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[2016]
2017 OSCAR 89th Academy Awards -Filem gay (homoseksual) menang best picture Emm
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yup masa ni....renee vs nicole vs julianne ..
masa ni aku mmg betul2 target Julianne moore tup tup..Nicole menang....hahahha..
renee paling kesian..nampak muka kecewa...
tahun ni mmg persaingan sengit emma vs natalie..
tahun lepas mmg bosan..sebab x de cabaran sengit..
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itulah kalau oscar pedajal calon2 best actress thn ni dgn masukkan viola davis,
aruslah sejarah nicole vs renee vs juliane moore akn berulang sekali lg 
kita akn talk psl persaingan ni next upcoming oscar...
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Mungkin di Oscar nanti Viola tercalon utk Best Actress. Who knows ? 
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manalah tahu oscar nanti Emma stane tercalon supporting actress.
so merasalah Emma tu nak menang ...nak sangat kan...tapi supporting je...
hahahaha..
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Best Actress Oscar battle: 5 reasons why Natalie Portman (‘Jackie’) will win over Emma Stone (‘La La Land’)
 Fox Searchlight
When I made by early Oscar predictions here on Gold Derby, I enthusiastically placed Emma Stone as my number one choice for Best Actress in “La La Land.” I had yet to actually see the film at the time, but had long been a fan of Stone since seeing her hilarious turns in films like “The House Bunny,” “Ghosts of Girlfriends Past” and “Easy A.” In 2014, I initially picked her to win the Best Supporting Actress Oscar for her small but scene-stealing role as Michael Keaton‘s daughter in “Birdman or (The Unexpected Virtue of Ignorance.”) After her rival Patricia Arquette began to clean up the precursor awards for “Boyhood,” I recognized my own ignorance and switched my prediction from Stone to Arquette. My heart still broke when Stone lost on Oscar night, but I took comfort in knowing that she would have many chances in the future.
Having now seen all of the likely 2016 Best Actress contenders, it pains me to say that I just don’t believe that this is going to be Stone’s year. I honestly hope that I’m wrong, and welcome any arguments to persuade me to change my prediction back to her. But in the meantime, here are five reasons why I believe that Natalie Portman has the Best Actress Oscar all sewn up for “Jackie.”
1. She portrays a real person.
I know – this reason resurfaces virtually every awards season. And it doesn’t always apply. (Does anyone remember acceptance speeches by Bryan Cranston in “Trumbo” or Michael Fassbender in “Steve Jobs” during the last go-around?) However, let’s dig just a little deeper into this. Over the past 15 years, in virtually every competitive lead acting Oscar race, the artist impersonating a real individual has prevailed over the one creating a fictional character. Here are some examples: Adrien Brody in “The Pianist” over Daniel Day-Lewis in “Gangs of New York,” Nicole Kidman in “The Hours” over Renée Zellweger in “Chicago,” Charlize Theron in “Monster” over Diane Keaton in “Something’s Gotta Give,” Reese Witherspoon in “Walk the Line” over Felicity Huffman in “Transamerica,” Marion Cotillard in “La Vie en Rose” over Julie Christie in “Away from Her,” Sean Penn in “Milk” over Mickey Rourke in “The Wrestler,” Meryl Streep in “The Iron Lady” over Viola Davis in “The Help,” and Eddie Redmayne in “The Theory of Everything” over Keaton in “Birdman.” Clearly, the theory that playing a real person wins awards isn’t just for the birds. Portman could almost fly away with the gold based on this reason alone.
2. She undergoes a major onscreen transformation.
Once again, yet another argument that is often repeated. And once again, Portman in “Jackie” is the perfect example. The 1960’s bouffant hairdo. The subtle yet striking makeup. The thick Mid-Atlantic accent. And of course, the iconic pink Chanel suit. As sensational as Stone is in “La La Land,” she looks like the same radiant redhead that we’ve come to know (and love.) Meanwhile, you almost forget that you’re watching Portman in “Jackie.” It truly feels as if First Lady Jacqueline Kennedy is up there on the screen. This powerful transformation could lead Portman straight to the Oscar jackpot.
