Category Archives: Pop Culture

Arts Friday | Attend the New York Film Festival Right Here in Vancouver

Every year towards the end of September, both our homegrown Vancouver International Film Festival and the heavily-juried New York Film Festival get underway, presenting the best in cinematic art to be found anywhere across the globe.

As occurs each year, both VIFF & NYFF share fifteen or more films, as is the case once again this year. Here are the 15 films on offer at the New York Film Festival that will also screen at the 41st annual Vancouver International Film Festival

(film titles for each film link to VIFF’s website for the film, allowing you to purchase a ticket)

Aftersun

6:30pm, Friday, September 30th, International Village 9
9:15pm, Sunday, October 2nd, International Village 9

In one of the most assured and spellbinding feature débuts in years, Scottish director Charlotte Wells has fashioned a textured memory piece inspired by her relationship with her dad, starring Paul Mescal and Francesca Corio as a divorced father and his daughter whose close bond is quietly shaken during a brooding weekend at a coastal resort in Turkey.

Alcarràs

6:15pm, Friday, October 7th, SFU Woodwards
2:30pm, Sunday, October 9th, Vancouver Playhouse

Winner of the Golden Bear at the Berlin Film Festival, Carla Simón’s follow-up to her acclaimed childhood drama Summer 1993 is a ruminative, lived-in portrait of a rural family in present-day Catalonia whose way of life is rapidly changing.

All That Breathes

12:30pm, Sunday, October 2nd, International Village 8
9pm, Wednesday, October 5th, SFU Woodwards

In this hypnotic, poignant, and beautifully crafted documentary, New Delhi-based filmmaker Shaunak Sen immerses himself with two brothers who for years have been taking it upon themselves to save the black kite, their city’s endangered birds of prey, which the general population largely sees as nuisances despite their essential role in the city’s ecosystem.

Corsage

6pm, Monday, October 3rd, Centre for the Performing Arts
6pm, Thursday, October 6th, Centre for the Performing Arts

In a perceptive, nuanced performance, Vicky Krieps (Phantom Thread) quietly dominates the screen as Empress Elizabeth of Austria, who begins to see her life of royal privilege as a prison as she reaches her fortieth birthday. Marie Kreutzer boldly imagines her cloistered world with both realism and fanciful imagination.

De Humani Corporis Fabrica

9pm, Thursday, October 6th, The Cinematheque
6pm, Saturday, October 8th, VIFF Centre – Vancity Theatre

In their thrilling new work of nonfiction exploration, Véréna Paravel and Lucien Castaing-Taylor (Leviathan) burrow deeper than ever, using microscopic cameras and specially designed recording devices to survey the wondrous landscape of the human body.

Decision to Leave

9:15pm, Friday, September 30th, Centre for the Performing Arts
9pm, Thursday, October 6th, Centre for the Performing Arts

A Busan detective is increasingly obsessed with a murder suspect in a puzzling new case: a middle-aged businessman has mysteriously fallen to his death and his wife might be to blame. Park Chan-wook won the Cannes Best Director award for this twisting Hitchcockian detective thriller, one of his most enveloping and accomplished films.

EO

4pm, Sunday, October 2nd, Vancouver Playhouse
9:30pm, Saturday, October 8th, Centre for the Performing Arts

At age 84, legendary director Jerzy Skolimowski has directed one of his spryest, most visually inventive films yet, following the travels of a peripatetic donkey named EO who begins as a circus performer before escaping on a pastoral trek across the Polish and Italian countryside.

The Novelist’s Film

9:15pm, Tuesday, October 4th, International Village 9

For his playful and gently thought-provoking 27th feature, Hong Sangsoo takes on the perspective of a prickly middle-aged novelist, Junhee (Lee Hye-young), whose dormant creativity is stoked following a chance encounter with a famous actress (Kim Min-hee).

