Oscars 2016

Complete List of the 2016 Oscar Winners:

Best motion picture of the year:

“Spotlight” (WINNER)

“The Big Short”

“Bridge of Spies”

“Brooklyn”

“Mad Max: Fury Road”

“The Martian”

“The Revenant”

“Room”

Performance by an actor in a leading role:

Leonardo DiCaprio in “The Revenant” (WINNER)

Bryan Cranston in “Trumbo”

Matt Damon in “The Martian”

Michael Fassbender in “Steve Jobs”

Eddie Redmayne in “The Danish Girl”

Performance by an actress in a leading role:

Brie Larson in “Room” (WINNER)

Cate Blanchett in “Carol”

Jennifer Lawrence in “Joy”

Charlotte Rampling in “45 Years”

Saoirse Ronan in “Brooklyn”

Achievement in directing:“The Revenant” Alejandro G. Iñárritu (WINNER)

“The Big Short” Adam McKay

“Mad Max: Fury Road” George Miller

“Room” Lenny Abrahamson

“Spotlight” Tom McCarthy

Performance by an actor in a supporting role:

Mark Rylance in “Bridge of Spies” (WINNER)

Christian Bale in “The Big Short”

Tom Hardy in “The Revenant”

Mark Ruffalo in “Spotlight”

Sylvester Stallone in “Creed”

Performance by an actress in a supporting role:

Alicia Vikander in “The Danish Girl” (WINNER)

Jennifer Jason Leigh in “The Hateful Eight”

Rooney Mara in “Carol”

Rachel McAdams in “Spotlight”

Kate Winslet in “Steve Jobs”

Original screenplay:

“Spotlight” Written by Josh Singer & Tom McCarthy (WINNER)

“Bridge of Spies” Written by Matt Charman and Ethan Coen & Joel Coen

“Ex Machina” Written by Alex Garland

“Inside Out” Screenplay by Pete Docter, Meg LeFauve, Josh Cooley; Original story by Pete Docter, Ronnie del Carmen

“Straight Outta Compton” Screenplay by Jonathan Herman and Andrea Berloff; Story by S. Leigh Savidge & Alan Wenkus and Andrea Berloff

Adapted screenplay:

“The Big Short” Screenplay by Charles Randolph and Adam McKay (WINNER)

“Brooklyn” Screenplay by Nick Hornby

“Carol” Screenplay by Phyllis Nagy

“The Martian” Screenplay by Drew Goddard

“Room” Screenplay by Emma Donoghue

Best animated feature film of the year:

“Inside Out” Pete Docter and Jonas Rivera (WINNER)

“Anomalisa” Charlie Kaufman, Duke Johnson and Rosa Tran

“Boy and the World” Alê Abreu

“Shaun the Sheep Movie” Mark Burton and Richard Starzak

“When Marnie Was There” Hiromasa Yonebayashi and Yoshiaki Nishimura

Best documentary feature:

“Amy” Asif Kapadia and James Gay-Rees (WINNER)

“Cartel Land” Matthew Heineman and Tom Yellin

“The Look of Silence” Joshua Oppenheimer and Signe Byrge Sørensen

“What Happened, Miss Simone?” Liz Garbus, Amy Hobby and Justin Wilkes

“Winter on Fire: Ukraine’s Fight for Freedom” Evgeny Afineevsky and Den Tolmor

Best foreign language film of the year:

“Son of Saul” Hungary (WINNER)

“Embrace of the Serpent” Colombia

“Mustang” France

“Theeb” Jordan

“A War” Denmark

Achievement in cinematography:

“The Revenant” Emmanuel Lubezki (WINNER)

“Carol” Ed Lachman

“The Hateful Eight” Robert Richardson

“Mad Max: Fury Road” John Seale

“Sicario” Roger Deakins

Achievement in visual effects:

“Ex Machina” Andrew Whitehurst, Paul Norris, Mark Ardington and Sara Bennett (WINNER)

“Mad Max: Fury Road” Andrew Jackson, Tom Wood, Dan Oliver and Andy Williams

“The Martian” Richard Stammers, Anders Langlands, Chris Lawrence and Steven Warner