3. She plays the “damsel in distress.”
I remember reading about this phenomenon several decades ago, when I was just a budding Oscarologist. A magazine article pointed out that when a film heroine suffered or was victimized in some way, the actress portraying her would often win the Academy Award. I did some research and found a surprising number of examples of this. In the 1940’s, it was Joan Fontaine in “Suspicion,” Ingrid Bergman in “Gaslight” and Jane Wyman in “Johnny Belinda.” The trend continued in the following decades with Vivien Leigh in “A Streetcar Named Desire,” Joanne Woodward in “The Three Faces of Eve,” Susan Hayward in “I Want to Live!,” Sophia Loren in “Two Women,” Elizabeth Taylor in “Who’s Afraid of Virginia Woolf?” and Jane Fonda in “Klute,” The lesson learned? If you’re an actress playing someone who is tortured and tormented, fearful or frightened, diseased or dying, anguished or angry – you’re a good bet to win an Academy Award. In fact, this seems to have aided of number of Best Actress champions from the past 30 years, including several who triumphed without playing real women: Jodie Foster in both “The Accused” and “The Silence of the Lambs,” Holly Hunter in “The Piano,” Jessica Lange in “Blue Sky,” Halle Berry in “Monster’s Ball,” Hilary Swank in “Million Dollar Baby,” Kate Winslet in “The Reader,” Portman in “Black Swan,” Cate Blanchett in “Blue Jasmine,” Julianne Moore in “Still Alice” and Brie Larson in “Room.” If the academy goes for the “damsel in distress” again this year – it’s going to be Portman. (Leaving the other four damsels in a state of distress.)
4. “Jackie” is likely to be nominated in other categories.
When discussing last year’s Best Supporting Actor race with Gold Derby Editor Tom O’Neil, I explained that I was not predicting Sylvester Stallone to win for “Creed,” largely because it’s extremely difficult to take an acting award on a film’s single nomination. (Stallone’s fellow BSA nominees, including eventual winner Mark Rylance, all appeared in Best Picture contenders with multiple bids.) It’s not yet clear if “Jackie” will make the cut for Best Picture or even Best Original Screenplay. Its failure to make the shortlist for Makeup and Hairstyling is both surprising and worrisome. Still, “Jackie” may well show up in several other categories, like Costume Design, Production Design, Cinematography, Film Editing and Score. Even if “La La Land” leads with the nominations, “Jackie” may not be too far behind. This might make it impossible for even a “La La” sweep to carry Stone to Oscar land.
5. It doesn’t matter that she won six years ago.
As noted above,. Portman is a recent Oscar winner for Best Actress, for her extremely showy role in 2010’s “Black Swan.” Many, including myself, were (or still are) reluctant to pick her this year – suspecting that the academy might want to spread the wealth around. But is this really a factor? In recent times, Tom Hanks (“Philadelphia” and “Forrest Gump,”) Kevin Spacey (“The Usual Suspects” and “American Beauty,”) Swank (“Boys Don’t Cry” and “Million Dollar Baby,”) Penn (“Mystic River” and “Milk,”) Day-Lewis (“There Will Be Blood” and “Lincoln”) and Christoph Waltz (“Inglourious Basterds” and “Django Unchained”) all won two acting trophies in five years or less. The lesson learned? Oscar voters select whomever they truly believe is best, regardless of whether they’ve previously been honored. So Portman’s Academy Award for “Black Swan” doesn’t mean that she’s suddenly the derby duckling. Stone may have danced (and dazzled) in “La La Land,” but watch for a pregnant Portman to prance away with the prize come Oscar’s big night.
