Perspective | When it comes to this year’s Oscar movies, more is more

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Perspective | When it comes to this year’s Oscar movies, more is more
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Perspective: In 2022, chaos reigned in Hollywood, and within the films themselves.

by giving them free rein for their visions — with tedious and completely bonkers results, respectively. The effect of streaming has been twofold: Filmmakers have been just as seduced by bingeable series and podcasts as the rest of us, and they clearly envy the rabbit holes and endless second acts that make those mediums so addictive.

Pull the lens back, though, and the movies’ current state of derangement isn’t just understandable. It might be inevitable. Although we had already seen movies that were made during the covid lockdown, 2022 might have been the first year dominated by films that were conceived and created amid the ructions of the past five years, dislocations that included not just a global pandemic but the murder of George Floyd, polarization that exploded into insurrection on Jan. 6, 2021, and a dizzying number of mass shootings, natural disasters and civic breakdown, micro and macro.

Whereas touchstones like “Bonnie and Clyde,” “The Graduate” and “Easy Rider” took their grammatical cues from the French New Wave and documentary cinema verité, films like “Everything Everywhere All at Once” and— another big hit of 2022 — are pulling from sources including but not limited to Pixar movies and video games, martial arts films and superhero blockbusters, “Jurassic Park” and M. Night Shyamalan.

It bears noting that most of this year’s best picture nominees aren’t millennials or Gen Z-ers: They’re members of the generation that is beginning to understand, if dimly, that their control over the culture is no longer absolute. Interestingly, almost every movie on the list is about trauma, whether it’s the environmental destruction of “Avatar,” the ravages of war in

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