Oscars
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‘Bardo’ and ‘All Quiet on the Western Front’ Could Break the Language Barrier in Sound Design Oscars Categories
The Netflix films from Mexico and Germany have intricate sound design worthy of awards attention
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How Canada’s Animated Doc ‘Eternal Spring’ Aims to Follow ‘Flee’ Path to Oscar Glory
TheWrap magazine: “I wasn’t concerned that people would think, ‘Someone did an animated doc last year,’” says director Jason Loftus
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Oscars Visual Effects Race Heats Up With a Multiverse of Movie Magic at Every Budget
“Avatar: The Way of Water,” “Top Gun: Maverick” and “Everything Everywhere All at Once” present extreme examples of VFX styles
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Why ‘Freedom on Fire’ Director Evgeny Afineevsky Felt He Had to Make a 2nd Doc About Ukraine
TheWrap magazine: “If we close our eyes to the crimes and the Russian leadership goes unpunished, then who knows what is next?” he says
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How ‘Three Minutes – A Lengthening’ Turns 1 Family’s Vacation Movies Into a Startling Look at the Holocaust
TheWrap magazine: “As soon as I saw these images, I realized that these are almost certainly the only moving images of this community,” says Glenn Kurtz of his grandparents’ 1938 film
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‘The Blue Caftan’ Faces Morocco’s Ultimate Taboo in Portraying a Queer, Closeted Craftsman
TheWrap magazine: Director Maryam Touzani says that shooting a film that talks about homosexuality was “a big, big risk”
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‘Hallelujah’ Directors Explain How They Turned Leonard Cohen’s Song Into a Whole Movie
TheWrap magazine: Dayna Goldfine said they wanted to answer one question: “What is it about Leonard Cohen that made him the only person in the universe that could written a song like Hallelujah’?”
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How ‘Memory Box’ Turns a Stack of Teenage Notebooks Into a Movie
TheWrap magazine: “I had this strange personal archive, and we thought it would be interesting to do something with it,” says co-director Joana Hadjithomas
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How Ukraine Oscar Entry ‘Klondike’ Tells a Timely Story Set in the Past
TheWrap magazine: “We made this film to very carefully ask the international audience: ‘What do you think about the situation on the border of Russia and Ukraine?’” says director Maryna Er Gorbach
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How Son Lux Made ‘Mountains of Music’ for ‘Everything Everywhere All at Once’
TheWrap magazine: “The challenge was to keep it from being a total mess,” says Ryan Lott, whose group Son Lux wrote the song “This Is a Life,” featuring Mitski and David Byrne
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How ‘Descendant’ Searched for a Slave Ship and a Community’s History
TheWrap magazine: “My mom talked about it like a ghost story or myth — it wasn’t something you talked about out loud,” says director Margaret Brown
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Why Brett Morgen Refused to Define David Bowie With ‘Moonage Daydream’
TheWrap magazine: “Bowie defies facts, defies definition and is beautifully mysterious,” the famed documentarian says
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‘Argentina, 1985’ Asks a Timely Question: How Fragile Is Democracy?
TheWrap magazine: “There was a lot of mistrust, a lot of misinformation, a lot of skepticism in the air,” says actor Ricardo Darín of the case study behind Argentina’s Oscar entry
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Why the New ‘All Quiet on the Western Front’ Needed a German Perspective on World War I
TheWrap magazine: Director Edward Berger says he wanted to infuse the classic anti-war story with “a sense of guilt, shame, terror, horror”
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How Ryan Tedder Secretly Taped ‘Top Gun: Maverick’ to Write the Hit ‘I Ain’t Worried’
TheWrap magazine: “I didn’t tell them I did this,” the OneRepublic Grammy winner says, “but I had an iPhone so I recorded the scene while we were watching it”
