#Nom: Supporting Actor

[theoscarsproject]

Longtime Companion (1990). The emergence and devastation of the AIDS epidemic is chronicled in the lives of several gay men living during the 1980s.

The first wide-release film to be made about the AIDS crisis was no small feat in 1989, and while it's flawed and ultimately a product of its time, it's also a haunting, profound, compassionate look at a community devastated by a disease. Grounded by some brilliant performances, particularly from Bruce Davison (who was rightfully nominated at the Oscars for Best Supporting Actor for the role), and a snapshot sort of structure, it's really only let down by its budget and an unfortunately pretty hokey score. Still, one really worth the watch, and one I can't believe I'd never heard of! 7.5/10.

[mummer]

juuust under the wire, i talked about That One Scene in THE BRUTALIST, silent histories, and the particular discomfort audiences have with sexual violence on film

[bbyboybucket]

Shrinking better get Emmy noms this year

[sapphicides]

i will never shut the fuck up about the emmy’s snubbing interview with the vampire in literally all categories goodbye are you serious

[ncutii-gatwa]

i love pedro to death but PLEASE his five minutes doesn’t even come close to the full season performance diego luna gave for andor. like at all

[theoscarsproject]

Dick Tracy (1990). The comic strip detective finds his life vastly complicated when Breathless Mahoney makes advances towards him while he is trying to battle Big Boy Caprice's united mob.

Sin City eat your heart out! This honestly has to be one of the most stylish and thoughtfully-made adaptations from a visual standpoint - art department, costume and hair and make-up teams were truly firing on all cylinders, and it's as camp as it is sumptuous. It's also just really fun? I can't imagine a comic book adaptation taking this sort of risk in 2025, which is a bummer, because sure, it doesn't always work, but when it does, it really does. I can't believe this hasn't become a cult classic. 7.5/10.

[tvnacity]

man, people criticized barbie for being a sanitized intro to feminism but clearly that’s the level it needed to be at considering the academy watched the whole thing and went yeah… director (and main actress) whom??? We Must Nominate Ken

[thegreatmelodrama]

KIERAN CULKIN WE ARE GOING TO GET YOU THAT OSCAR!!!!

[sunbratz]

the critics choice noms......

[senatortedcruz]

Who are y’all rooting for at the Oscars?

[tolerateit]

[hey-hey-j]

ooooooooh man the Oscars are gonna suck this year

[eugeniedanglars]

i love logging onto tumblr and within 15 seconds seeing two different posts dragging the oscar nominations. get their asses, team

[laroinda]

Y'all do realize that neither margot nor greta were put against each other or ryan gosling for the nominations right???? RIGHT????

‘oscar nomination for ryan gosling but not for margot robbie or greta gerwig’ satire is dead and so is god

[theoscarsproject]

Running on Empty (1988). The eldest son of a fugitive family comes of age and wants to live his own life.

Oh, I loved this one so much more than I was expecting! In many ways, i really does feel like a touchstone for Coda, particularly in the way it asks the question of when a child has to stop living for their parents and start living for themselves, but it also feels ultimately like a more complex film. With parents on the run after an act of anti-war protest gone wrong, it explores not just what it means to come of age, but what it takes to act on your beliefs and to survive the reality of that. Just a really, really good film. 8/10.

[pynkhues]

Have you seen the hustlers? I feel like a ANora and that movie has similar themes whereas hustlers got absolutely nothing award season and I feel like that movie was for women made by a woman vs Anora It’s just very telling that this was made by a man you know what I mean I don’t know what are your thoughts ?

I have seen it, anon! Hustlers is a very good film, I really enjoyed it. I definitely think gender plays a role in why Sean has gotten the accolades that he has and Lorene was paid dust, but I also think a lot of it comes down to the Academy's view on what a 'good' sex worker is. If you look at the films featuring female sex worker characters historically that have been nominated, they've all got a damsel in distress / cinderella / 'hooker-with-a-heart-of-gold' narrative to them - God, Janet Gaynor was nominated for the first ever Best Actress Oscar for literally playing this character exactly in Street Angel in 1928 (and she played it beautifully! Janet is enormously underrated in cinema history), but even beyond that, Nights of Cabiria (1957), Pretty Woman (1990), Klute (1971), Pretty Baby (1978), Irma la Douce (1963) all spring to mind. The Oscars loves a good sex work movie, but only if the sex worker is a bright-eyed ingenue who can and will be saved by a man.

Hustlers exists in the same world to me as Working Girls (1986) - another excellent film - where they're movies that explore sex workers with a lot more nuance, but also in situations where men don't save women from sexual violence, but are either perpetrators of it, or ultimately, symbolic of the patriarchy that these women are trying to survive. I don't think the Academy's interested in that side of sex worker narratives - gosh, if it was, Sean's other films - better films - about sex work might have actually been nominated rather than Anora.