“The Revenant” Rich McBride, Matthew Shumway, Jason Smith and Cameron Waldbauer

“Star Wars: The Force Awakens” Roger Guyett, Patrick Tubach, Neal Scanlan and Chris Corbould

Achievement in music written for motion pictures (Original score):

“The Hateful Eight” Ennio Morricone (WINNER)

“Bridge of Spies” Thomas Newman

“Carol” Carter Burwell

“Sicario” Jóhann Jóhannsson

“Star Wars: The Force Awakens” John Williams

Achievement in music written for motion pictures (Original song):

“Writing’s On The Wall” from “Spectre” (WINNER)

Music and Lyric by Jimmy Napes and Sam Smith

“Earned It” from “Fifty Shades of Grey”

Music and Lyric by Abel Tesfaye, Ahmad Balshe, Jason Daheala Quenneville and Stephan Moccio

“Manta Ray” from “Racing Extinction”

Music by J. Ralph and Lyric by Antony Hegarty

“Simple Song #3” from “Youth”

Music and Lyric by David Lang

“Til It Happens To You” from “The Hunting Ground”

Music and Lyric by Diane Warren and Lady Gaga

Achievement in costume design:

“Mad Max: Fury Road” Jenny Beavan (WINNER)

“Carol” Sandy Powell

“Cinderella” Sandy Powell

“The Danish Girl” Paco Delgado

“The Revenant” Jacqueline West

Achievement in makeup and hairstyling:

“Mad Max: Fury Road” Lesley Vanderwalt, Elka Wardega and Damian Martin (WINNER)

“The 100-Year-Old Man Who Climbed out the Window and Disappeared” Love Larson and Eva von Bahr

“The Revenant” Siân Grigg, Duncan Jarman and Robert Pandini

Achievement in film editing:

“Mad Max: Fury Road” Margaret Sixel (WINNER)

“The Big Short” Hank Corwin

“The Revenant” Stephen Mirrione

“Spotlight” Tom McArdle

“Star Wars: The Force Awakens” Maryann Brandon and Mary Jo Markey

Achievement in sound editing:

“Mad Max: Fury Road” Mark Mangini and David White (WINNER)

“The Revenant” Martin Hernandez and Lon Bender

“The Martian” Oliver Tarney

“Sicario” Alan Robert Murray

“Star Wars: The Force Awakens” Matthew Wood and David Acord

Achievement in sound mixing:

“Mad Max: Fury Road” Chris Jenkins, Gregg Rudloff and Ben Osmo (WINNER)

“The Martian” Paul Massey, Mark Taylor and Mac Ruth

“Bridge of Spies” Andy Nelson, Gary Rydstrom and Drew Kunin

“The Revenant” Jon Taylor, Frank A. Montaño, Randy Thom and Chris Duesterdiek

“Star Wars: The Force Awakens” Andy Nelson, Christopher Scarabosio and Stuart Wilson

Achievement in production design:

“Mad Max: Fury Road” Production Design: Colin Gibson; Set Decoration: Lisa Thompson (WINNER)

“Bridge of Spies” Production Design: Adam Stockhausen; Set Decoration: Rena DeAngelo and Bernhard Henrich

“The Danish Girl” Production Design: Eve Stewart; Set Decoration: Michael Standish

“The Martian” Production Design: Arthur Max; Set Decoration: Celia Bobak

“The Revenant” Production Design: Jack Fisk; Set Decoration: Hamish Purdy

Best animated short film:

“Bear Story” Gabriel Osorio and Pato Escala (WINNER)

“Prologue” Richard Williams and Imogen Sutton

“Sanjay’s Super Team” Sanjay Patel and Nicole Grindle

“We Can’t Live without Cosmos” Konstantin Bronzit

“World of Tomorrow” Don Hertzfeldt

Best documentary short subject:

“A Girl in the River: The Price of Forgiveness” Sharmeen Obaid-Chinoy (WINNER)

“Body Team 12” David Darg and Bryn Mooser

“Chau, beyond the Lines” Courtney Marsh and Jerry Franck

“Claude Lanzmann: Spectres of the Shoah” Adam Benzine

“Last Day of Freedom” Dee Hibbert-Jones and Nomi Talisman

Best live action short film:

