Celebration, Controversy, All at Once

With the Academy Awards and BAFTAs just around the corner, this year’s o erings have left neither audiences nor critics disappointed. From the parallel universes and absurd hilarity of Everything Everywhere All at Once to the emotional realism of both Aftersun and The Banshees of Insherin, it is safe to say that a number of the following films are worthy of the critical recognition that comes from awards season.

Aftersun

By Alice Purves Rating: 5 stars

Charlotte Wells’ visually striking and impressive film debut, Aftersun, has already proven its worth. From its initial reception at Cannes Film Festival in May to the British Independent Film Awards, the Golden Globes, and to everyone that has been fortunate enough to see it in the cinemas or at home, it has been thoroughly appreciated. A deeply moving and intimate illustration of the realities of family relationships, both Frankie Corio and Paul Mescal are well-suited and maintain sincere complexity to the roles of Sophie and Calum.

Set in a 1990s resort in Turkey, the film’s timeline is flexible in its linearity, oscillating from home movie shots of the holiday to the present, aptly visualised through a rave scene. This allows for more strength to the familiarity of the flashbacks, for thirty-year old Sophie as well as the audience, for whom it is perhaps reminiscent of their own childhood. The film’s low budget and anti-Hollywood style seamlessly functions alongside the thematic simplicity and exquisite acting in order to create its appeal to audiences and critics alike, helping to ensure that the treatment of di cult themes, such as fatherhood, divorce and mental health, are handled with a touching realism. The ambiguity of the present serves to heighten the heart-wrenching nostalgia of the film, and the emotional vulnerability left with the audience at the end is a real tribute to the film’s production and writing. Having received a standing ovation at Cannes, as well as seven awards at the BIFAs, including Best British Independent Film, I am certain that Aftersun’s witty yet sombre brilliance will once again shine at this year’s upcoming awards season.

The Banshees of Insherin

By Charlotte Grimwade Rating: 4 stars

Martin McDonagh’s latest film follows the confusion Pádraic (Colin Farrell) experiences after his best friend Colm (Brendan Gleeson) suddenly ends their friendship. Set on an island o the coast of Ireland, the film is a clear contender this awards season. After already winning the awards Best Comedy or Musical, Best Screenplay and Best Comedy Actor at this year’s Golden Globes, it seems inevitable that it will experience similar success at the Oscars and BAFTAs.

The Banshees of Inisherin is beautifully shot. The film’s cinematography acts as a love letter to the Irish landscape, with luscious, rolling green hills and a jagged coastline providing the setting for such an intrinsically sad story. The plot explores the universal theme of confused communication and relationships. The film’s ambiguity is charming, despite its cleverly constructed illusive quality. Its seemingly simple premise contrasts the complex ideas it chooses to explore. The comedic elements are dark yet hilarious, with Farrell and Gleeson’s collaborative history shining through. There’s a reason why The Banshees of Inisherin will do so well at this year’s awards – its simultaneously universal and witty tale makes it a must-watch contender.

Glass Onion: A Knives Out Mystery

By Martha Powell Rating:

3.5

stars

In a post-pandemic world, perhaps it is unsurprising that a likely award-nominated film garnered most of its income from digital platforms, rather than from the traditional box o ce. Despite giving the option for a cinematic experience in November of last year by showing the film for a week, the vast majority of viewers saw Glass Onion: A Knives Out Mystery over the festive period at home.

By changing the cast, the location, and the murder, Glass Onion is a sequel, but not in the typical blockbuster sense. Both films explore similar themes of wealth and privilege, neatly tied together by the buoyant protagonist, Detective Benoit Blanc. Daniel Craig is able to shed his previously uptight and serious reputation from the Bond series here, embracing this playful role.

Another stand out performance is Janelle Monáe, emulating a similar accomplice role to Ana de Armas in the previous film. Her comic timing is well complemented by the direction of Rian Johnson, who’s ability to peel back layers of the mystery through di erent points of view provides a thrilling and entertaining family viewing. This style of reveal, coupled with an abundance of various references and cameos, make the film that much more joyous. Although perhaps not the most intellectually compelling film looking for success this awards season, its potential for nomination shows that cinema can just be for amusement’s sake, and critics would be wrong for dismissing it.

