Oscar season often feels like a weird-but-worthy treasure hunt.
Often enough, it brings surprising gems. I was reminded of that now, when I saw “Emilia Perez” and “Conclave” (shown here) almost back-to-back.
Both are up for best-picture Academy Awards, but they’re wildly different.
One is in Spanish, with some English; the other in English, with some Latin and Italian. One sprawls across Mexico and beyond; the other is confined to two buildings. One is mostly female, the other mostly male. But the difference goes much deeper.
“Conclave” (in theaters and on Pecock) tells its story in the traditional way. It does have two moments of cinematic splendor. (One comes just as the dean casts a vote; the other – a courtyard filled with red robes and white umbrellas – comes when things are resolved.) But mostly, things happen via dialog, discovery and plot twists.
“Emilia Perez” (on Netflix) goes far beyond that. It’s not quite a musical, but when potent emotions are needed, people singing, chanting, even dance.
The “Conclave” story focuses on the selection of a pope. Sides are formed quickly, voting totals teeter.
There is brilliant dialog here. (One speech – on the evils of certainty – should be delivered to politicians worldwide.) And it’s beautifully delivered.
Ralph Fiennes plays the dean of the College of Cardinals, in an Oscar-nominated role that’s a marvel in subtlety. You’ll also recognize Stanley Tucci, John Lithgow and Isabella Rossellini … who is nominated for saying a few words and casting a few scowls. All are excellent, as are lesser-knowns.
As for the “Emilia Perez” plot, the less you know, the better. This is a film filled with powder-keg surprises.
Zoe Saldana, the film’s star, is nominated as best supporting actress. Karla Sofia Gascon, in a supporting role, is nominated as best actress. The Oscars are like that sometimes.
Both are terrific – as is Selena Gomez, in a deceptively vital role. This is a film full of jolts. It’s as large and noisy as “Conclave” is confined and quiet. But both are treasures worth finding.
Oscars bring a cinema treasure hunt
Oscar season often feels like a weird-but-worthy treasure hunt.
Often enough, it brings surprising gems. I was reminded of that now, when I saw “Emilia Perez” and “Conclave” (shown here) almost back-to-back.
Both are up for best-picture Academy Awards, but they’re wildly different.
One is in Spanish, with some English; the other in English, with some Latin and Italian. One sprawls across Mexico and beyond; the other is confined to two buildings. One is mostly female, the other mostly male. But the difference goes much deeper. Read more…