Graceriot: a space for holy commotion and examination, “hidden fences and tripped syllables.”
Awards season is here–whether you foam at the mouth at the mention of “Oscar” or start to yawn instead. Regardless, now is the time when critics and audiences sum up the highlights of the cinematic year. We start hearing more and more about “Oscar bait,” a reference to the period films and historical biopics and somber dramas that usually garner the acclaim of the Academy. This is when we reap the so-called best of the harvest–the films that enter the pantheon of essential films introduced to later generations. For Americans, these films are meant to reflect the peaks of our cultural and creative endeavor.
So I was irked when a reporter interviewed Pharrell Williams at the Golden Globes for his work on “Hidden Fences.” The ire flared again when Michael Keaton later announced Octavia Spencer (a notable black actress) for her nomination in…again “Hidden Fences.” There is no “Hidden Fences.
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