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Tag: Justine Triet

  • Where to watch this year’s Oscar-winning films online

    Where to watch this year’s Oscar-winning films online

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    The Oscars are over and the winners are now on the books, but you’re still behind on watching?

    No worries. Here’s a guide on where to watch Sunday’s triumphant, though nominees that missed out on a statuette are worthy, too. Think “Killers of the Flower Moon,” “Maestro,” “Rustin,” “Past Lives,” “Nyad” and more.

    Also look for some of the short films that took home statuettes, including Wes Anderson’s “The Wonderful Story of Henry Sugar.” It streams on Netflix and is widely available for digital purchase or rental. The documentary short winner, “The Last Repair Shop” streams on Disney+.

    “OPPENHEIMER”

    13 nominations, 7 wins. Streams on Peacock.

    Christopher Nolan’s atomic opus “Oppenheimer” received widespread critical acclaim and broke box office records. It’s half the Barbenheimer phenom with “Barbie” from last July. The three-hour film, which is semi-trippy and flashback heavy, chronicles the trials and tribulations of the secret Manhattan Project’s J. Robert Oppenheimer (Cillian Murphy). Available for pay at YouTube, Apple TV, Prime Video, Vudu, iTunes, Google Play and elsewhere.

    “POOR THINGS”

    11 nominations, 4 wins. Streams on Hulu.

    Think Frankenstein story, and his bride. Director Yorgos Lanthimos owes a debt to Emma Stone, his childlike and highly randy Bella, in “Poor Things.” The comedy is dark and the vibe Victorian fantasy. And did we mention the sex? How Bella handles that activity has been the talk of film circles. No spoilers here but rest assured her consciousness is raised. Also stars Willem Dafoe and Mark Ruffalo. Available for purchase only on Prime Video, Apple TV, Google Play, Vudu and elsewhere.

    “BARBIE”

    8 nominations, 1 win. Streams on Max.

    Greta Gerwig’s “Barbie,” in the billion-dollar club at the box office, is a live-action musical comedy focused on the 64-year-old plastic doll in a range of iterations. It also took the globe by storm, culturally speaking. The film stars Margot Robbie and Ryan Gosling (as Just Ken). Robbie plays Stereotypical Barbie, who experiences an existential crisis but lands on the road to self-discovery. Available for pay at iTunes, Apple TV, Google Play, YouTube, Vudu and elsewhere.

    “AMERICAN FICTION”

    5 nominations, 1 win. Streams on MGM+

    Cord Jefferson’s directorial debut “American Fiction” is what satire should be: funny while succinctly pointing at truths. Jeffrey Wright plays a frustrated academic up against the wall of what Black books must be to sell. He takes action. The film is also about families and the weight of their struggles. Wright is joined by a great supporting cast in Leslie Uggams, Erika Alexander, Issa Rae, Sterling K. Brown and Tracee Ellis Ross. Available for pay at Prime Video, Apple TV+, Google Play, YouTube, Vudu and elsewhere.

    “ANATOMY OF A FALL”

    5 nominations, 1 win. Digital purchase or rental.

    Justine Triet’s “Anatomy of a Fall” took the Palme d’Or at the 76th Cannes Film Festival. It stars Sandra Hüller as a writer, Sandra, trying to prove her innocence in court in her husband’s death at their chalet in the French Alps. The verdict? We won’t tell. Did she or didn’t she? Triet wrote the film with her husband, Arthur Harari, and they shared in the film’s adapted screenplay win Sunday. Available for pay at iTunes, Prime Video, Google Play, Vudu, YouTube and elsewhere.

    “THE HOLDOVERS”

    5 nominations, 1 win. Streams on Peacock.

    The Alexander Payne offering “The Holdovers” is set at Christmastime, but its themes of loneliness and belonging resonate well beyond the holiday, wrapped in a comedic package. Set in 1970 over the holiday break at a boarding school, there’s plenty of nostalgia in the details. It stars Paul Giamatti in curmudgeonly glory as the teacher stuck minding Angus (Dominic Sessa) and other students with no place to go. Da’Vine Joy Randolph delivers a standout — and Osar-winning — performance as a grieving school worker who spends the holidays at the school. Available for pay at iTunes, Prime Video, Google Play, Vudu and elsewhere.