Be sure to make your Oscar predictions. Weigh in now with your picks so that Hollywood insiders can see how this film is faring in our Oscar odds. You can keep changing your predictions right up until just before nominations are announced on January 24 at 5:00 am PT/8:00 am ET. Be sure to read our contest rules. And join in the fierce debate over the Oscars taking place right now with Hollywood insiders in our forums.
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Emma Stone Speaks to Her Potential Oscar Nomination for 'La La Land' 
Emma Stone looks stunning in lingerie on the cover of Rolling Stone magazine’s new issue, on newsstands December 30.
Here’s what the 28-year-old actress had to share:
On La La Land‘s buzz: “I feel like I started promoting the movie back in August and it hasn’t stopped since.”
On her potential Oscar nomination: “I’m trying not to think about that. I just focus on what I’ve got to do at any one moment, and don’t necessarily think about where it’s all leading.”
On experiences she’s had making movies: “There are times in the past, making a movie, when I’ve been told that I’m hindering the process by bringing up an opinion or an idea. I hesitate to make it about being a woman, but there have been times when I’ve improvised, they’ve laughed at my joke and then given it to my male co-star. Given my joke away. Or it’s been me saying, ‘I really don’t think this line is gonna work,’ and being told, ‘Just say it, just say it, if it doesn’t work we’ll cut it out’ – and they didn’t cut it out, and it really didn’t work!’”
For more from Emma, visit RollingStone.com.
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yg ni mmg serupa giler
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Park Chan-wook’s ‘The Handmaiden’ Deserves Oscar Nominations In Every Technical Category — Consider This No Korean film (or Korean person) has ever won an Oscar. That should change with Park Chan-wook's masterpiece, "The Handmaiden."
“The Handmaiden”
No Korean movie has ever won the Academy Award for Best Foreign Language Film. Of course, that might have something to do with the fact that no Korean movie has ever been nominated for the Academy Award for Best Foreign Language Film. In other words, Tim Burton’s “Alice in Wonderland” — which won a little gold man for Best Art Direction in 2010 — has more Oscars to its name than the entire country of Korea or anyone from it.
That’s odd and rather damning given the self-evident strength of the country’s national cinema, which has been invaluable since long before Shin Sang-ok’s “My Mother and the Roomer” was chosen as their first Oscar submission in 1962. It’s become only more visible on the world stage thanks to the emotionally operatic, auteur-driven melodramas that have defined the Korean New Wave over the last 18 years.
And it’s not as if the Korean Film Council hasn’t been trying to play the game. They’ve submitted wrenching tragedies Lee Chang-dong’s “Secret Sunshine” (an unassailable masterpiece), they’ve submitted accessible crowdpleasers like “Welcome to Dongmakgol,” and they’ve submitted eccentric delights like Bong Joon-ho’s “Mother.”
None of these picks has made the final five. They haven’t been shortsighted so much as they’ve been snakebitten.
But 2016 could’ve been different. 2016 could’ve been the year that Korea broke the curse, triumphed over the Academy’s broken system for recognizing foreign films, and brought an Oscar back to the streets of Seoul. 2016 could’ve been the year of “The Handmaiden.”
A fun, fiendish, and debatably feminist delight from one of the world’s most compulsively watchable directors, “The Handmaiden” transplants Sarah Water’s “Fingersmith” to the fringes of pre-war Korea and reimagines the 2002 Welsh novel set in Victorian England as the perviest fever dream that Alfred Hitchcock never had. Returning home after making “Stoker” during a brief stint in the U.S., Park Chan-wook fashions a 10-course feast out of stale genre ingredients, heating a deceptively straightforward story about a Japanese-born heiress (Kim Min-hee as Lady Hideko) and the con woman sent to fleece her (Kim Tae-ri as Sook-Hee) into a twisted symphony of double-crosses and unknown pleasures.