Everything Everywhere All at Once

By Siobhan Gardiner

Rating: 4 stars

If you’ve managed to keep Everything Everywhere All At Once o of your radar this year, I would be incredibly impressed. The comedy/sci-fi/drama has burst onto the scene, following Evelyn Wang (Michelle Yeoh) as she must manoeuvre her way through di erent multiverses alongside her husband Waymond (Ke Huy Quan) to defeat Jobu Tupaki (Stephanie Hsu). Nihilistic and existential considerations are a key feature of the film, which in turn allows for a focus on the intricacies of Asian-American identity and migration. Evelyn’s decision to leave China and move to the US with Waymond is handled with sentimentality, without avoiding the di culties faced by the family, most potently in the issues surrounding the intimate development of the relationship between Evelyn and her daughter Joy.

Everything Everywhere All At Once (or EEAAO) has already won accolades at both the Golden Globes and Critics’ Choice Awards. Its nominations for the BAFTAs have indicated the broad appreciation of the film, perhaps predicting its suspected performance at the Academy Awards. Despite being dismissed in the categories of Visual E ects and Makeup, which seems surprising given its extensive and e ective use of these to aptly illustrate the distinct multiverses, Yeoh and Kwan have both received awards for their respective acting accomplishments. This puts them in a secure position for the upcoming ceremonies, alongside the buzz for Best Picture and Best Director. Many are hopeful that Hsu will pick up more recognition along the way for her role too, with Jamie Lee Curtis receiving more nominations for Supporting Actress. Either way, with a story that has captivated millions around the world, even if EEAAO doesn’t win big this awards season, it’s already secured its place as a fan favourite.

Severance

By Samuel Lopes Rating: 4.5 stars

The first season of Severance was an enigma, an exquisitely packaged locked box, patiently waiting for you to watch the next season to hand you the key. Like every detail of the show, this was ostensibly by design; it ‘was always a multi-season story’, and that lack of closure may have prevented the acclaimed series from picking up as many Golden Globes as anticipated.

Severance is a show years in the making, and it shows. Ben Stiller’s expert direction lends the series an appropriately claustrophobic and unsettling air, and the show’s exploration of work/life balance is subtly handled. The premise is equally intriguing; certain employees of Lumon Industries have a bifurcated self; one for work – called the ‘innie’ – and one for life called the ‘outie’. When a former severed film@palatinate.org.uk co-worker reveals themselves to an outie, the mystery surrounding Lumon begins to slowly unspool.

Like the menacing leviathan of Lumon Industries, the show looms out at you – a black, imposing, hypercomplex monolith standing out amongst Apple TV’s other lacklustre o erings. Adam Scott has left his previous roles firmly outside the show’s walls and gives his most layered performance to date, earning a nomination for Best TV Actor. The rest of the cast are equally complex, and Severance even shares some DNA with last year’s winner, Succession, in the form of Zach Cherry, who plays the wise-cracking Dylan G (surnames for innies are bad for productivity, it seems).

One of the most memorable elements of the show is the rewards that innies receive for good work, the most coveted being ‘wa e parties’. Based on this season alone, the Golden Globes think that Severance is deserving of an extra awards season bonus. But the ‘wa e party’ of a win is yet to come – we’ll have to see whether Season 2 can keep up the good work.

All Quiet on the Western Front

By Melissa Rumbold Rating: 4.5 stars

With its completely raw storyline, graphic depictions of war, and excellent cinematography, Netflix’s All Quiet on the Western Front comes close to a masterpiece. Edward Berger’s disturbingly brilliant drama details the life of a young, excited German soldier whose ideals and patriotism are quickly shattered by the hellish reality of the First World War. As the men in the film face increasingly harrowing situations, the lies of glory and heroism unravel as each minute of the film passes.

Berger’s take on this classic war story excellently weaves propaganda and scenes of the elite with the death and action on the battlefield, highlighting the heart-breaking di erences between young men sent to die and those in power who will not settle for unacceptable negotiations. Perhaps the first instance of truth hits at the beginning of the film when protagonist Paul collects his uniform with the name of a dead soldier still attached to it. Berger’s depiction of military leaders and politicians exposes the unflinching lack of humanity like never before.

Pierced with a reoccurring, haunting score, the feeling of doubt and dread never leaves the audience, even for a second, as fear and tension brilliantly underpin the drama. Held together by a thread of humanity, Berger’s creation keeps the memory of young men firmly alive. All Quiet on the Western Front is a gruesome, terrifying, and realistic interpretation of the 1929 novel, and it is no surprise that the film has already been nominated for 14 Baftas, leading this awards season. Its critically acclaimed realism and the touching eloquence of the acting immediately secured its place as a favourite.