Oscar Watch: My 87th Annual Academy Award Picks

Tags

2014 Academy Awards, 87th Annual Academy Awards, Academy Awards, Alejandro González Iñárritu, award shows, Best of 2014, multiple award nominee, Oscars, personal opinions, snubbed at the Oscars

It’s that time of year again: Oscar season. While the Academy Awards haven’t been incredibly relevant for many years now (if they ever were), it’s always impossible for me to avoid the hype and excitement, no matter how hard I try. Unlike previous years, I didn’t get to sample a particularly wide swath of the nominees. That being said, I did manage to see at least one film in every category, with the exceptions of the shorts or the Animated Feature. In that spirit, here are my 2014 Oscar predictions based on my experiences, my intuition and my sense of what Tinsel Town ordains as “grade A beef.”

ANIMATED FEATURE FILM

Big Hero 6

How To Train Your Dragon 2

The Boxtrolls

The Tale of the Princess Kaguya

Song of the Sea

Who Should Win

Since I didn’t see any of the nominees this year, I’ll have to go with my gut on this one: from what I’ve seen, the most unique entries are obviously The Tale of the Princess Kaguya and Song of the Sea. Studio Ghibli’s entry looks ridiculously lush and artistic, so I’m going to give them the nod.

Who Will Win

My gut tells me this will go to Big Hero 6: it’s Disney, super-hero related and was a big money-maker…seems like an almost sure-thing.

– – –

PRODUCTION DESIGN

Into the Woods

The Grand Budapest Hotel

Interstellar

The Imitation Game

Mr. Turner

Who Should Win

Even though I only saw one of the entries, this is a no-brainer for me: The Grand Budapest Hotel was one of the most beautiful, evocative and exquisitely designed films of the last several years. I’ve heard good things about Mr. Turner’s design but I’m throwing my support behind Mr. Anderson on this one.

Who Will Win

I could see this being a toss-up between Grand Budapest and Into the Woods: Into the Woods would be the safer bet, so I’m assuming that’s what the Academy will go with.

– – –

SOUND MIXING

Mark Weingarten, Interstellar

Thomas Curley, Whiplash

Unbroken

American Sniper

Birdman

Who Should Win

Another category where I only saw one entry: I was rather impressed with Birdman’s sound design and mixing, so I have no problem giving that the nod, despite not seeing the others. That being said, I can only imagine that Interstellar and Whiplash both had a lot going on, as well.

Who Will Win

I could see Interstellar sweeping the technical awards, unless Birdman pulls a coup and takes all of its nominations. Again, not having seen (heard?) the others, it’s difficult to be sure one way or the other.

– – –

SOUND EDITING

Interstellar

Unbroken

The Hobbit: The Battle of the Five Armies

American Sniper

Birdman

Who Should Win

See “Sound Mixing,” above.

Who Will Win

See “Sound Mixing,” above, with the additional caveat that The Hobbit might sneak away with one, here.

– – –

FILM EDITING

Sandra Adair, Boyhood

Tom Cross, Whiplash

William Goldenberg, The Imitation Game

Joel Cox & Gary Roach, American Sniper

Barney Pilling, The Grand Budapest Hotel

Who Should Win

I only saw two films in this categories and either one seems worthy: Boyhood’s editing was fairly subtle and understated, giving an organic flow to the story; Grand Budapest, by contrast, was much fussier and flashier, which befitted what Anderson was going for. I’m going to give the nod to Grand Budapest but wouldn’t be upset if Boyhood took the statue.

Who Will Win

I could see this going to either Grand Budapest or Whiplash: my gut tells me that Whiplash will end up standing tall when the dust clears.

– – –

DOCUMENTARY FEATURE

Citizenfour

Last Days in Vietnam

Virunga

The Salt of the Earth

Finding Vivian Maier

Who Should Win

I only saw two of the entries, since I chickened out on Virunga. While I though Last Days was well made and Finding Vivian Maier was quirky and interesting, neither one really blew me away. In this case, I’m going to give the nod to Virunga and its more than worthy cause.

Who Will Win

I have a feeling that Citizenfour will win this one, although I wouldn’t be surprised, in the least, to see Virunga triumph.

