OSCAR WATCH: Little Women

Given the debate surrounding the value (or lack thereof) of yet another "Little Women" adaptation hitting theaters, let me preface this review by saying that I have never read Louisa May Alcott's classic novel. Furthermore, my memories of the 1994 film adaptation have long faded. With that being said, I approached Greta Gerwig's latest work with great anticipation. And what I discovered was a cinematic tour de force that is fully worthy of praise and a place in the Best Picture conversation.

In this classic tale of sisterhood set around the time of the American Civil War, we are first introduced to our main protagonist Jo (played by Saoirse Ronan), an aspiring writer hoping to sell her latest work. As the story progresses, we soon learn that she is just one of several sisters with artistic inclinations, including an avid pianist (Beth, played by Eliza Scanlen), an ambitious painter (Amy, played by Florence Pugh) and a talented actress (Meg, played by Emma Watson). These interests will evolve and change over the years, however, as they come of age in a time of hardship which will test their family and other relationships.

Indeed, romance, humor and tragedy are the order of the day, as Greta Gerwig delivers a bold interpretation of classic costume drama tropes. Making a strong case for a second Best Director nod, she perfectly balances the contrasting tones through smart visual and storytelling choices. At once delicate and exuberant, the cinematography is equally adept at capturing the restless optimism of youth and the stillness of disillusioned adulthood. Similarly, the color palette reflects the contrast between the glow of nostalgia and the more solemn pragmatism of the present and future, further emphasized by non-linear storytelling which enriches rather than obfuscates the narrative.

As that narrative follows the diverging lives of the titular sisters, Gerwig's screenplay - worthy of consideration for Best Adapted Screenplay - compellingly explores feminist themes which continue to resonate today. And in conveying the perspectives of the richly defined characters, the audience is treated to a plethora of sensational performances. Among the sisters, Saoirse Ronan and Florence Pugh are standouts, deservingly garnering attention for Best Actress and Best Supporting Actress kudos respectively. As the headstrong and fiercely independent Jo, Ronan anchors the film with vulnerability and charisma. Meanwhile Pugh is truly inspired in her take on the petulant Amy, brilliantly charting her character's arc with almost vaudevillian expressiveness in her youth and stoic poise as she finds her way in the world.

Simply put, "Little Women" is one of the most entertaining, emotionally affecting and downright gorgeous films of the year. Several of its painterly shot compositions (nominations for Best Production Design, Best Cinematography and Best Costume Design deserve to be foregone conclusions) are seared into my memory, and Alexandre Desplat is on track for another Best Original Score nomination for his typically wonderful music. It may tell a familiar story, but Greta Gerwig's "Little Women" is unforgettable.

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OSCAR WATCH: The Irishman

A decade ago, the BAMcinématek curated a series called "The Late Film", a collection of late career films from established auteurs. As described in the New York Times, the term refers to work that is "both familiar and strange, characteristic of the artist and yet markedly at odds with everything that preceded it." As I watched the latest from American master Martin Scorsese, the descriptor could not feel more apt. Among Scorsese's esteemed canon of gangster films, "The Irishman" expresses familiar themes in profound and revelatory ways.

In my review from over 5 years ago, I marvelled at Scorsese's direction of "The Wolf of Wall Street", impressed by its audacity and edgy, kinetic style. It felt like the work of a younger, maverick filmmaker, proving that he was still a vital voice in the contemporary film scene. Four films later, I am stunned once again by "The Irishman", which sees Scorsese reuniting with many of his most famous collaborators. This epic surrounds Robert DeNiro's titular character Frank Sheeran, as he reflects on a life of mob-related crime. From his younger years as a truck driver, to his subsequent rise up the ranks of the Buffalino crime family, his story is one of violence, greed and power. But in his dying days, the events of his life weigh heavily on him.

With this premise and the recognizable director and cast – including Al Pacino and Joe Pesci in supporting roles – you'd be forgiven for thinking this is just another Scorsese gangster flick. But "The Irishman" deepens the genre through a directorial approach that is more subdued and graceful. It feels in direct conversation with the aforementioned "Wolf of Wall Street", as well as the other iconic gangster narratives that came before for it. Indeed, while "Wolf of Wall Street" was accused of glorifying the debauchery of its immoral men, "The Irishman" is never gratuitous, filled instead with an undercurrent of regret. Though violence are central its themes, the film is more concerned with the impact rather than the act.

One particular scene stands out, where Al Pacino's Jimmy Hoffa, desperate to reclaim leadership of the mob-controlled union remarks to Sheeran that "They do something to me, I do something to them. That's all I know. Nothing else." Epitomizing the endless cycles of violence and revenge (also emphasized through frequent pop-up subtitles about various characters' future demises) it achieves a rare emotion for audiences in a gangster film – pity. And as the decades-long narrative of "The Irishman" plays out, this sentiment only deepens as the bodies pile up and families and friendships are irreparably broken.

The result is an uncommonly calm and contemplative gangster film from Scorsese, with the screenplay's themes amplified by impeccable acting - particularly the soulfully captivating DeNiro and the chillingly unflappable Pesci - and Scorsese's usual attention to detail. Oscar nominations are definitely on the table in the categories of Best Director, Best Actor, Best Supporting Actor, Best Adapted Screenplay, Best Editing, Best Makeup & Hairstyling, Best Production Design and Best Picture. Admittedly, it's still not my favorite of the year, but I wouldn't begrudge any of these wins. It's truly exciting to see Scorsese continue to be so inspired and invigorated (this year he also directed the impressive documentary "Rolling Thunder Revue: A Bob Dylan Story"). Unlike Frank Sheeran's life story, this film may be a late work, but it's far from a swansong.

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TIFF: Jojo Rabbit

With a filmography that includes such heartwarming comic gems as “Thor: Ragnorak” and “Hunt for the Wilderpeople”, Taika Waititi is hardly a director who comes to mind when you think of Adolf Hitler and the Holocaust. The traumatic genocide of Jews certainly doesn’t lend itself to his trademark offbeat sense of humor. Yet in one of the year’s most daring directorial achievements, Waititi keeps his distinctive voice in tact with “Jojo Rabbit,” a poignant anti-war satire that is also his funniest film to date.

Read more at The Awards Circuit

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