READ MORE: How Park Chan-Wook’s ‘The Handmaiden’ Reveals His Ongoing Passion For Strong Women
Baked with sociopolitical intrigue and glazed with enough sapphic eros to make “Blue Is the Warmest Color” look like “I Am Curious (Yellow),” “The Handmaiden” combines the satisfaction of a home-cooked meal with the simple pleasures of fine dining. Indeed, the film has been defined by its ability to straddle the line between high art and low-brow, premiering in competition at Cannes before becoming a box office hit in its native Korea. And with the U.S. release being funded from the bottomless pockets of Amazon, Park’s wonderful new work would certainly have been able to afford a decent awards campaign.
But this isn’t one of those years when things make sense — this is 2016! And so, in retrospect, perhaps we shouldn’t have been all that surprised when KOFIC decided to overlook “The Handmaiden” and submit Kim Jee-woon’s sporadically entertaining (but ultimately impenetrable) espionage thriller “The Age of Shadows” instead. Why not. Burn it all down.
 “The Handmaiden”
But just because the Best Foreign Language Film prize makes about as much sense as the Electoral College doesn’t mean that “The Handmaiden” should be completely ignored come Oscar night. On the contrary, Park’s deviant yarn is still eligible for all of the other major categories, and deserves serious consideration in several. That list includes Best Picture, Best Director, Best Adapted Screenplay (Park shares writing credit with Chung Seo-kyung), and Best Actress twice over, but it goes without saying that the movie has a more realistic chance of earning some traction below the line on the strength of its wonderfully unsubtle technical merits.
An avowed maximalist, Park makes films that are easy to appreciate for their individual elements — each of his camera moves arrives with the intensity of an orchestra conductor waving his wand, each of his scores announce themselves anew with every note. Never has that been more true than it is in “The Handmaiden,” as longtime Park collaborator Jo Yeong-wook delivers an aggressive and immensely beautiful mess of music that drapes itself over almost every frame of the film, a heat storm of swirling violins and flirtatious piano melodies. Easily capable of standing on its own as a thrilling set of compositions, Jo’s ornate accompaniment is so heightened that it seeps into the story, permits the melodrama to go for broke, and challenges the performances to meet the occasion. Not only is this the best and most elaborate movie music of the year, it makes “The Handmaiden” what it is — watching “The Handmaiden” without the score would be like watching “The Jungle Book” without the CG.
Ryu Seong-hee’s production design is just as crucial, giving vivid and unique life to all three parts of the culturally fractured estate that Lady Hideko shares with her lascivious uncle. In such a knotted tale, it’s crucial that viewers are never lost as to where they are at a given moment, and Ryu’s relatively subtle work ensures that we can locate ourselves in the house at all times, that our minds are picking up on the fluid dynamic between Korean and Japanese-ness even as our eyes are preoccupied with more … intimate matters.
 “The Handmaiden”
But while the estate is unmistakably one of the film’s main characters, Ryu’s masterstroke doesn’t come until the third act, when a small hotel becomes an evocative neon stand-in for all of ’30s-era Shanghai. And her work is complemented every step of the way by Jo Sang-gyeong’s costumes, which allow the cast to wear their preoccupations with class and fully convey the slipperiness with which they move from one stratum to another.
Of course, no one does more to help “The Handmaiden” fire on all cylinders than editors Kim Jae-bum and Kim Sang-bum, who juggle intersecting timelines, settle a dizzying array of tones, and churn a potentially convoluted narrative into an elegant chatterbox of intrigue and desire. It’s a hell of a balancing act measuring each scene so that the film hovers between cheeky erotica and immaculate drama, but Kim and Kim never allow things to tip too far in either direction, and they have a real knack for delivering each new twist at the precise moment that viewers have fully made sense of the last one.
READ MORE: Park Chan-wook, Song Kang-ho and More on Korean Government Blacklist
Best of all, the editing keeps the whole movie cohesive. The first act might be tame in comparison to what follows, but it never lets viewers settle into the rhythms of a stuffy period piece, and it’s full of little jolts that force us to lean forward and look at everything with just the right amount of suspicion — that early beat when a sliding gate snaps shut across the entrance to the Uncle’s forbidden library is an absolute masterstroke.
