Oscars
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How Canada’s Animated Doc ‘Eternal Spring’ Aims to Follow ‘Flee’ Path to Oscar Glory
TheWrap magazine: “I wasn’t concerned that people would think, ‘Someone did an animated doc last year,’” says director Jason Loftus
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Oscars Visual Effects Race Heats Up With a Multiverse of Movie Magic at Every Budget
“Avatar: The Way of Water,” “Top Gun: Maverick” and “Everything Everywhere All at Once” present extreme examples of VFX styles
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Why ‘Freedom on Fire’ Director Evgeny Afineevsky Felt He Had to Make a 2nd Doc About Ukraine
TheWrap magazine: “If we close our eyes to the crimes and the Russian leadership goes unpunished, then who knows what is next?” he says
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How ‘Three Minutes – A Lengthening’ Turns 1 Family’s Vacation Movies Into a Startling Look at the Holocaust
TheWrap magazine: “As soon as I saw these images, I realized that these are almost certainly the only moving images of this community,” says Glenn Kurtz of his grandparents’ 1938 film
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‘The Blue Caftan’ Faces Morocco’s Ultimate Taboo in Portraying a Queer, Closeted Craftsman
TheWrap magazine: Director Maryam Touzani says that shooting a film that talks about homosexuality was “a big, big risk”
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‘Hallelujah’ Directors Explain How They Turned Leonard Cohen’s Song Into a Whole Movie
TheWrap magazine: Dayna Goldfine said they wanted to answer one question: “What is it about Leonard Cohen that made him the only person in the universe that could written a song like Hallelujah’?”
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How ‘Memory Box’ Turns a Stack of Teenage Notebooks Into a Movie
TheWrap magazine: “I had this strange personal archive, and we thought it would be interesting to do something with it,” says co-director Joana Hadjithomas
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How Ukraine Oscar Entry ‘Klondike’ Tells a Timely Story Set in the Past
TheWrap magazine: “We made this film to very carefully ask the international audience: ‘What do you think about the situation on the border of Russia and Ukraine?’” says director Maryna Er Gorbach
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How Son Lux Made ‘Mountains of Music’ for ‘Everything Everywhere All at Once’
TheWrap magazine: “The challenge was to keep it from being a total mess,” says Ryan Lott, whose group Son Lux wrote the song “This Is a Life,” featuring Mitski and David Byrne
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How ‘Descendant’ Searched for a Slave Ship and a Community’s History
TheWrap magazine: “My mom talked about it like a ghost story or myth — it wasn’t something you talked about out loud,” says director Margaret Brown
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Why Brett Morgen Refused to Define David Bowie With ‘Moonage Daydream’
TheWrap magazine: “Bowie defies facts, defies definition and is beautifully mysterious,” the famed documentarian says
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‘Argentina, 1985’ Asks a Timely Question: How Fragile Is Democracy?
TheWrap magazine: “There was a lot of mistrust, a lot of misinformation, a lot of skepticism in the air,” says actor Ricardo Darín of the case study behind Argentina’s Oscar entry
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Why the New ‘All Quiet on the Western Front’ Needed a German Perspective on World War I
TheWrap magazine: Director Edward Berger says he wanted to infuse the classic anti-war story with “a sense of guilt, shame, terror, horror”
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How Ryan Tedder Secretly Taped ‘Top Gun: Maverick’ to Write the Hit ‘I Ain’t Worried’
TheWrap magazine: “I didn’t tell them I did this,” the OneRepublic Grammy winner says, “but I had an iPhone so I recorded the scene while we were watching it”
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Early Oscar Predictions: The Audience Is Staying Away From Awards Movies, But Will Voters Care?
“The Fabelmans,” “The Banshees of Inisherin” and others should be able to win over voters despite tepid box-office returns
