An Odd Year in Movies: Insights from the 2024 Oscar Nominations
After an unusually enjoyable Oscars themed around Barbenheimer in 2024, this year’s nominations have reverted to a familiar format. As typical, the nominees include a blend of popular blockbusters like Wicked: Part 1 and Dune: Part 2, alongside smaller yet noteworthy films such as Conclave and Anora. There is also the traditional Oscar bait, with Emilia Pérez leading the nominations this year.
When compared to last year, which celebrated both mainstream hits and unexpected indie successes, this year's lineup seems like a step back. While some of the nominated films have dedicated supporters, especially on platforms like Letterboxd, there is a noticeable absence of movies that the general audience considers masterpieces. Films like The Brutalist and Anora raise questions about whether they truly deliver on their promising premises.
This year's nominations provide a glimpse into the trends shaping 2024 cinema. Although the Academy's views do not always reflect those of ordinary moviegoers, they highlight interesting developments in the film industry.
The Impact of Strikes on Nominations
Despite receiving five nominations, including Best Picture, Dune: Part 2 has been somewhat overshadowed during awards season. The buzz around Timothée Chalamet's portrayal of Bob Dylan in A Complete Unknown has diverted attention from this epic. Originally slated for an October 2023 release, Dune: Part 2 was postponed to March 1, 2024, due to the writers’ and actors’ strikes, diminishing its conversation appeal.
In contrast, the zero-nomination film Challengers could have garnered more attention had it not faced repeated delays, similar to Dune. Originally meant to premiere at the Venice Film Festival in 2023, it ultimately contributed to a lack of significant Oscar buzz for director Luca Guadagnino. It's worth pondering whether these films, along with Guadagnino’s work, would have fared better had they debuted in different years.
The Return of “Middlebrow” Films
After years dominated by superhero films and excessive CGI, 2024 marked a refreshing shift in cinema. This year, audiences saw a resurgence of mid-budget, or “middlebrow,” movies. Titles like Conclave, a film with eight nominations, The Substance, with three, and A Real Pain, with two, brought accessible yet intriguing stories back to the forefront. These films not only performed well at the box office but also spurred discussions in pop culture.
While some question the artistic value of these films, their popularity indicates a beneficial trend for the industry, offering viewers a broad spectrum of choices.
The Mixed Fate of Musicals
The audience's appetite for movie musicals remains uncertain, though 2024 marked significant releases in the genre. Four notable musicals—Wicked: Part 1, Joker: Folie à Deux, Emilia Pérez, and Better Man—arrived this year, each backed by substantial marketing efforts. However, only Emilia Pérez and Wicked: Part 1 scored major nominations, with Wicked becoming a remarkable box office success.
The film Emilia Pérez, which features Selena Gomez, generated critical buzz at film festivals but struggled to resonate with wider audiences upon release. As for Joker: Folie à Deux, it faced both box office disappointment and critical backlash, often becoming a punchline on platforms like social media.
The Appeal of Longer, Epic Movies
This year, the success of lengthy films like Wicked: Part 1 and Dune: Part 2 indicates a growing appetite for epic cinematics. The two offerings contributed to a trend that participated in the “Barbenheimer” craze, reinforcing the notion of films as must-see events akin to concerts. Large viewing formats, such as IMAX and 70mm, have gained traction, inviting audiences to experience visually stunning films.
Challenges of Replicating “Barbenheimer” Magic
2024 proved that the excitement of titles like Barbie and Oppenheimer is challenging to replicate. Efforts to create a similar buzz with the release of Wicked and Gladiator II fell short. While both films made respectable earnings, they could not capture the same cultural fascination as the earlier releases. The sequel Gladiator II, while receiving notes for its performances, particularly Denzel Washington’s, ultimately missed major nominations.
In summary, this year’s nominees remind us that box office success does not guarantee Oscar recognition. Films like Deadpool & Wolverine and Inside Out 2 illustrate that popularity alone is not enough to receive honors from the Academy. While box office hits like Barbie and Oppenheimer impressed voters last year, it seems clear that a blend of artistic merit and commercial success is needed to earn awards recognition.
movies, oscars, trends, musicals, blockbusters