Emerald Fennell,
both with prizes); for the first time in history, two directors of Asian origin (Zhao again and Chung); for the first time in history, nine actors and actresses who do not respond to the pedestrian characterization of Caucasian, and for the first time in the same history always white as before, five blacks who were opting for an interpretation award. In the end, the top prizes for the performance went to the whites. Let it not be said. Of course,
MacDormand
in the role of poor white and
Anthony Hopkins
, for '
The father '
, in that of a man with Alzheimer's.
White, but damaged.
In its own way, also historical.
And so, surrendered to history, everything happened.
Even the Spanish had his moment of duly historical glory.
Sergio López-Rivera, from
Santander,
won the
Oscar
in the makeup category for his work with Mia Neal and Jamika Wilsony in
'La madre del Blues'
.
It thus became the second.
Before him, David Martí and Montse Ribé did it in 2006 for
'Pan's Labyrinth'
.
Hers is a work on the face of
Viola Davis
as naturalistic as it is broken, and as far from glamor as it is close to the truth.
He says that he was inspired by the precariousness experienced by his grandmother in times of war to compose his work.
He says that and that his effort consisted in highlighting issues such as sweat, flaccid flesh, genius, originality and the simplest ugliness.
Masterful and fair therefore the award.
Anthony Hopkins on screen receiving the Oscar.AP
That the first of the
Oscars
awarded after Regina King's brilliant and promising walk on stage was for the script signed by Emerald Fennell in '
A Promising Young Woman
' was quite a declaration of principles. She is the first to achieve something like this. And that's because of a debut feature turned into a brutal and uncommon explanation of what is so brutal and unfortunately common called
rape culture.
At his side, or just after,
Daniel Kaluuya
took the supporting actor for his work in '
Judas and the black messiah'
. This time brutality is a thing of racism. Two films, two stones, two prizes to remember. Again, and for more than one reason, historical.
And more.
Youn Yuh-jung
, a regular actress in Hong Sang-soo's cinema, took what was hers for her display of irony in '
Minari
' in spite of the eternally nominated (eight of them)
Glenn Close
and her vibrant '
perreo
' in direct. If the Korean's speech was the best, the American's dance was even the
best
. The only two anomalies in an eminently flat gala. The top actor and actress awards mentioned above slightly broke the trend to make history. The usual was rewarded a bit. Although not so much.
MacDormand and Hopkins
repeated with
Oscar
. For the first it was his third award after those achieved by '
Fargo
'and'
Three commercials on the outskirts'
and for the British the second after the one achieved by '
The silence of the lambs
' 30 years after its premiere.
In the
silent
Oscar
section
, those essentials that do not appear at the top of the list, everything as planned:
'Another Round'
, by
Thomas Vinterberg,
was the best international film, and '
Soul
', by Pete Docter, the animated feature film Pixar brand that also took over the music. It is a pity that '
The Topo Agent'
, the documentary by the Chilean Maite Alberdi and a Spanish production, gave way to the clumsy extravagance of '
What the octopus taught me
', by Pippa Ehrlich and James Reed. And neither should we forget, because of not leaving a corner without sweeping, of
'Sound of metal'
and its
Oscars
for editing and sound.
So, Netflix was left without the prize that it craves so much.
Neither with '
Roma
', by Alfonso Cuarón, nor with
'El irierno
', by Martin Scorsese, not now with '
Mank
', by David Fincher.
Not in the year of the pandemic that was his in his own right and through the confinement of others has he succeeded.
It was not, contrary to what it seemed, the night of the platforms.
And so it was '
Nomadland
'.
The return to the galas was left without zoom.
And
soderbergh
was left (or was
badly left
);
a Soderbergh who managed to do it right and wrong at the same time.
All, yes,
duly historical.
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