    “THE ZONE OF INTEREST”

    5 nominations, 2 wins. In theaters. Digital purchase.

    There’s another meaty role for Hüller in the Holocaust story “The Zone of Interest,” directed by Jonathan Glazer. She plays Hedwig, the wife of Rudolf Höss (Christian Friedel), the real-life, bloodthirsty commandant of Auschwitz. The action largely has Rudolf and Hedwig living their everyday family lives just a few steps from the ovens and trains that were instruments in the slaughter of millions of Jews. A story worth telling, considering their status as monsters? You decide. Available for pay on Prime Video, Apple TV, Google Play, Vudu and elsewhere.

    “20 DAYS IN MARIUPOL”

    1 nomination, 1 win. Digital purchase or rental. In North America it’s streamable on the Frontline page at pbs.org, the PBS app and at Frontline on YouTube.

    A joint production by The Associated Press and PBS “Frontline,” the documentary “20 Days in Mariupol” has been met with critical acclaim and an audience award at the Sundance Film Festival. AP journalist Mstyslav Chernov directed the movie from 30 hours of footage shot in Mariupol in the opening days of the Ukraine war. Chernov and AP colleagues Evgeniy Maloletka, a photographer, and producer Vasilisa Stepanenko were the last international journalists in the city before escaping. Available for pay at Prime Video, Google Play, Vudu and elsewhere.

    “THE BOY AND THE HERON”

    1 nomination. 1 win. Digital purchase or rental.

    Dreamy and enthralling, director Hayao Miyazaki and Studio Ghibli do it again. Well. The beautifully animated Japanese fantasy “The Boy and the Heron” has young Mahito late in World War II mourning the death of his mother and encountering a talking and ornery gray heron he can’t get rid of. And there’s a very important tower. Available for pay on Apple TV.

    ___

    For more coverage of the 2024 Oscars, visit https://apnews.com/hub/academy-awards

    Copyright 2024 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed without permission.

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    Leanne Italie, Associated Press

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  • Here Are All the 2024 Oscar Winners

    Here Are All the 2024 Oscar Winners

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    Poor Things
    Image: Searchlight

    After enduring the pandemic and a pair of industry-stopping strikes, Hollywood seemed extra jazzed about celebrating itself at this year’s Oscars. While there weren’t a ton of genre movies on the ballot—truly, last year’s Everything Everywhere All at Once sweep still feels rather validating—a few did find their way to the podium.

    Most notably it was Poor Things leading the charge for genre, including a Best Lead Actress win for Emma Stone for her portrayal of Bella Baxter—arguably only rivalled by Oppenheimer, which took home the trio of big wins in Best Lead Actor, Best Director, and Best Picture. Barbie, amid a sea of discourse after nominees were initially announced earlier this year about perceived snubs, home only one win for original song out of its slate of nominations. Here are all the winners (plus their fellow nominees) from the 2024 Academy Awards. And may we just say, if Best Visual Effects winner Godzilla Minus One does get a sequel, we hope it makes it into more categories than its Best Picture-worthy predecessor.

    Best Supporting Actor

    • Sterling K. Brown (American Fiction)
    • Robert De Niro (Killers of the Flower Moon)
    • Winner: Robert Downey Jr. (Oppenheimer)
    • Ryan Gosling (Barbie)
    • Mark Ruffalo (Poor Things)

    Best Supporting Actress

    • Emily Blunt (Oppenheimer)
    • Danielle Brooks (The Color Purple)
    • America Ferrera (Barbie)
    • Jodie Foster (Nyad)
    • Winner: Da’vine Joy Randolph (The Holdovers)

    Best Animated Feature Film

    • Winner: The Boy and the Heron
    • Elemental
    • Nimona
    • Robot Dreams
    • Spider-Man: Across the Spider-Verse

    Best Animated Short Film

    • “Letter to a Pig”
    • “Ninety-Five Senses”
    • “Our Uniform”
    • “Pachyderme”
    • Winner: “War Is Over! Inspired by the Music of John and Yoko”

