![]() This was just a preview of his impending Oscar dominance (more on that later), and it was a signal of his daring. Meanwhile, Y Tu Mamá También brought the first nomination for Alfonso Cuarón, who wrote the erotic road-trip movie with his brother, Carlos. Nominated screenplay by Alfonso & Carlos Cuarón He also was nominated for Best Director, indicating just how much the Academy loved this story about two men who become friends as they watch over two women in comas at the same hospital. First, Pedro Almodóvar actually won the Oscar for writing Talk to Her, making his film the fifth foreign-language victor in this category and the first since A Man and a Woman in 1966. Who won that year? Gosford Park, by Julian Fellowes. In the Oscar season immediately after 9/11, the movie’s faith in humanity was especially welcome. Nominated screenplay by Jean-Pierre Jeunet & Guillaume LaurantĪmélie became an art-house sensation in 2001, centered on a heroine who seemingly sees whimsy in everything and everyone. Who won that year? Shakespeare in Love, by Marc Norman and Tom Stoppard. If he’d actually won for the screenplay he co-wrote with Vincenzo Cerami, he’d surely have tried to do a bit with Steve Martin and Goldie Hawn, who presented the award that year. The specter of Roberto Benigni’s clowning Best Actor acceptance speech will forever haunt our nightmares, but it could’ve been worse. One could compare this movie with 2019’s Jojo Rabbit - both examine the Holocaust in a comedic context, although the respective tone of each film’s humor differs. Nominated screenplay by Roberto Benigni & Vincenzo Cerami Who won that year? Pulp Fiction, by Quentin Tarantino. As the crowning achievement in a well-respected series, it likely felt impossible to ignore. Red puts a poetic spin on fraternité, following the random circumstances that connect its major characters. Remember last year, when Polish filmmaker Pawel Pawlikowski got that surprise directing nomination for Cold War? In some ways, the door was opened by his countryman Krzysztof Kieślowski, who got a directing nod and shared a screenplay nomination with Krzysztof Piesiewicz for Red, the final film in a trilogy inspired by the French motto - “ liberté, égalité, fraternité - and named after the colors of the French flag. Nominated screenplay by Krzysztof Kieślowski & Krzysztof Piesiewicz Three Colors: Red (Trois couleurs: Rouge) Here’s a look at the dozen scripts that made the cut between 19 (including the single film of the era to earn the category’s Oscar), and how they managed to break through Oscar’s unwelcome glass ceiling. That’s 13 screenplays since 1989, after 15 were nominated in the 1960s alone. Other languages made it back into the Original Screenplay race in the 1994–1995 awards season, but since then, only 13 such scripts have been nominated, including Parasite. And that’s if you stretch to include this year’s The Two Popes, which features multiple scenes in Spanish and lets Anthony Hopkins mutter Latin phrases while he shuffles around in his cute red shoes.) No foreign-language script has ever won in that category, and only 20 have ever been nominated. ![]() (Now’s a good time to mention that Best Adapted Screenplay has always focused on English films. It’s hard to say why, but beginning in 1989, the Academy failed to recognize a single non-English original screenplay for six consecutive years, despite movies like Women on the Verge of a Nervous Breakdown, Cinema Paradiso, and The Wedding Banquet debuting at the same time. (During that time, the Academy of Motion Picture Arts and Sciences also recognized seven foreign-language nominees in Best Story, an additional writing category that was discontinued in 1956.) Only four of these Original Screenplay nominees actually won the Oscar - Marie-Louise, The Red Balloon (1957), Divorce Italian Style (1963), and A Man and a Woman (1967) - but throughout this period, the Academy regularly announced it had room in its good graces for an internationally diverse array of writers. Through 1988, there were 42 nominations for non-English scripts, including multiple years that saw two or even three international films making the cut. In 1946, the French WWII drama Marie-Louise became the award’s first foreign-language nominee (and winner), which kicked off a decades-long streak. Here, I’d like to entertain a similarly historic possibility: Parasite’s odds of conquering the Best Original Screenplay field.įor a time, the Original Screenplay category was a remarkably international Oscar category. Its chances of doing so are fodder for a different article, however. It would be an unprecedented delight if, come Oscar Sunday, Parasite bested its Best Picture competition and became the first foreign-language film to triumph in the category. 2002: The year the Gosford Park screenplay bested Amélie at the Oscars.
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