Enough with the Music Biopics!

by Cláudio Alves

What has BOHEMIAN RHAPSODY wrought?!

Over the past five years and across nearly a thousand write-ups for The Film Experiences, you might have denoted my slight distaste for biopics. To be fair, "slight" might be an understatement. I bring this up to admit my bias against these projects, often conventional to a fault and dripping with mercenary intent. But even if you're a fan of them, you must admit there's been a disproportionate influx of these productions in the past few years, especially in the context of dramas about musicians. It's likely a consequence of Bohemian Rhapsody's immense success at the box office and with awards groups, generating a thousand copycats that may not reach the depths of its ignobility but still plateau at a level of miserable mediocrity.

As Timothée Chalamet is hounded by paparazzi on the set of his Bob Dylan biopic, the Bohemian Rhapsody editor announces his directorial debut, and Back to Black spits on the memory of Amy Winehouse in theaters, let's discuss…

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Ranking ALL of John Williams' Oscar Nominations

by Cláudio Alves

INDIANA JONES AND THE DIAL OF DESTINY earned John Williams his 54th Oscar nomination.

Last week, John Williams celebrated his 92nd birthday, so it seems proper to shine a light on the legendary composer before the month ends. After all, in January, he also became the oldest person ever to secure an Oscar nomination, as he got into the Best Original Score lineup with Indiana Jones and the Dial of Destiny. It was his 54th honor - he's won five Oscars as well - making him the most nominated living artist and runner-up for most nominated individual ever. That record is still held by Walt Disney, with 59.

In American Film History, there will never be a more iconic and influential composer than John Williams. If you don't believe it, join me as I go through his 54 nominations and offer my ranking…

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Paul Mescal must be stopped

by Cláudio Alves

Something must be done about that Irish menace known as Paul Mescal. He's out there ruining perfectly great songs, attaching such emotional devastation to them one can't help but start tearing up when listening to them. It's akin to a cinema-induced Pavlovian response, and it's making me feel like an insane crybaby. Last year, it was "Under Pressure," forever bound to Aftersun. This year, it's "The Power of Love" by Frankie Goes to Hollywood and the ending to All of Us Strangers. Twisting the horror out of Taichi Yamada's ghost story, Andrew Haigh re-imagined the book's conclusion as a melancholic gut punch, romance played for earnestness rather than betrayal.

It's probably the picture's most divisive element, but it works partly because of Mescal and how fleshed out his depressed stranger grows into being, narrative circumstances notwithstanding. I won't go further because everyone deserves to discover those surprises by themselves. However, I want to pose a couple of questions. First, has any film forever changed the meaning and effect of a song? Second, what did you think about the All of Us Strangers final goodbye?

Ten Highlights from IndieLisboa

by Cláudio Alves

Dear reader, if you've noticed my relative absence in these early days of May, I can only apologize. I've been busy covering the 20th edition of the IndieLisboa film festival in the Portuguese capital. The event is a grand affair for the celebration of national and international independent cinema, with multiple competitive sections and prizes at the end of it all. This year's international competition winner was Juraj Lerotic's Safe Place, which I wrote about last year when reviewing various International Film Oscar submissions. Other titles should be less familiar to The Film Experience's readership, so this feels like an excellent opportunity to offer recommendations and spread the word on some nifty flicks. 

From an out-of-focus Hong Sang-soo experiment to an extensive Jan Švankmajer retrospective, from shorts to features, a little over 300 films made up the festival's program. Having watched roughly a third of those, here are ten highlights…

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Razzie Nominations: Music, Borat Subsequent Moviefilm, Hillbilly Elegy, etcetera

by Nathaniel R

We don't want to waste too much time on this but figured we share the nominees for the 41st annual Razzies. The Razzies dont often have much in common with the general awards season and usually go for easy marks rather than thinking about what actually constitutes bad acting or bad filmmaking. But this year there's a little more crossover since the savagely reviewed Sia musical Music as well as two Oscar contenders in various categories, the  overwrought Hillbilly Elegy and the critical and zeitgeist hit Borat Subsequent Moviefilm are both up for prizes... 

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