– – –

VISUAL EFFECTS

Interstellar

Dawn of the Planet of the Apes

Guardians of the Galaxy

Captain American: Winter Soldier

X-Men: Days of Future Past

Who Should Win

Talk about a tough call (for me, at least). The only SFX blockbuster I saw in 2014 was Guardians of the Galaxy and the effects in that weren’t always mind-blowing. I can only imagine that Interstellar was a real visual spectacle, despite any narrative short-comings, and the other three were mega-budget tent-pole pics: they should all have looked like a billion bucks.

Who Will Win

My gut tells me Guardians but I could see Dawn of the Planet of the Apes scoring big here, too. Again, I’m probably the worst judge of this particular category, despite being a huge genre guy: talk about different strokes, eh?

– – –

MUSIC – ORIGINAL SONG

“Glory,” Common and John Legend, Selma

“Lost Stars,” Gregg Alexander, Danielle Brisebois, Nick Lashley, Nick Southwood, Begin Again

“Everything is Awesome,” Shawn Patterson, The LEGO Movie

“I’m Not Gonna Miss You,” Glen Campbell, Glenn Campbell: I’ll Be Me

“Grateful,” Beyond the Lights

Who Should Win

I really meant to listen to the songs, even though I hadn’t seen any of the movies, but never got around to it. As such, I can only go with Common and John Legend’s contribution since, on paper, that sounds amazing. In reality, though: no clue.

Who Will Win

Something tells me this will be the only place where The LEGO Movie gets any love, whatsoever. For a sympathy vote, Glenn Campbell, but my gut tells me “everything is awesome,” indeed.

– – –

COSTUME DESIGN

Colleen Atwood, Into the Woods

Anna B. Sheppard, Maleficent

Milena Canonero, The Grand Budapest Hotel

Jacqueline Durran, Mr. Turner

Mark Bridges, Inherent Vice

Who Should Win

Since I only saw Grand Budapest, I don’t have much leeway here. Nonetheless, I’m going to assume that Into the Woods probably had the most unique costume design (or, at least, the greatest variety). While Grand Budapest looked amazing, I’m not sure that the costumes stuck out enough to earn special mention.

Who Will Win

I think this will either go to Into the Woods or Grand Budapest, the higher profile films of the five. It’s also possible that Maleficent will pull out a surprise upset but I rather doubt it.

– – –

MAKEUP AND HAIRSTYLING

Foxcatcher

The Grand Budapest Hotel

Guardians of the Galaxy

Who Should Win

Since so much of the character design in Guardians was make-up based, this seems like the obvious and best choice. Grand Budapest looked great but there was nothing particularly memorable about the makeup and Foxcatcher’s “potato nose” should knock it out of the running by default.

Who Will Win

This seems like an easy lock for Guardians.

– – –

MUSIC – ORIGINAL SCORE

Hans Zimmer, Interstellar

Alexandre Desplat, The Imitation Game

Johann Johannsson, The Theory of Everything

Alexandre Desplat, The Grand Budapest Hotel

Gary Yershon, Mr. Turner

Who Should Win

I actively dislike Johannsson’s score for The Theory of Everything and thought that Desplat’s score for Grand Budapest was magical, so this was an easy one, for me.

Who Will Win

With two nominations, this definitely seems like Desplat’s year. That being said, my gut tells me that Hans Zimmer will win big for Interstellar.

– – –

CINEMATOGRAPHY

Emmanuel Lubezki, Birdman

Roger Deakins, Unbroken

Robert D. Yeoman, The Grand Budapest Hotel

Dick Pope, Mr. Turner

Lukasz Zal & Ryszard Lynzewski, Ida

Who Should Win

In any other year, either Yeoman’s gorgeous work in Grand Budapest or Ida’s beautiful black-and-white cinematography would be instant locks for the trophy. This year, however, there’s only one film that “matters”: Emmanuel Lubezki’s astounding single-take work in Birdman wins this, hands down. In the immortal words of Highlander: there can be only one.

Who Will Win

I’m pretty sure this will go to Lubezki but I could see either Yeoman or Zal/Lynzewski swooping in for the upset. Far outside shot: Deakins has the name-brand recognition that could also send him home with the gold, despite Unbroken’s relative snubbing.

– – –

WRITING – ORIGINAL SCREENPLAY

Richard Linklater, Boyhood

Alejandro González Iñárritu, Nicolas Giacobone, Alexander Dinelaris and Armando Bo, Birdman

Wes Anderson and Hugo Guinness, The Grand Budapest Hotel

Dan Gilroy, Nightcrawler

E. Max Frye and Dan Futterman, Foxcatcher

Who Should Win

This is probably the hardest category to pick, for me, at least. I thought that Boyhood felt very realistic, although I assumed that much of the script was improved, based on the situations. Birdman and Grand Budapest were ingeniously plotted and paced, as was newcomer Gilroy’s Nightcrawler. The only one I can’t comment on was Foxcatcher. In a perfect world, Gilroy would have been nominated for lots of trophies: it would be great to see him snag the one he was nominated for.

