What do Pedro Almodóvar, Paul Thomas Anderson, Wes Anderson, Kenneth Branagh and Jane Campion have in common? They’ve helmed acclaimed films for decades, earned Academy Award nominations and done s…
have in common? They’ve helmed acclaimed films for decades, earned Academy Award nominations and done some of their best work this year … yet they’ve never won a director Oscar.
The latter is very much in Campion’s wheelhouse. “For Benedict, the challenge was particularly steep; how to create this seething, tormented man,” she says. “Drawing [that] portrait alongside Ben was an exhilarating exploration, one that we both knew the entire film depended on.” To convey this, Branagh used editing to add “unexpected jolts of color, movement and violence into this largely still world.”
“It represents my biological maturity — I’m getting older,” says the 72-year-old director. “In the ’80s, I thought more about my freedom and the freedom of my characters. I wasn’t really thinking about historical memory; I was more interested in documenting life in the streets, what young people were doing. I think I was political because all of my characters had absolute moral autonomy. But in the last 20 years, I’ve been more concerned about the social problems of my country.
While it’s not a candidate for international feature, Anderson’s anthology “The French Dispatch” — which follows writers, artists and students in the fictitious French town of Ennui-sur-Blasé — plays like one at moments. What new challenges did it present? “I don’t know if you would call it a challenge, but a lot of this movie is in French,” Anderson says. “Sometimes one character speaks French and another answers in English. We frankly just mix the languages any way we like.
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