One Fine Morning

9pm, Sunday, October 2nd, Centre for the Performing Arts
6pm, Tuesday, October 4th, Centre for the Performing Arts

The intensely poignant and deeply personal latest drama from Mia Hansen-Løve (Bergman Island) stars Léa Seydoux as Sandra, a translator and single mother at a crossroads, torn between the romantic desire she feels for a married man (Melvil Poupaud) and her obligation towards her sick father (Pascal Greggory).

Pacifiction

9pm, Saturday, October 1st, International Village 9
5:30pm, Sunday, October 9th, Vancouver Playhouse

Catalan filmmaker Albert Serra reconfirms his centrality in the contemporary cinematic landscape with this mesmerizing, slow-building fever dream about a French bureaucrat (a monumental Benoît Magimel) drifting through a fateful trip to a French Polynesian island with increasing anxiety.

R.M.N.

9:30pm, Saturday, October 1st, Vancouver Playhouse
9pm, Thursday, October 6th, Vancouver Playhouse

Cristian Mungiu (4 Months, 3 Weeks, and 2 Days), who dramatizes the tensions of a modern Romania still beholden to dangerous traditions, returns with a gripping, mosaic-like portrait of a rural Transylvanian town riven by ethnic conflicts, economic resentment, and personal turmoil.

Scarlet

3:30pm, Thursday, October 6th, International Village 10
9pm, Saturday, October 8th, International Village 9

One of contemporary cinema’s most versatile talents, Pietro Marcello (Martin Eden) proves again he is as comfortable in the realm of folklore as he is in creative nonfiction with this enchanting period fable that delicately interweaves realist drama, ethereal romance, and musical flights of fancy.

Stars at Noon

9pm, Monday, October 3rd, Vancouver Playhouse
1pm, Saturday, October 8th, Centre for the Performing Arts

In Claire Denis’s surprising contemporary thriller, a dissolute young American journalist (Margaret Qualley) and an English businessman (Joe Alwyn) with ties to the oil industry meet by chance while on different, mysterious assignments in modern-day Nicaragua and tumble into a whirlwind romance.

Stonewalling

9pm, Saturday, October 1st, The Cinematheque
2:45pm, Tuesday, October 4th, The Cinematheque

A young flight-attendant-in-training’s plans to finish college are thrown into doubt when she discovers she’s pregnant. Not wanting an abortion, she hopes to give the child away after carrying it to term, while staying afloat amidst a series of dead-end jobs. Beijing-based wife-and-husband team Huang Ji and Ryuji Otsuka’s film is an urgent critique of a modern-day social structure that has few options for women in need of care.

Triangle of Sadness

9pm, Monday, October 3rd, Centre for the Performing Arts
9pm, Sunday, October 9th, Centre for the Performing Arts

Ruben Östlund’s wildly ambitious Palme d’Or–winning Buñuelian satire follows two hot young models (Harris Dickinson and Charlbi Dean) who rub elbows with the super-rich on a luxury cruise gone haywire.

Arts Friday | VanRamblings’ Annual VIFF Introductory Column

The 41st Annual Vancouver International Film Festival

The Vancouver International Film Festival returns to theatres after two years of a predominantly virtual, COVID-influenced online film festival.

Opening on Thursday, September 29th, the Festival’s Gala Presentation features a celebrated Indigenous film, Bones of Crows — a hit at the Toronto International Film Festival this year — by Métis filmmaker Marie Clements, who tells an epic story of survival during a shameful period in Canadian history, a powerful indictment of the abuse of Indigenous peoples and a stirring story of extraordinary resilience and resistance.

Fearless in its denunciation of centuries of oppressive policies by Canadian governments and institutions, Bones of Crows is also a memorable paean to the resilience and determination of those who survived the residential schools — and those who sought to bring their oppressors’ crimes to light.

The Festival will close 11 days later, on October 9th, with a Gala Presentation of VIFF favourite, South Korea’s Hirokazu Kore-eda, Broker, a sprawling crime story about a baby kidnapping scheme starring Song Kang-ho (Parasite), winner of Best Actor at Cannes earlier this year.

