With their claustrophobic close-ups and desolate wide shots, both films are stunning portraits of life on the brink.
Richard Linklater’s Boyhood is clearly the superior film, but the Academy isn’t considering long-term trends or trying to make a statement. Like an impetuous child, it just grabs the thing that feels good in that particular moment.
And the Oscar goes to...
There was far more to the festival than Fifty Shades.
Terrence Malick’s Knight of Cups is insipid – but Andrew Heigh's 45 Years proves it's not all bad.
All good relationships are built on respect, trust and consent - and the one at the centre of this film contains none of that.
We can’t disparage these actors any more than we can blame a man in a hammerless world for failing to bang a nail into the wall.
The film, made by Winding Refn’s wife Liv Corfixen, is an intriguing contribution to the film-behind-the-films genre and a revealing study of ambition and vulnerability.
The civil rights drama and political farce could not seem more different. But David Oyelowo and James Franco share a dynamism sadly overlooked in awards season.
Their triumph came through recognising that although their own oppression was important, it didn’t mean they couldn’t recognise others’ struggles as well.
Oh, and moaning women. These are the films of the year, the ones that we think best capture the tenor of the times. Yet they are only interested in one half of the human tableau.
From Trump to Brexit, the world is changing fast - and we need intelligent, incisive journalism more than ever.
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