From the most commercial movies to the artiest of arthouse fare, all of the year’s best picture Oscar nominees have one thing in common: themes of power struggles and an anti-authoritarian streak. …
From the most commercial movies to the artiest of arthouse fare, all of the year’s best picture Oscar nominees have one thing in common: themes of power struggles and an anti-authoritarian streak.
“I don’t think we knew that our movie would be coming out at the same time our former president was having a dinner with a Holocaust denier and an unmedicated bipolar anti-Semite rapper,” says “The Fabelmans” producer/co-writer Tony Kushner. The musical biopic “Elvis” is another hit that delves into these themes. “No one’s ever focused on that aspect of the film, and that’s primarily why I did it,” says director/co-writer, who produced it with Catherine Martin, Gail Berman, Patrick McCormick and Schuyler Weiss. “The subtext is exploring America in the ‘50s, ‘60s and ‘70s, and if you do that, you can’t avoid power structures between the ‘sell’ and the ‘soul.
Field also worked to dramatize this visually. “The great editor Monika Willi and I were together seven days a week. Our aim was to build this thing as a way to examine power, at least as one might be able to within the lens of a feature film,” he says, citing a scene where writer Adam Gopnik interviews Tár at the New Yorker Festival. “The idea was to allow her to hold the floor as long as possible, as a display of mastery and dominance.
“We were interested in the idea of imagining a new future, as opposed to spending time adjudicating the past,” says Gardner, who produced it with Jeremy Kleiner and the film’s co-star, Frances McDormand, who brought the book to Garner. “It presents people who’ve come to realize that in order to stay true to their faith with integrity, they must question power systems that have grown up around them.
Another theme is anti-feminism, found in the thwarted ambitions of the matriarch, Mitzi . “This was right before Betty Friedan [wrote ‘The Feminine Mystique.’] It was a time when there was a sense that [a woman] could have a career, and they were also probably going to get punished for it.
Though Wang didn’t write the screenplay, it mirrors his own story. “My grandfather had to flee mainland China [during] the Cultural Revolution and went to Taiwan, where all he was doing was meeting his children’s basic needs to keep them alive. And when my father left Taiwan to come to America, [it became] about pursuing the American dream, wanting your kids to be successful and assimilate.
So how much of the film is an allegory for Ireland’s many decades of internal conflict that pit longtime friends against each other? Few war stories are as devastating as Erich Maria Remarque’s 1929 novel “All Quiet on the Western Front.” Edward Berger’s new German film adaptation begins with a schoolmaster trying to convince students that fighting in World War I is the patriotic thing to do, telling them that “modern warfare is like a game of chess. It’s never about the individual. It’s always about the whole.”
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