Winner of the Palme d’Or in 2018 for Shoplifters and winner of the Jury Prize five years before that for Like Father Like Son, the writer-director once again displays great empathy for characters who are trying to put their lives in order, examining their predicaments from every possible angle and ultimately guiding them into a position where they can do the right thing.

Unfolding over a truncated 11 days (rather than its pre-pandemic customary length of 16 days), the Festival will again feature a virtual online presence, though not every one of the 135+ feature films and 102+ shorts will be available virtually.

In total, twenty-four films will screen online through VIFF Connect.

In person, meanwhile, as was the practice in the pre-pandemic times, VIFF’s theatres where all 135+ feature films and 102+ shorts will screen, include …

The VIFF digital Festival Guide is now available; click on the preceding link.

The free, glossy printed Festival guide is available across Metro Vancouver, at libraries, coffee shops, and bookstores, and all your favourite local haunts.

Although the Festival is smaller than in past years, the film programme categories will look familiar: Panorama, the main Festival film feature programme curated by Alan Franey and PoChu AuYeung, showcasing 90 carefully curated narrative films arriving from across the globe.

Northern Lights features the next wave of Canadian and Indigenous storytellers; while Insights, the always illuminating documentary programme, this year will incorporate the Spectrum programme, a collection of innovative nonfiction filmmaking; and then there’s Portraits, a kaleidoscope of ground-breaking artists, great performances, and cultural icons; and, Altered States, 8 challenging and  bizarre films the constitute VIFF’s 2022 late night series.

In last week’s, award winning VIFF films in 2022 featuring the work of Oscar-winning director Sam Mendes, who brings his latest film, Empire of Light to VIFF; Martin McDonagh’s masterful, surprisingly poignant, and dazzlingly designed and performed, The Banshees of Inisherin; Corsage, Austrian filmmaker Marie Kreutzer’s biopic about late 19th century Empress Elisabeth.

More Special Presentations? How about Korean filmmaker Park Chan-wook’s Best Director Prize winner at Cannes this year, Decision to Leave, which offers a teasing, tantalizing neo-noir genre piece about a homicide detective who falls in love with the widow of an apparent suicide. There’s Mia Hansen-Løve’s quietly miraculous One Fine Morning, a balm of a film and another glorious showcase for the director’s light touch when dealing with complicated emotions.

VIFF’s Director of Programming Curtis Woloschuk told VanRamblings VIFF programmers curated a record number of films that emerged after the pandemic — half of VIFF’s films in  2022 feature first time filmmakers!

“There were over 4,000 films that our programming team watched and considered this year that leave us more educated and illuminated about the world we live in.”

In addition to the many screenings, VIFF Talks boasts visiting artists like Deborah Lynn Scott — responsible for clothing actors in films ranging from Titanic to the new, upcoming Avatar: The Way of Water  — who will present a masterclass on costume design. Kate Byron, who just led production design on Olivia Wilde’s Don’t Worry Darling, will give a masterclass on production design. And, Michael Abels, the composer for director Jordan Peele’s Get Out, Us, and Nope will make a special performance and speaking engagement with the Vancouver Symphony Orchestra on October 6th.

The VIFF Amp Symposium on Music in Film is set to run October 6th to 9th.

In other new and expanded initiatives, VIFF Executive Director Kyle Fostner told VanRamblings that, for the first time, the Vancouver International Film Festival will offer free memberships for persons 19 to 25 years of age, free access to Indigenous peoples, and more free offerings to community groups.

Individual tickets prices remain what they’ve been for years: $15 for any screening, except Special Presentations, which costs $17 for the award-winning future Oscar contenders, with reduced prices for seniors & youth.

VIFF passes and packages are also available again this year. A full Festival pass costs $350, with a senior rate at $300, and a youth rate of $120. There’s a 6-ticket pack at $84, and a 10-ticket pack available at $135. As was the case in 2020 and 2021, the VIFF Connect virtual online Festival pass will cost $70.

