The Films the Oscars Overlooked

Why It Matters

The snubs reveal a disconnect between critical innovation and Oscar preferences, potentially reshaping how niche films seek visibility and funding.

Key Takeaways

• Oscars overlooked Nia DaCosta’s “Hedda” adaptation of Ibsen.
• “Afternoons of Solitude” showcases bullfighter’s poetic, brutal ballet.
• Bruno Dumont’s “The Empire” blends French noir with Star Wars parody.
• Critics praise missed films for daring storytelling and visual mastery.
• Academy’s selections still favor conventional narratives over experimental cinema.

Summary

In a recent segment, New Yorker critic Richard Brody laments the Academy’s failure to recognize several standout films, ranging from drama to documentary and international entries.

He highlights Nia DaCosta’s “Hedda,” a lush adaptation of Ibsen that centers on a concealed same‑sex love; Albert Serra’s “Afternoons of Solitude,” a three‑year chronicle of bullfighter Andrés Roca Rey captured in hypnotic long takes; and Bruno Dumont’s “The Empire,” a genre‑bending French piece that mixes gang rivalry with a Star Wars parody. Brody also notes that while the Oscars honored titles like “Marty Supreme” and “The Secret Agent,” they missed these daring works.

Brody describes the bullfighter’s movements “like a dancer facing death,” and calls “The Empire” part of Dumont’s decade‑long personal mythology. He praises “Hedda” for its opulent wedding‑party tableau that masks a tragic, unspoken romance.

The omission underscores the Academy’s bias toward conventional storytelling, signaling a gap between critical acclaim and industry recognition that could influence future awards campaigning and distribution strategies.

Original Description

Richard Brody, a film critic for The New Yorker, shares a few films he thinks should have gotten some attention at this year’s Academy Awards. Tell us what you wish had been nominated in the comments.