Who Will Win

I honestly think this will be Anderson’s year for screenwriting. If not, I could definitely see Birdman picking this one up.

– – –

WRITING – ADAPTED SCREENPLAY

Graham Moore, The Imitation Game

Damien Chazelle, Whiplash

Anthony McCarten, The Theory of Everything

Jason Hall, American Sniper

Paul Thomas Anderson, Inherent Vice

Who Should Win

I only saw The Theory of Everything and felt it was way too predictable and by the numbers. I would absolutely love for PT Anderson to take top honors for Inherent Vice.

Who Will Win

I have a feeling that either The Imitation Game or Theory of Everything will win this one, given previous trends.

– – –

FOREIGN LANGUAGE FILM

Ida

Leviathan

Tangerines

Wild Tales

Timbuktu

Who Should Win

I only saw one but Ida would have been a formidable entry in any year. I have no problem tossing my hopes and aspirations about this humble little tale of a nun on the hunt for truth.

Who Will Win

Based on scuttlebutt, I could see Leviathan winning, although Ida’s double nomination might give it an additional push.

– – –

DIRECTING

Alejandro González Iñárritu, Birdman

Richard Linklater, Boyhood

Bennett Miller, Foxcatcher

Wes Anderson, The Grand Budapest Hotel

Morten Tyldum, The Imitation Game

Who Should Win

Despite how much I loved Grand Budapest and love Wes Anderson, in general, there’s no way that anyone but Iñárritu deserves this award in this particular year. His work on Birdman is nothing short of astounding.

Who Will Win

I have a feeling that Linklater will win for his years-spanning work on Boyhood, although I could also see Anderson taking the prize. I have a (sad) feeling that Iñárritu is a long-shot, here, despite being the obvious pick.

– – –

ACTRESS IN A SUPPORTING ROLE

Patricia Arquette, Boyhood

Laura Dern, Wild

Emma Stone, Birdman

Keira Knightley, The Imitation Game

Meryl Street, Into the Woods

Who Should Win

While Arquette did a great job in Boyhood, I was really impressed by Stone’s work in Birdman. I could go for either of them, although I prefer Stone’s performance. Without seeing it, however, I have to give some support to Laura Dern: it’s about damn time!

Who Will Win

I have a feeling that Arquette will emerge victorious once all is said and done.

– – –

ACTOR IN A SUPPORTING ROLE

Robert Duvall, The Judge

Ethan Hawke, Boyhood

Edward Norton, Birdman

Mark Ruffalo, Foxcatcher

J.K. Simmons, Whiplash

Who Should Win

I only saw Birdman and Norton was fantastic, so why not? It’s about time ol’ Ed had some Oscar gold on his shelf.

Who Will Win

Scuttlebutt says that JK Simmons is a lock for Whiplash, so who am I to argue with scuttlebutt? While Hawke was fine in Boyhood, I seriously doubt he’ll get the nod here.

– – –

ACTRESS IN A LEADING ROLE

Marion Cotillard, Two Days One Night

Felicity Jones, The Theory of Everything

Julianne Moore, Still Alice

Rosamund Pike, Gone Girl

Reese Witherspoon, Wild

Who Should Win

I only two of the nominated films: Felicity Jones’ performance was just fine and Pike was extremely broad and too over-the-top. Had I seen it, however, I bet that Marion Cotillard’s performance in Two Days would have been my favorite.

Who Will Win

Something tells me Julianne Moore will win big for Still Alice.

– – –

ACTOR IN A LEADING ROLE

Steve Carell, Foxcatcher

Bradley Cooper, American Sniper

Benedict Cumberbatch, The Imitation Game

Michael Keaton, Birdman

Eddie Redmayne, The Theory of Everything

Who Should Win

It’s a hard call: Keaton was fantastic but Redmayne did a pitch-perfect imitation of a famous person, which is usually the bar to beat. While there was nothing wrong with Redmayne whatsoever, the rebel in me really wants Keaton to win.

Who Will Win

Without a doubt, Eddie Redmayne.