    Best Costume Design

    • Barbie (Jacqueline Durran)
    • Killers of the Flower Moon (Jacqueline West)
    • Napoleon (David Crossman & Janty Yates)
    • Oppenheimer (Ellen Mirojnick)
    • Winner: Poor Things (Holly Waddington)

    Best Live-Action Short

    • “The After”
    • “Invincible”
    • “Knight of Fortune”
    • “Red, White and Blue”
    • Winner: “The Wonderful Story of Henry Sugar”

    Best Makeup and Hairstyling

    • Golda
    • Maestro
    • Oppenheimer
    • Winner: Poor Things
    • Society of the Snow

    Best Original Score

    • American Fiction (Laura Karpman)
    • Indiana Jones and the Dial of Destiny (John Williams)
    • Killers of the Flower Moon (Robbie Robertson)
    • Winner: Oppenheimer (Ludwig Göransson)
    • Poor Things (Jerskin Fendrix)

    Best Sound

    • The Creator
    • Maestro
    • Mission Impossible: Dead Reckoning
    • Oppenheimer
    • Winner: The Zone of Interest

    Best Adapted Screenplay

    • Winner: American Fiction (Cord Jefferson)
    • Barbie (Noah Baumbach & Greta Gerwig)
    • Oppenheimer (Christopher Nolan)
    • Poor Things (Tony McNamara)
    • The Zone of Interest (Jonathan Glazer)

    Best Original Screenplay

    • Winner: Anatomy of a Fall (Arthur Harari & Justine Triet)
    • The Holdovers (David Hemingson)
    • Maestro (Bradley Cooper & Josh Singer)
    • May December (Samy Burch & Alex Mechanik)
    • Past Lives (Celine Song)

    Best Cinematography

    • El Conde (Edward Lachman)
    • Killers of the Flower Moon (Rodrigo Prieto)
    • Maestro (Matthew Libatique)
    • Winner: Oppenheimer (Hoyte van Hoytema)
    • Poor Things (Robbie Ryan)

    Best Documentary Feature Film

    • Bobi Wine: The People’s President
    • The Eternal Memory
    • Four Daughters
    • To Kill a Tiger
    • Winner: 20 Days in Mariupol

    Best Documentary Short Film

    • The ABCs of Book Banning
    • The Barber of Little Rock
    • Island in Between
    • Winner: The Last Repair Shop
    • Nai Nai & Wài Pó

    Best Film Editing

    • Anatomy of a Fall
    • The Holdovers
    • Killers of the Flower Moon
    • Winner: Oppenheimer
    • Poor Things

    Best International Feature Film

    • Io Capitano
    • Perfect Days
    • Society of the Snow
    • The Teacher’s Lounge
    • Winner: The Zone of Interest

    Best Original Song

    • “The Fire Inside” (Flamin’ Hot)
    • “I’m Just Ken” (Barbie)
    • “It Never Went Away” (American Symphony)
    • “Wahzhazhe (A Song For My People)” (Killers of the Flower Moon)
    • Winner: “What Was I Made For” (Barbie)

    Best Production Design

    • Barbie
    • Killers of the Flower Moon
    • Napoleon
    • Oppenheimer
    • Winner: Poor Things

    Best Visual Effects

    • The Creator
    • Winner: Godzilla Minus One
    • Guardians of the Galaxy Vol. 3
    • Mission: Impossible — Dead Reckoning, Part One
    • Napoleon

    Best Lead Actor

    • Bradley Cooper (Maestro)
    • Colman Domingo (Rustin)
    • Paul Giamatti (The Holdovers)
    • Winner: Cillian Murphy (Oppenheimer)
    • Jeffrey Wright (American Fiction)

    Best Lead Actress

    • Annette Bening (Nyad)
    • Lily Gladstone (Killers of the Flower Moon)
    • Sandra Hüller (Anatomy of a Fall)
    • Carey Mulligan (Maestro)
    • Emma Stone (Poor Things)

    Best Director

    • Justine Triet (Anatomy of a Fall)
    • Martin Scorcese (Killers of the Flower Moon)
    • Winner: Christopher Nolan (Oppenheimer)
    • Yorgos Lanthimos (Poor Things)
    • Johanathan Glazer (Zone of Interest)

    Best Picture

    • American Fiction
    • Anatomy of a Fall
    • Barbie
    • The Holdovers
    • Killers of the Flower Moon
    • Maestro
    • Winner: Oppenheimer
    • Past Lives
    • Poor Things
    • The Zone of Interest

    What did you think of this year’s winners? Any favorite moments from the ceremony? Share in the comments below!