Finally, no celebration of “The Handmaiden” and all of its parts would be complete without highlighting the contributions of cinematographer Chung Chung-hoon (who has shot all of Park’s features since 2003’s “Oldboy”). His camera always moves with a divine sense of purpose — Park knows how to wring any space for every ounce of its potential drama — but Chung’s lighting has never been more measured or exact. The night scenes are coated in a luminous gray haze that haunts the estate with the ghosts of Lady Hideko’s discarded relatives and the sex scenes are touched with a supple warmth that actively resists the blankness of pornography, that feels honest, that lets Park shoot a 69 while still keeping it 100.
“The Handmaiden” showcases work from some of the best craftspeople in all of film, and while its home country may not have chosen it as their official submission to the Oscars this year, that’s no excuse for the Academy to overlook it. Best of all, rewarding Park’s masterpiece for its individual merits would call attention to the asinine rules that govern the Best Foreign Language Film category, and hopefully embarrass them enough to inspire some change.
Bodohnya korean ni..dh rugi satu peluang
patut antar filem ni instead of filem age of shadow tu
filem ni swept semua anugerah kritik best foreign language LA, New York, Chicago dan lain2...
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dauswq replied at 31-12-2016 01:23 AM
https://en.wikipedia.org/wiki/The_Handmaiden
tgk brp accolades dia kutip, tp tak termasuk top 8 ...
Bodohnya korean film society = FINAS.
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tertengok Joy tadi
kenapa aku rase lakonan joyah sememangnye deserve nomination thn lepas?
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dauswq replied at 31-12-2016 11:41 PM
tertengok Joy tadi
kenapa aku rase lakonan joyah sememangnye deserve nomination thn lepas? ...
Best ke citer Joy tu..aku takde hati nk tgk sbb mencik lakonan dia selepas menang oscar yg dia tak deserved tu. 
Aku tgk channel diva td, layan Notting Hill lagi best. |
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Edited by dauswq at 1-1-2017 02:01 AM
citernye biasa2 jek
tp lakonannye no wonder menang golden globe comedy..
cuma aku kurang berkenan bila dia menang best supporting actress gg mase american hustle dulu..tercalon pun tak patut
yg dia menang oscar tu aku restu...
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out of nowhere
tetibe nama micheal keaton masuk...
tp dia bukan calon favorite kan? sbb filem Founder tu tak disebut2 even masuk nominasi gg pun
tak dpt lah dia nk cipta kemenangan hatrik 3 thn berturut2 movie dia menang best picture..
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Yup, she's doing well in American Hustle..tp menang in SLP, smpai skrg aku terkesan. HahaAku rasa kalau dia bg dia oscar skalipun patut bg masa dia tecalon dlm Winter's Bone, lg layak compare to SLP.
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dauswq replied at 1-1-2017 02:00 AM
out of nowhere
tetibe nama micheal keaton masuk...
Tapi critics mmg sukakan lakonan dia dlm The Founder..maybe dia atau encik Viggo (Captain Fantastic) yg bakal menggugat calon2 lain pd saat akhir. |
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perghhhh mantap2 movie kali ni.. speechless nk pilih mna satu.
xpe nti iols khatam kan.. tp nampak emma stone ada potensi sbb media sok sek sok sek psal dia sajork kat US nuu.. wait n see jer laa camne. Persaigan sihat xpe lagi.. |
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harap2 viola davis tercalon best actress gak
kasi mantap lg persaingan top 5 ni
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Post time 28-12-2016 07:05 AM
Author
![[KUIZ PERUBATAN MINGGUAN VOL. 7]: Mudah aje, ilmu harian! VOL.7](https://uf.cari.com.my/forumx/mforum/block/ca/cafa22106bf87ee6a0ff6b0584fea8d8.jpg)
