This is not a joke, Moonlight has won best picture. Moonlight. Best picture — Jordan Horowitz, producer, La La Land
Usually I don’t pay much attention to the Oscars. Primarily because I haven’t gotten around to seeing any of the nominees before the big night. I might see one of the movies after the statues have been handed out. ‘Might’ being the operative word.
The only time I was interested or invested in what happened at the Oscars was when Brokeback Mountain was up for best picture. I loved that movie. Still do. Naturally, I thought it was an absolute travesty when Crash robbed Brokeback Mountain of that particular Oscar. I remember being quite pissed about that outcome. Calling that win an upset is a mild way of describing it.
Since then, I hadn’t really given two cents to the pomp and pageantry of the Oscars.
That was until I watched Moonlight. Everything about it is perfection to me. It took hold of my heart like nothing else before it and it is a story I champion.
I will admit to not having watched La La Land. Will I ever? Most likely not. I’m not a fan of musicals. I have a hard time connecting to that film genre. Not my jam. But I’m not saying I don’t respect the time and effort put into making that film. Kudos to the film for the six Oscars they earned last night.
Going into last night, right or wrong, the two films were pitted against each other. The nature of competition, I guess. The Oscars, by its very nature, is a tedious awards show to watch, regardless of who is hosting. I’m not sure if it speaks to the shortening of viewers’ attention span, but it seems trying for the average person to sit for more than three hours watching a televised awards show when all they want to hear is who wins the last category of the night.
As expected, there weren’t any real surprises or upsets during the ceremony. It was getting a little boring although some of the speeches were beautiful, like the one Viola Davis gave after winning Best Supporting Actress. I’m all for ‘exhuming bodies’ and listening to those stories. Those are the ones I want to hear.
Another moment of note was actor Gael García Bernal speaking out against Trump’s plan to build a wall along the very long U.S.– Mexico border: “As a Mexican, as a Latin American, as a migrant worker, as a human being, I am against any form of wall that wants to separate us.”
I suppose the only hint that something might not go La La Land‘s way was the fact they did not come close to sweeping in all their nominated categories. Out of the 14 nominations, they took the Oscar in the only six categories.
Quite frankly, I was itching for an upset of epic proportions as the evening wore on. Something along the lines of what had happened to Brokeback Mountain, but bigger. I had always wanted Moonlight to win Best Picture but came to resign myself to the likelihood of La La Land taking that honour.
Then that gaffe happened. Everyone would have preferred that the correct envelope had been given to Warren Beatty and that the folks from Moonlight would have been given the opportunity to enjoy their win more completely. As the saying goes, shit happens. Then you roll with it.
Huge kudos to La La Land producer Jordan Horowitz for announcing there had been a mistake and graciously handing the Oscar statue over to Moonlight director Barry Jenkins and vacating the stage for the Moonlight folks. In any other situation where millions of people aren’t watching you because you’re on live TV, handling the situation with aplomb would have been a lot easier. But when everybody is looking at you and that self-conscious feeling is creeping up on you, you do what you know is right and hope the passing of the statue goes smoothly. Horowitz couldn’t have done it better in a painfully awkward situation.
These two films should have never ended up in this situation. It really was unfair to both parties.
Take away the biggest (and most embarrassing) gaffe in Oscar history and what you have is the epic upset I was looking for.
In it’s most simplified explanation, this film is a love story between two black men. It is a coming-of-age film. The film’s characters are representations of people who exist in the real world but have never really had the chance to exist and flourish beyond art house-style cinema.
This is a film that cost $1.5 million to make and was filmed in under a month. It has shown it is possible for independent filmmakers to go toe-to-toe with the big boys at the Oscars. It shows that stories like the one Jenkins tells in Moonlight are worth telling and should be told. People want to hear these stories. These stories are universal. To be denied the opportunity to tell them is criminal.
Some will excuse Moonlight’s win as the result of the current political climate. That may be partly true but it doesn’t diminish the fact that the film resonated with a lot of people before the U.S. presidential election back in November.
You cannot diminish this win. You cannot diminish the fact the film exists. You cannot diminish the fact this movie is very important to a lot people who have been marginalized in film, mainstream media and society.
The fact Moonlight was honoured last night with Best Picture brings hope that cinematically, we will see more of these kinds of stories, a more rounded and complex take of the world we live in.