The VIFF Infoline, staffed by volunteers, is available 7 days a week, from noon til 7pm. Simply call (604) 683-3456 to have any question you have answered.

#Holidays | Bah Humbug! | 2021 Christmas Lights Tour

When VanRamblings began our first annual Christmas Lights Tour 50 years ago, the residences along every block of the city of Vancouver and the whole of the Lower Mainland was alight in Christmas light decorations, whole stretches of blocks where every homeowner had strung lights on the balconies around their homes, and on their lawns, competing with their next door neighbours and the neighbours across the way to take the community prize for best residential light display.

That was then, this is now. Much has changed.

Over the past 50 years, fewer and fewer homeowners have taken the time and trouble to put up Christmas light displays around their home. Back in the day, there were no Christmas LEDs available, so putting up residential Christmas decorations proved to be a costly seasonal expense, often topping $1000. For the past 20 years or so, LEDs have been all the rage — more environmentally sound, and much less costly — yet fewer light displays.

In 2021, VanRamblings’ recommendation to our readers: take a walk, or a drive, around your neighbourhood, and you’re likely to see a surprising number of residential light displays — which is what we found to be the case this year, across all 23 Vancouver neighbourhoods.

                                             Sutton Place Christmas tree

As in past years, our Christmas Lights Tour begins with the downtown hotels.

The photo above of a decorated Christmas tree was taken at the Sutton Place Hotel on Burrard Street. In the 1990s, when the hotel was named Le Meridien, and the General Manager was the diehard romantic, Louis Daniel, the hotel went out of its way to create a festive environment in the hotel.

Each year, the chef created an entire chocolate village in the front lobby, featuring a huge chocolate village table, and a continuation of the chocolate village all along the south wall at the entrance to Le Meridien. The remaining area in the lobby and the seating area north of the lobby was filled with a riot of lustrous Christmas trees.

That was the 90s, this is now. No more chocolate displays, no ‘huge’ trees, and many fewer of them. Even before COVID this was the case. One supposes fiscal times were tough even pre-COVID, and the first things to go were the chocolate villages, and the riot of huge Christmas trees. Alas.

  Hyatt Regency Hotel Gingerbread display, located at the entrance to the lobby

Next, it was a stroll down an almost deserted Burrard Street (amidst the supposed hustle and bustle of the Christmas shopping season) to the Hyatt Regency Hotel at Georgia Street, to see if the hotel had come through with their annual Metro Vancouver public and private school-created Gingerbread villages. As was the case last year, again this year, aside from the gingerbread display you see above — created by Hyatt Regency staff, one would suspect — there were no gingerbread village displays to be found. Must be this new Omicron variant that’s been spreading so wildly this past week, or so.

Hotel Georgia Christmas tree in the lobby of the hotel. Don’t miss the optical illusion art on the wall.

Next it was to the Hotel Vancouver, and then to the Hotel Georgia. In the past, the Hotel Georgia set up a free hot chocolate bar every visitor to the hotel might enjoy. Not this year, or last. There’s still the optical illusion art work on the wall in the lobby area to admire, and the trees you see in the photo above.


View of Stanley Park, from the concourse of Canada Place. Don’t miss the Woodwards window displays.

Next on the gloriously sunny and clear-skied Thursday, December 16th, it was to Canada Place to see the Woodwards window displays, and to admire the view from the concourse. VanRamblings could continue to bah hug! our way through this portion of the tour, and comment on the fact that neither the Pan Pacific Hotel nor the Fairmont Hotel had bothered to create any kind of festive atmosphere in their hotels, and once again this year there were no 25′ decorated corporate Christmas trees in the Canada Place open area — but we won’t do that, because we’re in an upbeat and festive mood!

As always, the Woodwards windows — which VanRamblings enjoyed as a child — were spectacular if, as our friend commented, “more than a bit colonialist in their presentation.” Still and all, free, something to behold, and a must-see.

We got back into our comfy and spacious EVO sedan car (with heated seats!) — although we had tried to secure one of EVO’s fleet of Kia Niro EV’s, of which there are only four in a fleet of 2500 EVO vehicles, but were unsuccessful. Next year maybe.

