(Los Angeles) A famous slap in the face relegated it to the background, but the Oscar ceremony was marked by a historic first: a film broadcast by a transmission swept the supreme award for best picture under the noses of the major traditional Hollywood studios.
Posted at 10:17 am
Many in the movie industry believe that if Will Smith hadn’t taken the stage to punch out comedian Chris Rock, the Oscar won for Apple TV+ with CODA would have been at the center of all the conversations of professionals in the sector.
“It was clear that a service of transmission sooner or later he would break this barrier. And I think it’s a great opportunity,” says Kendall Phillips, a Syracuse University professor and scholar of pop culture. “I really think this will allow Academy voters to take a lot more movies seriously” from the Oscars.
From the start of movie awards season, a movie broadcast on a video-on-demand platform seemed to have a good chance of winning in ’94.me Oscar edition.
For a long time it was the power of the dog, a dark and psychological western by Jane Campion, which was given as a great favorite. This movie was produced by Netflix, the oldest and strongest of streaming services. transmission.
A sign of the times, Netflix had joined the ranks of the influential Motion Picture Association of America in early 2019, previously made up of only historical Hollywood studios.
But he still had to consolidate this recognition of the profession with an important Oscar.
Unfortunately for Netflix, CODAan upbeat comedy-drama about the life of a hearing teenager and her deaf family, made an impressive comeback and ultimately won this year’s Oscars.
mistrust and prejudice
The irruption of the services of transmission at the Oscars is relatively recent and reflects the prejudice and mistrust that has long prevailed against them in Hollywood.
We had to wait until 2017 and manchester by the seaproduced by Amazon, for a movie in strembling be retained in the race for the award for best feature film.
He had been beaten that year by Moonlight.
Since then, Netflix has continued to rack up nominations in this queen category, with for example Rome, the Irish, marriage story, Missing, The Chicago Seven Where don’t look up.
In the last three years, Netflix has even clearly gotten ahead in the number of Oscar nominations. This year alone, the platform had 27 in total, but only confirmed one with the Oscar for best direction for Jane Campion.
By contrast, Apple TV+, launched in late 2019, received three awards this year (out of six nominations).
According to the specialized magazine VarietyApple has spent more than $10 million on the campaign. CODAa film whose production cost 15 million.
Netflix had also deployed all its financial power for the promotion of the power of the dogwhich was not to everyone’s taste in Hollywood.
“Everywhere you drive in Los Angeles, you come across billboards proclaiming it to be ‘the best movie of the year,'” a director on Indiewire annoyed. “Netflix can only blame itself” for losing its film at the Oscars, it continues on condition of anonymity.
Some Academy voters are notoriously reluctant to vote for a film released in transmissiona format that they see as a threat to traditional cinemas, which they say is the best way to see a movie.
And nostalgia for dark rooms plays a role, too, especially among older people.
For Kendall Phillips, the public cares much more about the content and platforms of transmission know how to meet your expectations.
“It is increasingly difficult to determine where a film comes from, if it is the production of a service of transmission or a large studio. This boundary has probably been permanently blurred,” she notes.
This is all the more true for CODA that the film had originally been shot with a view to its theatrical release, but the pandemic disrupted their plans. Apple TV + only bought it at auction after its presentation at the Sundance festival.
Filmmakers themselves pay less and less attention to this distinction.
“Netflix is not what I would have liked to start with, but it is a bit like the Medici of our time,” said Jane Campion in Los Angeles Timesin allusion to the Florentine patrons who financed the development of the greatest Renaissance artists.