– – –

BEST PICTURE

American Sniper

Birdman

Boyhood

The Grand Budapest Hotel

The Imitation Game

Selma

The Theory of Everything

Whiplash

Who Should Win

I actually managed to see half the films in this category and my choice is still clear: while Grand Budapest was Anderson’s best film in a while, Birdman was a complete work of art, easily one of the twistiest, thorniest films to come down the pike in years. Birdman is the kind of film that never seems to get nominated, so it’s exactly the kind of film that should win.

Who Will Win

What a hard call. My gut tells me that either Boyhood or The Theory of Everything will pull ahead in this category. I think Birdman is just too challenging to win and I don’t think Imitation Game and Whiplash had enough name recognition. I suppose that either Selma or American Sniper could always win but I don’t think the Academy will be showing either one much love, this year. You never know, though: Oscar history is littered with strange wins, radical upsets, outrageous losses and egregious snubs…it’s just the nature of the beast!

2/17/15: Where Eagles Dare

Tags

21 Grams, 87th Annual Academy Awards, Academy Award Nominee, Alejandro González Iñárritu, Alexander Dinelaris, Amores Perros, Amy Ryan, Andrea Riseborough, Antonio Sanchez, Armando Bo, art films, auteur theory, Babel, backstage drama, Best of 2014, Birdman, Biutiful, Broadway play, cinema, co-writers, colorful films, difficult actors, divorced parents, Edward Norton, Emma Stone, Emmanuel Lubezki, father-daughter relationships, favorite films, Film auteurs, film festival favorite, film reviews, films, glory days, hallucinations, infidelity, insanity, Lindsay Duncan, mental breakdown, meta-films, Michael Keaton, Mike Shiner, Movies, multiple award nominee, multiple writers, Naomi Watts, Nicolás Giacobone, Raymond Carver, Riggan Thomson, single-take shots, superheroes, washed-up actors, writer-director, Zach Galifianakis

Amidst the stunning technical razzle-dazzle of auteur Alejandro González Iñárritu’s Birdman (2014), there’s one scene that, perhaps more than others, exemplifies how truly impressive the film is: after discovering the remains of a joint in the possession of his fresh-out-of-rehab daughter, Sam (Emma Stone), washed-up Riggan Thomson (Michael Keaton) explodes into a mess of self-righteous fury, blaming her for trying to scuttle his chance at a comeback, only to have her turn the tables by giving as good as she gets. Sam slashes her blowhard, absentee dad to the bone, reminding him of just how irrelevant he really is, how little he matters in the larger scheme of the world.

After all, what makes him any different from the faceless slobs who live, toil and die in anonymity: what kind of massive, sick ego makes him think that any of his shit is more important than anyone else’s? The camera stays on Sam after she finishes her rant, however, allowing us to see the pain and sympathy that’s crept over her formerly hard, angry features. Everything she’s said is true, no two ways about it: Riggan doesn’t really have anyone but himself to blame for his current situation. But words can hurt as much as weapons and the instant regret that we see is confirmed when the camera finally turns to show the defeated, shamed shell of a man who stands before her. It’s a lot easier to “cut someone down to size” if you don’t have to actually look them in the eyes, after all.

Much of the attention centered around Iñárritu’s extraordinary follow-up to Biutiful (2010) will probably center around two key elements: the film’s duly mind-blowing cinematography and technical polish and Michael Keaton’s all-in lead performance. To be fair, there’s certainly nothing wrong with that reaction: the filmcraft is masterful and Keaton hasn’t been this commanding since the ’90s. In fact, on the first go-through, both of these aspects loom so large that it might be difficult to focus on everything else. This is tunnel-vision, however, since multiple viewings reveal an endless variety of subtle details, outstanding performances and sly commentary on everything from the nature of celebrity to the virtue of sacrifice and the dangers of complacency. In every way, shape and form, Birdman is an extraordinary film, one of the very best of 2014 and, quite possibly, one of the biggest “no-brainers” for early inclusion into the canon of classic cinema. For the fifth time, in a row, Iñárritu has delivered something unforgettable: how’s that for consistency?

Birdman follows (quite literally) the aforementioned Riggan, a former shining star in Hollywood who portrayed the titular superhero in three blockbuster films before hanging up the costume in order to focus on more “serious” pursuits. We know how this story always ends, however: the general public is much more interested in superhero punch-ups than maudlin drama, so Riggan has seen his star gradually fade as he’s distanced himself from the multiplex junk that used to pay the bills. In a final, desperate bid for relevance, Riggan has turned the Raymond Carver story, “What We Talk About When We Talk About Love,” into a Broadway show, which he directs and stars in.