“Stutterer” Benjamin Cleary and Serena Armitage (WINNER)

“Ave Maria” Basil Khalil and Eric Dupont

“Day One” Henry Hughes

“Everything Will Be Okay (Alles Wird Gut)” Patrick Vollrath

“Shok” Jamie Donoughue

Bridge of Spies

Bridge of Spies, 2015 

Directed by Steven Spielberg, 141 minutes

Tom Hanks, Mark Rylance, Alan Alda

Review by Katherine Scheetz

Bridge of Spies has all the quiet allure of Saving Private Ryan (1998) and all the brutal honesty of an older Daniel Brühl film. Seriously though, I waited through the entire film expecting his classic 90s haircut and refreshingly honest German accent. He never came.

The year is 1957 and whether it is in the detail of coattails in the courtroom, the pastel pink of the bathroom fixtures or the “Duck and Cover” nuclear preparations video, Spielberg’s detail-oriented teams have done a supremely subtle way of reminding us of that. Insurance lawyer Jim Donovan is tossed the job of representing one of the most hated men in America at the time, a known Soviet spy on trial for espionage and destined for the electric chair after the song and dance of justice is done. He approaches the situation without any thought but doing the right thing and it is sustained through every decision his character makes, whether that be calling his wife from a West Berlin payphone or getting drawing materials to the hated Soviet in his American prison. The audience can’t help but wonder why we are still paying Hanks to play this part after seeing him in it almost every year since 1992? If he wasn’t every millennials voice of plastic Wild West reason, we might be tired of throwing our paychecks at him by now. 

Spielberg’s pacing is impeccable. It moves slowly, slower than the instant gratification of today but in a way that quiets your breathing and brings you back to life in the 1950s.

His intentional direction isn’t flagrant but rather the stuff of a practiced hand. His choices are made by robust experience, no ego required. The camera angles and the stylistic choices aren’t about showing off what Spielberg can do:  they're about telling Donovan’s story the right way. The first meeting of Donovan and Rylance’s character, Rudolf Abel, was made memorable by luminescent back lighting from the prison windows rendering them to nearly full silhouette, shadow-like, as Donovon pronounces Abel’s harpist wife back in Moscow an “angel”. Employment of slightly-off-kilter angles used in and outside the Supreme Court in Washington D.C. also made the list of notable shots.

In the cinematography department, Spielberg demonstrated effective control of mirror symmetry. Using devices such as the cornerstone phone calls of the film and the time-honored handkerchief, both utilized first as they relate to Abel and then later to Donovon, as well as the human body jumping fences and the Wall, Spielberg gave us little clues to keep us actively engaged in his narrative.

Also to be noted, is the beautiful rhythm to Hanks and Rylance’s dialogue together, echoed throughout the film in the brilliantly scripted “Would it help?” which Rylance repeats several times. To hear Rylance’s subtext change throughout the course of the story and his relationship with Hank’s character, it gnaws at your stomach. The deep northern English accent that Rylance nuanced for Abel is hypnotic. He fades in and out with the rise and fall of the accent against the words, his voice scratches in prison, and becomes moist and phlegmy as he grows more confident. Watching Rylance refine Abel into a tall, nonchalant glass of Commie vodka throughout the course of the film was a privilege.

What truly makes this a film worth watching, and what separates this of Hank’s roles from his other, is Spielberg’s decision to utilize of his platform to make powerful moments at the Berlin Wall come to the fore front. Between the scenes shot at the building of the Wall, cement block by cement block, and Donovan’s witness of escapees from East Berlin in no man’s land, it’s a cinematic triumph in bringing people’s, especially the American people’s, attention to a brutal and not so distant history.

It is a film that brings you out of yourself. Donovan challenges you to be better, no matter your country, no matter your family, no matter what you have to do. Hanks’ delivery of this lesson is so gentle, and yet so firm, that of course we listen. It is on Hank’s good words, Spielberg’s faithful history lesson and the lull of life in cold times takes off. And it’s sure to make every historical bibliophile giddy to go home and read well into the wee morning hours (yes, I’m looking at you, Dad).

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