As the Christmas Lights Tour is supposed to be a free event, as we drove by the Christmas Market at Jack Poole Plaza we noticed the line was long, and entrance to the Market was fiscally dear — so we drove on to see the row houses in the 100 block of Victoria Drive that were all lit up last year. Not this year.

We drove to Victoria Park, where last year we noticed that the entire 1800 block of houses along Kitchener Street were lit up with Christmas decorations galore. Not in 2021. The same proved true along Victoria Drive from East 3rd Avenue south — with no light display surrounding the house at 12th and Semlin Drive, either. A minor disappointment, as we made the decision to drive along the residential streets of Grandview Woodland, from Victoria Drive and East 2nd through to East 8th Avenue, and up to Nanaimo Street. There were  in the neighbourhood a pleasing number of residential Christmas light displays, so our festive holiday lights needs were more than met, we found.

We next drove through East Vancouver (see photos above), along Kitchener Street, up Rupert Street to Price Street, then over to Ontario Street just west of Main Street, and finally to Canuck Place west of Granville Street.

We continued our Christmas Lights Tour drive through Vancouver, as we drove through Vancouver’s neighbourhoods towards Canuck Place (always a delight!) — although, this year, there is no entrance to the grounds, as in past years —  but we did run across the home pictured above that was not on our Lights Tour last year. In fact, we found that the entire 3200 block of West 14th Avenue was completely lit up. There are also a great number of holiday light displays west of Waterloo Street, from West 11th Avenue to West 14th Avenue.

We continued our drive, now over to the Royal Vancouver Yacht Club light display, then to Granville Island, and downtown past the St. Paul’s Hospital Lights of Hope display, to English Bay, and then on to the Bright Nights display — which we were disappointed to find this year requires a purchased-in-advance $13 ticket that both gains you entrance into the Firefighters Holiday Lights Display, and a ride on the Christmas train. VanRamblings is of a parsimonious nature (we had our $10 in hand to donate to the Firefighters Burn Fund), and given that by this time we were famished, we decided to drive over the Lion’s Gate Bridge towards the Cactus Club at Park Royal, where we both enjoyed nutritious bowls of goodness.

Preparing for our drive out to Horseshoe Bay along Highway 1 — which affords an eagle’s eye view of Metro Vancouver — we first ‘stopped in’ at the 800 block Eyremount in the British Properties, where we were wowed by the Christmas Lights Display. On the way back from Horseshoe Bay along the lower road of Marine Drive, right next to the water and then along and through Dundarave, we next decided to take in the lights of North Vancouver, which may be found in the Google Maps display just below.

Traveling over the Ironworkers Memorial Bridge we took the turn off, and headed towards Hastings Street where the street was all lit up.

As the hour was late, and my Lights Tour companion was fading — with Google Maps on his smartphone, he had acted as the navigator throughout, and did a darn fine job — prior to heading home we stopped in for a late night hot chocolate at Timmie’s, after which we returned to our respective homes.

When conducting the Christmas Lights Tour from the mid-1980s through the mid-1990s, Megan (VanRamblings’ very decided ‘knows her own mind, knows what she wants’ daughter, 8 years of age in 1985), along with her brother Jude decided that the Christmas Lights Tour would begin at 3pm, when they were let out of school, and last until the wee hours of the next morning, usually around 4 a.m., when we took in not just the whole of Vancouver, but the entirety of the North Shore, Burnaby, New Westminster, the Tri-Cities, and then over the Port Mann bridge to Surrey — the ability to get by on only four hours sleep a night, and get a second wind to take us through the night, but one salutary feature inherited from their loving and devoted papa.

If you wish to go further afield than what we’ve outlined above, take a look at the second half of VanRamblings’2020 Christmas Lights Tour guide.

On a final note, should you click on the 2020 Christmas Lights Tour guide, you’ll find the following festive home in Surrey, near Guildford.