When one of Riggan’s co-stars, Ralph (Jeremy Shamos), is taken out of commission by a falling stage light, he’s forced to come up with a replacement at incredibly short notice. Ralph was a terrible actor, however, so Riggan is more than happy to have him gone: he’s even happier when another co-star, Lesley (Naomi Watts), is able to get her famous actor boyfriend, Mike Shiner (Edward Norton), to agree to step in. Riggan’s best friend/producer/lawyer, Jake (Zach Galifianakis), is thrilled with the development, since Shiner has instant name appeal and will help give the production the visibility it desperately needs, with opening night on the horizon.

Turns out, however, that Mike is a pretty terrible person: egomaniacal, given to violent, drunken outbursts and so shifty and backhanded as to be one step removed from an outright villain, Mike is a human wrecking ball and the last thing that a struggling play needs. He’s big in the theater world, however, which is what Riggan needs if he’s going to win over people like stodgy, unpleasant critic Tabitha Dickinson (Lindsay Duncan), a Broadway power-broker whose poison pen can either make or kill a production, regardless of its relative merits.

As Riggan juggles all of this, he must also deal with his caustic, perpetually unpleasant daughter/assistant, Sam; his concerned ex-wife, Sylvia (Amy Ryan); his pregnant girlfriend/co-star, Laura (Andrea Riseborough); his own feelings of inadequacy and anger, as well as his increasingly precarious mental state. You see, while all of this is going on, Riggan is constantly harassed, mocked, pestered and belittled by his gruff-voiced Birdman alter-ego: Birdman doesn’t think Riggan is living up to his full potential and wants him to don the suit again, in order to resurrect both the feathered crime fighter and his own flat-lined career. As his world begins to collapse into chaos, Riggan becomes increasingly unfettered from the constraints of reality: Riggan Thomson, the man, may be a laughing-stock but there still might be a chance for Birdman to swoop in and save the day. Will Riggan be able to stand his ground, defy the naysayers and fulfill his lifelong dream or will he retreat to the safety of public acceptance and weekend box-office returns?

Right off the bat, Birdman looks and sounds amazing: while the Academy doesn’t always (or often) get their nominations right, I don’t think anyone can deny that Iñárritu’s film absolutely deserved nods for legendary cinematographer Emmanuel Lubezki’s camera-work, as well as the truly impressive sound design. While the single-take element of the film was thoroughly impressive the first time I watched it, I couldn’t help but feel that I was missing subtle cuts: there was no way it could all be one take. After watching it a second time and really focusing on the cinematography, however, I’m pretty sure I’m dead wrong: with the exception of the obvious cuts at the beginning and end, as well as a small handful of moments during the film (the genius transition into the bar, a possible moment where the camera passes into darkness), I’m pretty sure this was all done as a single-take. In a word: wow.

The sheer level of planning and raw talent that goes into planning something like this is truly mind-blowing, especially when one considers the frequency of mirror shots in the film, the seamless integration of CGI elements and the overall length of the piece: DePalma gets plenty of love for his long, single-take scenes but that’s child’s play compared to what Iñárritu and Lubezki come up with here. Even though the camera can’t cut, we still need to be able to transition to other characters, locations, and time spans: it’s in these moments where the film really flexes its considerable muscles. Employing a technique whereby the camera follows one character before “jumping” to another, we seamlessly follow the action from Point A to Point Z, giving us a complete overview of everything that’s happening. It’s dizzying but, once you surrender to it, completely intoxicating: there’s a flow and poetry to Birdman’s camera movement that manages to blur the line between fiction and fact, audience and actors. We’ve seldom been this close to the action and it’s a helluva feeling.

The other benefit to the single-take approach is that it puts a premium on the entire cast’s performances: despite being the “subject” of the film, Keaton’s Riggan is absolutely not the only element that “matters.” Since Iñárritu and Lubezki can’t fall back on the traditional back-and-forth cutting element of most cinematic conversations, we get whole scenes where the camera focuses exclusively on one character, allowing us to see the full range of their emotions. The aforementioned scene with Sam reading her dad the riot act is an obvious highlight but the film is chockfull of scenes just like that. Each and every performer in Birdman needs to be “on” in every scene, making this one of the most masterfully acted films in some time.

