THE OSCAR FOR BEST PICTURE SHOULD GOTO…

Casey Affleck and Lucas Hedges in Manchester By the Sea

It’s that time of year again! Oscar season is upon us, and the race is on. With La La Land leading the pack with a record-tying 14 nominations — All About Eve and Titanic each got as many — it is many people’s first choice for the coveted Best Picture title. However, there are eight other films listed in the category, many of which are equally qualified to win that title. Likewise, the Actor and Actress in a Leading Role categories are full of fantastic choices, but in the end there can only be one winner. Here are my picks for who should — not necessary will, but should — win the awards.

BEST PICTURE:

This is a tough one. There are so many worthy films this year, especially within the two leaders of the pack, La La Land and Moonlight. Both films bring an originality that is not often seen in the front runners — typically, the Academy favours more conventional yet heartwarming fare. Neither of these films could be considered conventional, nor are they overly heartwarming. They are very personal projects, with ample heart and even more heartbreak. Hidden Figures, a film that has often been left out of the conversation until recently, has been picking up steam as a potential winner. It is the type of heartwarming, relatable, yet important film that could resonate with many Academy voters.

These films are obviously all deserving of accolades, as are most films that gets enough recognition to make it into the running for Best Picture. These are already the cream of the crop of 2016. This, however, does not change the fact that one film affected me more profoundly than any of its fellow nominees. My feelings after seeing this film have endured for once, ever since I was lucky enough to view it at TIFF. It is a film that likely will not win the title, but it is the film I would give every award to if I had that type of power. If the choice was mine, I would give Best Picture to Manchester by the Sea.

The film, which follows a handyman, played with a heartbreaking subtlety by Casey Affleck, as he is forced to care for the son of his recently departed brother in the hometown he abandoned. In typical Affleck fashion, the film takes place in Massachusetts, and as such it is rife with the Irish-style “masculine” anti-emotionality. However, due to impeccable writing and direction by Kenneth Lonergan, the film becomes anything but typical. It seems odd to praise a film so much for its seeming lack of movement, but this is precisely what makes it so wonderful — and why it would never win Best Picture. So much of the film hinges on what is left unsaid. There are no showy set pieces, no big speeches, no flowery language. The film brings you into its world and is unafraid to bare it all in striking realism — the pain, the numbness, and yes, even the laughter that is still present in the face of death.

Best Picture will go to a film that shows onscreen the difficulty it took to make. It will be given to a film that proves its worth through exciting cinematography and flashy set-pieces. Don’t get me wrong, there is nothing wrong with this. La La Land is a creative feat, and deserves to be lauded for its ambition. It’s just unfortunate that in recognizing one movie, the others may go unnoticed, and Manchester by the Sea is not a film that should be lost in obscurity.