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Review by Sean Boelman
Recently, Criterion has been partnering with indie distributor extraordinaire NEON to release some of its films through the boutique label. The latest is Saint Omer, a criminally underseen courtroom drama that served as documentarian Alice Diop's narrative feature debut. This release is a welcome opportunity for fans to get their hands on a copy of the best movie of 2022.
Saint Omer follows a novelist who attends the trial of a woman accused of murdering her infant daughter, causing her to reflect on her own life and how the case resonates with her. Submitted by France for the Oscar for Best International Feature but unfortunately snubbed, Saint Omer holds up incredibly well. Diop’s film stands out from most other courtroom dramas because of its documentary-like approach, which makes sense considering her background in nonfiction filmmaking. It is not the type of court movie with quick dialogue and chess-like legal tactics; Diop is much more interested in the intricacies of the story and their even deeper implications and contexts. The result is a movie that feels incredibly emotional, even by the genre's standards. Of course, there was no doubt that a movie about a mother accused of these crimes wouldn’t be a stirring watch, but the perspective through which Diop presents it makes the emotional elements all the more complex and impactful. 
Diop also has some worthy and talented collaborators in actresses Guslagie Malanda and Kayije Kagame. Saint Omer rightfully served as a breakout for Malanda, whose tremendous performance as the woman on trial is as crushing as they come (she would later appear in The Beast alongside Lea Seydoux and George McKay). Yet, although Malanda’s performance is the more immediately forward, Kagame’s stands out on rewatch as especially potent in its quietness and mannerisms.
However, what stands out most about Saint Omer, upon revisiting it over a year later, is how tender it is with its themes. Although the story might seem somewhat straightforward on its surface, there are incredibly prescient undercurrents running through it, exploring themes like immigration, femininity, and misogyny. The script, written by Diop along with Amrita David and Marie N’Diaye, sticks with you in ways you would not expect. In terms of bonus features, this edition of Saint Omer features some new interviews with director Alice Diop, making it a relatively bare release compared to most of the newer movies that enter the Criterion Collection. The 2K restoration is solid, but it is important to note that this is not being released in 4K — only Blu-Ray and DVD. Ultimately, the Criterion of Saint Omer is worth picking up, if only to get the opportunity to own this incredible work of French cinema. Unlike most of NEON’s films in the collection, Saint Omer had previously not received a physical media release in the US — only streaming and digital media — and any francophile or cinephile who admires world cinema will undoubtedly want to have this on their shelf. The Criterion Collection edition of Saint Omer is now available.
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By Sean Boelman
The Oscars are upon us, and speculation is running rampant as to what will take home the gold. This year, more so than usual, it feels like a majority of the awards have an obvious winner — most of them Christopher Nolan’s Oppenheimer.
Here is what we think will win each award, along with a breakdown of our reasoning: Best Picture
This year might be the most predictable Best Picture race in Oscar history. The winner is Oppenheimer. It’s not even worth entertaining an upset at this point. Christopher Nolan’s biopic has been the clear favorite in all of the precursors and is on its way to absolutely dominating on Oscar night, including taking home the top prize.
Will Win: Oppenheimer Can Win: it’s unstoppable Should Win: Maestro Best Director
Best Director and Best Picture often (but not always) go together, so it should be no surprise that the Best Director race is just as clear-cut as the Best Picture race. Christopher Nolan will finally get his long-overdue statuette for his second director nomination.
Will Win: Christopher Nolan, Oppenheimer Can Win: it’s unstoppable Should Win: Yorgos Lanthimos, Poor Things Best Actress
Best Actress is shaping to be one of the more exciting races this Oscar season. Heading into the fall, it seemed like Lily Gladstone’s performance in Killers of the Flower Moon was the clear favorite, but Emma Stone has been gaining a lot of steam for her turn in Poor Things.
Many pundits have compared this race to the 2019 race, where the early frontrunner, Glenn Close, was defeated by late-breaking darling Olivia Colman (who earned many of the same precursors as Stone and, interestingly, was also the lead in a Lanthimos film). Will Win: Emma Stone, Poor Things Can Win: Lily Gladstone, Killers of the Flower Moon Should Win: Sandra Hüller, Anatomy of a Fall Best Supporting Actor
We’re starting to sound like a broken record, but Oppenheimer also has Best Supporting Actor on lock. Robert Downey Jr. will take home his first Oscar for his performance as Lewis Strauss.
Will Win: Robert Downey Jr., Oppenheimer Can Win: it’s unstoppable Should Win: Ryan Gosling, Barbie Best Supporting Actress
Finally, a lock that won’t go to Oppenheimer! Da’Vine Joy Randolph has taken home virtually every precursor award for her performance in The Holdovers. And who can blame awards voters? It was an incredible performance. This will maybe be one of the most deserved wins of the night.
