TL;DR – Today we run through the 2019 Oscars Nominees to predict who we think will win
Today is Oscars day and in a couple of hours,
we will know all the winners in what has been one of the more fraught Oscar
campaigns that I have personally seen. But as we prepare for the night of
glitz, glamour, and maybe not having an
awkward opening monologue that still has to live in Hugh Jackman’s shadow, I
thought I would take a moment to look at the nominees to give our views as to
who we think will win.
As well as this, we have taken a walk down the lane of our most disappointing films of 2018. However, in this last entry into in our Best of 2018 awards, we crown our winner of the best film of 2018.
Now all films are subjective, so our list might look completely different than yours, also we didn’t get to see every film this year which means we will be only drawing our Top 15 from the 90 films we did get to see, which you can see a list of HERE.
Cinematography is an art form that
can be as bold as a gong crashing after a moment of silence, or as subtle as
the tide coming in. It is something that elevates
a film to the heights of accolade or turns a film into a frustrating mess when it misfires.
While at the heart of cinematography is the Director of Photography or
Cinematographer, to get something from the script to the final shot takes a
whole team of professionals, and it is their talent that we champion today.
So without further ado, these are the moments of cinematography that took our
breaths away in 2018. Be warned that there may be some slight spoilers ahead for the films in question.
TL;DR – Delightful, heart-breaking, alienating, immersive, full of complicated people in complicated relationships, a film that I would recommend everyone to see.
Score – 5 out of 5 stars
Post-Credit Scene – There is no post-credit scene
There is always an interesting feeling when the credits start to roll and the world comes back into focus, and the wave of emotions that have built up over the last few hours comes crashing down. Do you realise that you just wasted the time on something with no substance, or did your whole world change whilst time stood still? Well, today we look at a film that falls more on the later side of that divide. A world where everything is right and normal, and it all can be pulled out from underneath you in a moment. A film that will stay with me for the weeks and months to come.
to set the scene, we open in on 1970 Mexico City as Cleo (Yalitza Aparicio)
washes the tiles of the driveway of the house she works at. We watch as she
gets the house ready for the day for her employers Sofía (Marina de Tavira),
Antonio (Fernando Grediaga), and their children Paco (Carlos Peralta), Pepe (Marco
Graf), Sofi (Daniela Demesa) and Adela (Nancy García García). Cleo is an indispensable
part of the family, but then she is also not part of the family because she is
a maid and this disconnect filters
throughout the film. Things in the household shift when Antonio leaves for a
conference in Canada and stays longer than planned, and when Cleo meets a man Fermín
(Jorge Antonio Guerrero) and the tension
under the surface of Mexico starts to rupture.