Flavio Marquez, the homeowner of 16468 104 Avenue, in Surrey, wrote to VanRamblings awhile back to say …

In 2021, my family has built an even larger holiday lights display, with many more lights and more lawn decorations than last year. During the holiday season in 2020, we raised over 1,400 lbs of food and almost $1,800 in cash donations. With the support of your readers — who we would very much like to see visit our home this year — we hope to do even better in 2021!

Again this year, my family has created a Facebook photo album (click on preceding link) that will provide your readers with even more insight into what we’ve been able to achieve.

Hoping your family, and all of your readers’ families, enjoy the merriest of Christmas seasons. Merry Christmas, and may the New Year fulfill all of your fondest wishes.

Thank you, Flavio! And thank you to all VanRamblings readers. Wishing you a very Merry Christmas, and the happiest & most rewarding holiday season.

#Cinema | Holiday Oscar Awards Season, Part 1 | The Streaming Oscars

The Oscars are just around the corner and Netflix is bringing its A-game, with a collection of movies released or soon to be released that are not only eyeing the top prizes and figure in the conversation, but may come out on top.

Here are Netflix’s Oscar hopefuls for 2022.

Jane Campion’s The Power of the Dog (débuts on Netflix, next Wednesday, December 1st), a neo-Western that won the Venice Best Director prize for Campion, currently tops a raft of critics’ polls in major cities across the continent.

Demonstrating her own strong, clear vision — not to mention superb control of her craft — Campion once again proves her ability to illuminate hidden truths and let the viewer see what was hiding in plain sight all along. Her first film in 9 years is a contemporary Western masterpiece imbued with the same pacing and style of westerns of lore. Campion takes her time, letting the story, based on the 1967 novel by Thomas Savage, reveal itself in languid style. Kirsten Dunst has a lock on a Best Supporting Actress Oscar nod, if not an outright win.

After sending up the financial crisis (The Big Short) and Dick Cheney (Vice), in Don’t Look Up director Adam McKay — who makes no secret of his progressive politics — turns his satirical eye to a less serious target: a global catastrophe.

A thinly veiled allegory for climate change, critics who’ve had an early look at the film praised its humourous satirical flourish — comparing it to Stanley Kubrick’s classic, Dr. Strangelove. Even for those critics who weren’t entirely won over by Don’t Look Up, there was appreciation for a film most found to be incredibly funny — perhaps too funny to find itself in the Oscar conversation.

Jennifer Lawrence plays an astronomy grad student and Leonardo DiCaprio her professor in this broadly comic film, as the two try to alert the world to an approaching comet. The cast, including Meryl Streep as the President and Cate Blanchett and Tyler Perry as TV hosts, makes this Oscar contender the starriest Netflix film of them all. (December 10th in theatres, Christmas Eve on Netflix)

Maggie Gyllenhaal’s buzzed about feature directorial début, The Lost Daughter (New Year’s Eve), leads the Gotham Award nominations, and has an outstanding performance by Olivia Colman,  making her a lock for a Best Actress nod.

Playlist critic Tomris Laffly opened his review of The Lost Daughter this way …

“With The Lost Daughter, director Maggie Gyllenhaal wears melancholy like a second skin. One of her generation’s most underrated actors, she moves through her films with a flicker of otherworldly woe; an organic ability that has routinely informed the highlights of her filmography, from the erotically manic ‘Secretary’ to the gritty ‘Sherrybaby’, and more recently, the wistful thriller, ‘The Kindergarten Teacher’. In other words, Gyllenhaal has always possessed an auteurial sway over the films she was in, putting on them her signature ethereal stamp.”

Gyllenhaal’s film is a story of self-ascribed transgression and of shame buried and turned bitterly inward, and it too, is made with such alertness to the power of cinematic language — particularly that of performance — that, according to the critics, even as you feel your stomach slowly drop at the implications of what you’re watching, you cannot break its spreading sinister spell.