Will Win: Da’Vine Joy Randolph, The Holdovers Can Win: she’s got this in the bag Should Win: Da’Vine Joy Randolph, The Holdovers Original Screenplay
The screenplay categories are shaping up to be unexpectedly contentious. The current frontrunner for Original Screenplay is probably the script for The Holdovers, a film quite well-received by awards voters — particularly older ones.
However, there is also a strong case to be made for Anatomy of a Fall. The French courtroom drama overperformed with nominations, and it has (as a pleasant surprise) won several precursors. It could easily upset in this category. Will Win: The Holdovers Can Win: Anatomy of a Fall Should Win: May December Adapted Screenplay
The Adapted Screenplay category is almost as contentious as the Original category, although this one has a more clear frontrunner. American Fiction has picked up a majority of the precursor awards in this category, so we’re currently forecasting that it will win. However, there’s also a lot of support in this category for Barbie and Oppenheimer. It’s American Fiction’s to lose — but it could lose it.
Will Win: American Fiction Can Win: Oppenheimer Should Win: Barbie International Feature
The International Feature category probably would have been much more enjoyable had France submitted the Best Picture-nominated Anatomy of a Fall instead of The Taste of Things, but as it stands, The Zone of Interest is the only film in this category that is also nominated for Best Picture. Don’t expect an upset.
Will Win: The Zone of Interest Can Win: it’s a lock Should Win: The Teachers’ Lounge Documentary Feature
Documentary Feature is another race that seems pretty locked down, with the Ukrainian documentary 20 Days in Mariupol seeming like the apparent winner. However, it might not be surprising if the Academy goes with the more crowd-pleasing Bobi Wine: The People’s President. To Kill a Tiger has also picked up some significant steam recently, but it feels like too late of a breaker to take home the prize.
Will Win: 20 Days in Mariupol Can Win: Bobi Wine: The People’s President Should Win: 20 Days in Mariupol Animated Feature
For a minute, The Boy and the Heron was picking up a few awards, and it seemed like it could be a legitimate competitor to Spider-Man: Across the Spider-Verse. However, Spider-Verse currently holds all of the key precursors. Expect the franchise to go two-for-two in this category.
Will Win: Spider-Man: Across the Spider-Verse Can Win: The Boy and the Heron Should Win: Robot Dreams Cinematography
We’re back to Oppenheimer wins! Hoyte van Hoytema has a clear advantage to win for his work on Nolan’s film. If there is going to be an upset, it would be Rodrigo Prieto for Killers of the Flower Moon, but Oppenheimer's dominance seems much more likely at this point.
Will Win: Oppenheimer Can Win: Killers of the Flower Moon Should Win: Oppenheimer Editing
This is another below-the-line category that Oppenheimer seems destined to win! Like Cinematography, Oppy’s biggest competition is Killers of the Flower Moon, but this is another one that will likely go to the bomb biopic.
Will Win: Oppenheimer Can Win: Killers of the Flower Moon Should Win: Oppenheimer Production Design
For Production Design, it seems like a two-way race between Barbie and Poor Things. It could go either way, but we’re leaning more toward the colorful world of Barbieland.
Will Win: Barbie Can Win: Poor Things Should Win: Barbie Costume Design
The Costume Design race also seems to be between Barbie and Poor Things. Again, we’re giving the edge to Barbie, but don’t be surprised if the period drama upsets. This branch does tend to award period pieces a lot.
Will Win: Barbie Can Win: Poor Things Should Win: Barbie Makeup and Hair Styling
Makeup and Hair Styling will likely go to Maestro for its prosthetics work. However, there is also a chance that it goes to Poor Things for its impressive hair styling work. It’s a slight chance, but a chance nevertheless.
Will Win: Maestro Can Win: Poor Things Should Win: Poor Things Visual Effects
Visual Effects is a race that could go any number of ways. Right now, we’re leaning towards the sci-fi film The Creator because it has the most “obvious” special effects. However, it could also feasibly go to Ridley Scott’s war movie Napoleon or the underdog — Godzilla Minus One. We’re rooting for the kaiju to upset here, but don’t think it will happen.
Will Win: The Creator Can Win: Napoleon Should Win: Godzilla Minus One Sound
Continuing its below-the-line dominance, Best Sound is another award that Oppenheimer seems likely to take home on Oscar night. There is a very good chance that the Academy rewards the exquisite work in either Maestro or The Zone of Interest, but we expect them to go with another Oppy win.
Will Win: Oppenheimer Can Win: Maestro Should Win: The Zone of Interest Score
Speaking of Oppenheimer, it’s also almost guaranteed to take home Best Score. If something is going to upset, it would be John Williams’s work on Indiana Jones and the Dial of Destiny — the only other film in the nominees that was also nominated at the Grammys — but it’s Ludwig Göransson’s to lose.