While Norton is pretty great as the unrepentant shithead know-it-all and Stone is superb as the broken-down but defiant Sam, the film is full of wonderful performances. I’ve never been the biggest fan of Galifianakis, finding him to be one of the most annoyingly one-note performers to come down the pike in some time but his performance as Jake is, easily, a career highlight: for the first time, Galifianakis actually comes across as a real person, rather than a blustery caricature, and it works marvelously. Naomi Watts brings a genuine sense of pain to her portrayal of Mike’s long-suffering girlfriend and the scene where she breaks down is truly difficult to watch. By contrast, Andrea Riseborough isn’t given nearly enough to do as Riggan’s girlfriend, which is a shame: the few moments where the film focuses on her are some of its most impactful scenes. I’d also be remiss if I didn’t throw a little praise at Lindsay Duncan, who manages to make Tabitha one of the most effortlessly loathsome characters in quite a while. The scene where she, matter-of-factly, tells Riggan how she plans to ruin him, without even giving him the benefit of the doubt, works on a number of levels and she proves integral to the film’s internal machinations.

While the cinematography and acting are out-of-this-world, the rest of Birdman’s filmcraft ably follows suit. The sound design is quite genius and impossibly immersive: the way in which the non-diegetic, percussive score (courtesy of Antonio Sanchez) seamlessly becomes diegetic is a brilliant way to illustrate Riggan’s growing mental divide and used to great effect. The film is also full of so many smart background details, immaculate production design and vibrant colors that the entire film seems to be a constantly breathing, shifting organism: my second viewing revealed so many details that I missed the first time around, it makes me wonder what the fifth viewing will reveal. One of my favorite, subtle bits is the “A thing is a thing, not what people say it is” placard that’s tucked into the corner of Riggan’s dressing room mirror.

The script, credited to four writers (including Iñárritu), constantly loops and wraps around itself: while the film is fairly linear, it’s anything but straight-forward. The parallels between the on-stage world of Riggan’s play and the “real world” of his life are subtle but they help to establish the kind of complex intertexuality that’s so key to filmmakers like Charlie Kaufman and Spike Jonze. Despite how “tricky” the film is, it never feels pretentious or overly showy: indeed, Iñárritu and crew have created an “art film” that manages to feel decidedly down-to-earth, despite its more fantastic flights of fancy.

And, of course, there’s that central performance by Keaton: a former superstar, himself, Keaton IS Birdman and wears the character like a second skin. I’ve heard some critics say that Keaton is a “character actor” and, therefore, not worthy of Academy consideration for his performance. This, of course, is the exact same insult that Tabitha tosses in Riggan’s face like acid: he’s a “celebrity,” not an actor. Just as in the film, the condemnation holds no water: the quality of a performance has nothing to do with the performer and everything to do with the performance, itself. Keaton displays a range and depth, here, that’s consistent with some of the best performances of the year: while I’m not sure that his was the “best,” it was certainly one of the strongest of the year and eminently worthy of award consideration.

All in all, Birdman is a hell of a film: eye-popping, deliciously dark and surprisingly funny, it’s the kind of film that usually gets ignored by the mainstream, which makes its nine Oscar nominations a bit of a head-scratcher. I’m not saying that it doesn’t deserve all of them (even without seeing all of the nominees, I know that Birdman belongs there) but I’m certainly surprised. For my money, Dan Gilroy’s Nightcrawler (2014) has a slight (ever so slight) edge over Iñárritu’s latest but that, ultimately, says more about my particular sensibilities than anything: in most ways, the two titans line up pretty evenly, at least in my book.

At the end of the day, Birdman is a towering achievement, a film about the vagaries of backstage life that easily rivals predecessors like Noises Off (1992) and Living in Oblivion (1995). It’s a film about the eternal, pointless crusade for cultural immortality, the never-ending war between “art” and “commerce” that’s split the art community since at least the Middle Ages. It’s a film about accepting one’s place in the world, while refusing to stop reaching for the stars. It’s a film about a father and daughter taking the first, tentative, painful steps towards reconciliation. It’s about ego, self-sacrifice and the need to be loved by someone, anyone, before we shuffle off this mortal coil. Iñárritu’s Birdman is an ambitious, exquisitely made love letter to dreamers, dabblers and the people who love (and hate) them, set against the bustling crowds and marquees of Broadway.

It’s a one-of-a-kind film which, I suppose, makes it just another day at the office for Iñárritu.