A masterwork in perception and all that society places upon motherhood, what makes The Lost Daughter a rewarding picture, is in how the film shatters the binary distinction between a ‘good’ mother and the bad one.

There are 2 films already streaming on Netflix that are Oscar award worthy …

While some Netflix Oscar contenders, like In the Heights, have struggled, Tick, Tick…Boom!, helmed by Lin-Manuel Miranda, emerges with a terrific lead-actor performance delivered by Andrew Garfield, his performance so outstanding and affecting, Garfield seems a lock to sing and dance his way into the hearts of Academy voters, who will thrust him into the Best Actor Oscar race, an award come Sunday, March 27th, 2022 he might very well win.

Miranda, who starred as playwright Jonathan Larson in a theatrical performance of the Broadway play, directs Tick, Tick…Boom! with a deep understanding of the passion, struggle, and ebullience of an artist committed to an art form celebrating the power and the pressure of the world both artists love most. A must-see, Tick, Tick…Boom! is a heart-filling work showcasing two musical geniuses: Larson’s musical legacy, and Miranda’s unparalleled artistry.

star.jpg  star.jpg  star.jpg

And then, of course, there’s VanRamblings’ favourite indie film of the year …

In our November 5th review of Passing, British actress Rebecca Hall’s remarkable directorial début we wrote this …

“From the very first frame, Passing grabs your attention, in this piercingly sad story of characters who can’t escape the confines of their lives. The vulnerability of Irene and Clare’s smallest gestures and experiences, delicately conveyed by Tessa Thompson and Ruth Negga and magnified by Eduard Grau’s judicious close-ups — a tear rolling down a cheek, the slight bow of a hatted head in the presence of a white man, a stolen glance of desire — under the genteel mask these women show to the world lies a roiling unease about their true desires, their barely hidden secrets, and their place in the world.”

Tessa Thompson is a lock for a Best Actress Oscar nod, while Rebecca Hall will likely be nominated, and perhaps win, as Best Director & is a certainty to win the Best Adapted Screenplay Oscar at the 2022 Academy Awards ceremony.

Neither Apple nor Amazon have any intention of being left out of the mix …

Apple has Joel Coen’s rip-roaring The Tragedy of Macbeth (débuts Jan. 14, 2022), starring Denzel Washington, as well as CODA, the heartbreaking Sundance sensation that could catapult newcomer Emilia Jones into the Best Actress — and Marlee Matlin, into the Best Supporting Actress — awards race.

One of Amazon’s choice Academy Award Oscar contenders is The Tender Bar, the new film directed by George Clooney, and starring Tye Sheridan as an aspiring writer with an absent father, with Ben Affleck playing the young man’s bartender uncle. The script, by William Monahan (The Departed), is based on the memoir by J.R. Moehringer. (December 17th in theatres for a brief run, then come January 7th, on Amazon Prime)

Amazon’s Being The Ricardos takes a chance on recognizable actors playing beloved Hollywood icons, but as Lucille Ball and Desi Arnaz, Nicole Kidman and Javier Bardem may very well overcome the enduring memories of generations of TV viewers. Aaron Sorkin wrote and directed this drama about the Ball-Arnaz relationship and the making of I Love Lucy. (December 10th in theatres, December 21st, on Amazon Prime)

For those of us older folks who grew up with Lucille Ball, who was the most beloved actress on television in the 1950s and 1960s, there’s a ready-made, built-in audience for Being The Ricardos. How the film does with the younger crowd we’ve yet to see — but word out of Hollywood is that Javier Bardem is a lock for a Best Actor nod, and in all likelihood Nicole Kidman has a Best Actress Oscar nod all but wrapped up. Aaron Sorkin will be up for an Oscar, too.

C’mon back next Thursday for Part 2 of VanRamblings’ Oscar / holiday season movie preview, when we’ll write about Steven Spielberg’s much anticipated new film, and Paul Thomas Anderson’s latest film — both of which are shoe-ins for Oscar attention. We’ll also write about a couple of under-the-radar international films that could feature in the main Academy Award categories.