Will Win: Oppenheimer Can Win: Indiana Jones and the Dial of Destiny Should Win: Poor Things Original Song
Your Best Original Song winner is… Barbie! Which Barbie song is a different question. Industry awards have mostly been going to the Billie Eilish tune “What Was I Made For?” so that’s the favorite, but “I’m Just Ken” did take home a lot of critics’ awards, so it could upset.
Will Win: “What Was I Made For?,” Barbie Can Win: “I’m Just Ken,” Barbie Should Win: “I’m Just Ken,” Barbie Documentary Short
The Documentary Short category seems to be led right now by The ABCs of Book Banning, if only because it covers important subject matter. However, the presentation of the film is somewhat low-quality, so it could be the much better The Last Repair Shop.
Will Win: The ABCs of Book Banning Can Win: The Last Repair Shop Should Win: The Last Repair Shop Animated Short
The Animated Short race seems to be between Letter to a Pig and Ninety-Five Senses. Ninety-Five Senses is the better and more crowd-pleasing film, but Letter to a Pig feels more timely and complex. We’re going to give the edge to Letter to a Pig.
Will Win: Letter to a Pig Can Win: Ninety-Five Senses Should Win: Ninety-Five Senses Live-Action Short
The Live-Action Short category also seems to be down to two major contenders. The first is the abortion drama Red, White and Blue, which could take home the award for its relevant subject matter. However, this could also go to Wes Anderson’s The Wonderful Story of Henry Sugar, perhaps finally giving the beloved filmmaker his “overdue” Oscar.
Will Win: Red, White and Blue Can Win: The Wonderful Story of Henry Sugar Should Win: Invincible
By Sean Boelman
Although SXSW is known for its flashy world premieres of big-budget blockbusters (and don’t get us wrong—we’re just as excited about The Fall Guy as everyone else), the Austin-based film and television festival also showcases a ton of indie projects and smaller-scale studio films that festival-goers absolutely should not miss.
We at disappointment media want to recommend a few films we think you shouldn’t miss that are playing at this year’s SXSW: Billy & Molly: An Otter Love Story
Molly and Billy connecting on the pontoon. (National Geographic/Charlie Hamilton James)
Admittedly, the inclusion of this documentary on this list might be clouded by the fact that otters are one of the few animals this writer actually finds cute. Putting that aside, though, Billy & Molly: An Otter Love Story has plenty of reasons to recommend it to festival-going audiences. The film tells the story of a man in the Shetland Islands who forms an unexpected friendship with a wild otter. It’s an adorable, sweet story, less than 80 minutes long, and shot in beautiful 4K cinematography by Charlie Hamilton-James — what’s not to love?
The Greatest Hits
Credit: Photo by Merie Weismiller Wallace, Courtesy of Searchlight Pictures.
Cinephiles are probably most familiar with filmmaker Ned Benson for The Disappearance of Eleanor Rigby, his trilogy of films telling the same story from different perspectives. His long-awaited return to the directorial chair is the romantic drama The Greatest Hits, which feels like an American answer to the work of filmmakers like John Carney and writer Nick Hornby. The film stars Lucy Boynton as a woman with a strange condition — whenever she listens to certain songs, she is transported back in time to the last moment she heard them with her deceased boyfriend. It’s a lovely film, and it will be released by Searchlight next month in theaters and on Hulu, so don’t miss the chance to check this one out.
Resynator
Courtesy Select A Shape Pictures
Alison Tavel’s documentary Resynator starts out seeming like a standard music documentary as she investigates the synthesizer she discovers was invented by her father. However, as she interviews her father’s peers and family members, the film turns into something much more personal and profound. It’s nice to see a movie like this — telling the filmmaker’s personal story — that is so unafraid to explore the darker elements with such honesty and empathy.
Sew Torn
Sew Torn is the feature debut of filmmaker Freddy Macdonald, adapted from his short of the same name. The short picked up some significant buzz after its release, and canny festival-goers will check the feature out expecting the same. This bonkers crime thriller follows a seamstress who gets caught up in a drug deal gone wrong, leaving her three options: commit the “perfect” crime, call the police, or drive away. The film plays out each of the choices in a format that’s edge-of-your-seat thrilling.
Things Will Be Different
Michael Felker has worked with the filmmaking duo Justin Benson & Aaron Moorhead as an editor since Spring, so it’s no surprise that his feature directorial debut, Things Will Be Different, is a mind-bending indie sci-fi thriller. You won’t soon forget this mysterious flick about two siblings who travel to a time-traveling farmhouse to lie low after committing a robbery, only to get stuck in a dangerous limbo. It might not be the type of movie you first think of when you think of a midnight movie, but it’s undoubtedly effective — and occasionally even super gnarly.
The 2024 SXSW Film Festival runs March 8-16 in Austin, TX.
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