    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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    Cheryl Eddy

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  • Video: ‘Anatomy of a Fall’ | Anatomy of a Scene

    Video: ‘Anatomy of a Fall’ | Anatomy of a Scene

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    “Hello, I’m Justine Triet, and I’m the co-writer and the director of ‘Anatomy of a Fall.’” “You took the book’s best idea. How am I supposed to just go back to it? Do you realize how cynical that is of you?” “You can publish your own version. Say it inspired me. I’ll admit to it.” “So this scene comes very late in the film. And it’s the sound of a recorded argument playing in the court near the end of the trial, trying to elucidate the death of the man whom we finally come to see on screen. His wife is the accused, and this is the only time we see or hear them interact.” “I live with you, and you impose everything. You impose your rhythm, your use of time. You even impose your language. Even when it comes to language, I am the one meeting you on your turf. We speak English at home.” “I’m not on my turf. I don’t speak my mother tongue.” “So the character called Sandra and Samuel are played by actors of the same name — Sandra Hüller and Samuel Theis.” “— to create a middle ground so nobody has to meet the other on their turf. This is what English is for. It’s a meeting point. You can’t blame me for that.” “But we live in France.” “There was a lot at stake. We had to live up to the teasing of the scene. We needed to deliver a certain amount of information and to get to know the character of the dead husband. The jury and the audience listened to the recording. The clerk displays the French transcript of the argument on the computer screen, and Sandra is confronted with her own voice, with the intimacy of her marriage. And at this point, we drop into the scene. We see it. For a long time, we wondered if the scene shouldn’t remain sound only. But because sound has the power to give the perfect illusion of the present of reality, we decided to dive into it. And if you close your eyes, you can really believe that the people are there. You could almost say it’s the inner vision of the visually impaired child at the moment when he hears his parents’ voice. For me, it’s not a flashback. It’s an illustration of a sound, so it’s present. I wanted the viewer to have the very strong sensation of being projected into this intimacy. So we are in the kitchen of these people, and they are talking about very concrete things, their daily life, the way they organize their life and split responsibilities. They are professional in balance their frustrations. And the idea of the scene is simple — to show the whys of conflict and then violence between two people, a battle of arguments and ideas within a couple. So we filmed with two cameras not to lose any of their energy. We had to film their words, the words that come out of their mouth. It’s all about the actors, the truth with which they say it. And then there is a language. They speak in English, which is not their language. He’s French, she’s German, and English is where they meet. And even that becomes one of the subjects of the conflict, the language question. I wanted to shoot this scene in daylight, with strong light and the sun shining. Often, very dramatic intimate scenes are used to be filmed at night, as if intimacy were separate from the rest of life. And here I choose the opposite. And the contrast between light and violence is even stronger for me.” “I have nothing to do with it. You’re not sacrificing yourself, as you say! You choose to sit on the sidelines because you’re afraid, because your pride makes your head explode before you can even come up with the little germ of an idea! And now you wake up, and you’re 40, and you need someone to blame. And you’re the one to blame!” “They are never filmed in the same frame, except briefly in the beginning.” “This is the truth. You’re smart. I know you know I’m right. And Daniel has nothing to do with it! Stop it!” “You’re a monster.” “And just as this violence breaks out and becomes physical, the image is taken away from the viewer, and we return to the courtroom. We find ourselves in the position of the jury, and especially of the child Daniel, in a state of total uncertainty, not knowing who is hitting whom. We suddenly realize that we didn’t see anything because we were not there. We’ll never know.” [SOUNDS OF STRUGGLE] [GLASS BREAKING] [MAN AND WOMAN FIGHTING] [BLOWS LANDING] [THUD]

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    Mekado Murphy

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