Considering this year's (mostly) reportedly controversial roster of Academy Award nominees, it seemed as if the Oscars were on the verge of another #OscarsSoWhite event. But as last night's ceremony proved, there was more diversity than expected, particularly from cultures and ethnicities that aren't normally recognized each year. (It also goes to show, sometimes it's not always how you start, but how you finish.)
Lock-in wins for the four main acting categories proved for-sure, with stars Brad Pitt (for his supporting role in Quentin Tarantino's 60s nostalgia trip, Once Upon a Time . . . In Hollywood), Laura Dern (for her supporting role in Noah Baumbach's devastating divorce drama, Marriage Story), Joaquin Phoenix (for his leading role in Todd Phillips' chilling comic book-adapted thriller, Joker), and Renee Zellweger (for her leading role as famed Hollywood star Judy Garland in Rupert Goold's Judy) focused their (more spotlighted) acceptance speeches on family and parents, animal and human rights, and inspiration from real-life heroes, respectfully. Pitt (who won his first acting Oscar, also his fourth nomination in his career) and Phoenix (who is only the second actor, after the late Heath Ledger, to win an Oscar for acting in a comic book-based film, and for the same role) even touched on the theme of second chances and (if subtly) career comebacks.
Even wins for Joker (which also won composer Hildur Guðnadóttir the original score honor), front-runner war drama 1917 (which took home statues for its cinematography, sound mixing, and visual effects), and race car biopic Ford v Ferrari (which won for its film editing and sound editing) were also in effect. In addition, Jacqueline Durran's period costume design for Greta Gerwig's adaptation of Little Women was singled out, as was filmmaker Taika Waititi's surprise win for his adapted screenplay for Jojo Rabbit. Interestingly, Waititi mentioned backstage to members of the press that his anti-hate satire (where a German boy--and neo-Nazi wannabe--imagines a baffoonish version of Adolf Hitler as his imaginary friend during the Third Reich, and learns that his mother is hiding a Jewish girl in their attic) was recently selected as part of the Shoah Foundation's education curriculum.
A few other surprises and highlights of the evening included Peanut Butter Falcon stars Shia LaBeouf and Zach Gottsagen presenting best live-action short film, Animated Short Film-winner Hair Love, Julia Louis-Dreyfus and Will Ferrell cracking everybody up, and (perhaps most unexpectedly) rapper Eminem's live performance of his award-winning song, "Lose Yourself," from the 2002 film 8 Mile. Appearances from previous award-show winners Adam Sandler (Uncut Gems) and Awkwafina (The Farewell) would've been interesting, to say the least. And although Martin Scorcese's mob epic The Irishman went home empty handed, the same cannot be said for the amazing standing ovation the legendary filmmaker received.
Which brings me to the real highlight of the evening. In the 92-year history of the Academy of Motion Picture Arts & Sciences, a foreign film (now declared an "International Feature Film," according to the Academy's new modified category) has never won the coveted Best Picture honor. And although Alfonso Cuaron's masterpiece Roma (which you should see, by the way!) arguably should've won that honor last year, I give my deepest kudos to the Academy for recognizing Bong Joon-ho's dark comedy-thriller Parasite. The South Korean filmmaker walked away with a sweep of trophies for the film's original screenplay and direction as well. And it's the first time a film from South Korea has been recognized and won honors from the Academy. I tell you, if that's not diverse acknowledgement, I don't know what is.
It's worth noting that Joon-ho's recognition alongside previous Best Director-winners Alfonso Cuaron (2018's Roma, 2013's Gravity), Guillermo del Toro (2017's The Shape of Water), Alejandro G. Inarritu (2015's The Revenant, 2014's Birdman), Ang Lee (2012's Life of Pi), Michel Hazanavicius (2011's The Artist), and Tom Hooper (2010's The King's Speech) rounds out the decade's roster of international filmmaking talents working today.