The year 2021 will go down as an epic moment in all our lives with the pandemic revising paradigms of viewing health, happiness, success, and also failure. This shift, of experiencing human life as it is, has found its way, almost invisibly, to the Oscar nominations.
This is an unusual year when four films from the comedy-drama genre make it to the Best Film category. Belfast, CODA, Don’t Look Up, and Licorice Pizza. In the International Film category, The Worst Person In the World from Norway is also nominated.
Historically, comedies or dramedies rarely make the Oscars cut. Critics and industry insiders in Hollywood, for decades, have called this a ‘genre bias’ against films considered of a lighter vein. The only comedies, albeit with strong drama storylines, that have won the Best Picture Oscar number to just 14; amongst the most recent ones being Green Book [2018] and Birdman [2019], and The Artist [2011]. Of these, some are tagged as 'serio-comedy,' a sub-genre where humour is minimal to the core plot. Driving Miss Daisy [1989] and American Beauty [1999] are examples of such films, where tragedy actually marks the film.
But in 2022, this has shifted with the inclusion of coming-of-age humorous films that stand a fair chance alongside grand epics like Dune and Nightmare Alley, and mega-budget musical dramas like Steven Spielberg’s West Side Story.
Acceptance of comedy-dramas as award-worthy cinema has begun with their growing popularity among young audiences. Consider Kenneth Branagh’s Belfast for example. The film opened very strongly in the UK, next only to Spider-Man: No Way Home in September. Having won appreciation at its premiere at Telluride International Film Festival, Belfast is the story of a young Irish boy growing up and finding his feet, along with his family, when the ‘troubles’ started [1969 onwards]. In terms of a story, its connection with millennials and Gen-Z is limited. But it is a chronicle of a young person discovering a path during a chaotic sociopolitical period in history worked with young audiences. As per box office data from the US and Canada, nearly 40 percent of the film's audience was less than 35 years; a surprising number given that the story is set in a very specific period within Ireland. Having released in November in the US and Canada, Belfast has made about $26.7 million across Western markets, despite the skepticism of a post-pandemic theatrical release.
Licorice Pizza, Paul Thomas Anderson’s deeply personal film about his youth in San Fernando Valley, California, held out for theaters to open post the pandemic. And the film is a runaway hit despite having no stars or shenanigans. With newcomers Alana Hain and Cooper Hoffman [son of the late Phillip Seymour Hoffman], the film is set in the 1970s US, and is about facing regular difficulties of money, work, and survival in an ever-growing urbanscape. Anderson is known for his loaded, large-scale period dramas [There Will Be Blood, Phantom Thread, Magnolia]. But with this film, he makes a departure into a breezier, gentler space of telling a story and projecting a city visually. Licorice Pizza is the story of a mismatched couple trying their luck out in small-time businesses, opportunities, and trying to build a life of their own. The film has struck a chord, with its US and Canada businesses reaching nearly $25 million.
Beyond the business, these growing-up tales that feature young, lesser-known actors in key roles have worked effectively on streaming. Apple TV+ bought CODA, which premiered at Sundance Film Festival 2021, and got a Special Mention, for $25 million. Featuring Emilia Jones as the daughter of deaf parents, the film has helped its host OTT platform gain subscriptions since its Oscar nomination. While Apple TV does not release viewership or subscription data, 9to5mac.com reports CODA has become the third most-watched film on the platform since the Oscar nominations came out. Having won specially-abled performers Troy Kotsur, Daniel Durant, and Marlee Maitlin a SAG nomination for Outstanding Performance by a Cast, CODA has found universal appeal because of its sensitive and humorous interpretation of a difficult situation in a young person’s life.
Don’t Look Up, also a genre-breaking dark comedy, ruled the top 10 globally viewed movies on Netflix from December 2021 to February. Beyond awards recognition, the film got interest from audiences because of its star-studded cast and its unexpected take on doomsday. Again, this resonated a mood that is visible among youth today across the world — events that change our lives can be most unexpected, and we would possibly be caught off guard.
The Oscar nominations have steadfastly focused on films that tell stories and reflect reality. Commercial considerations have faded out since superhero films and event movies began to dominate the theatrical business. But with a pandemic locking people indoors, and aspirations, college life as well as job hunts cut short by more than a year, the role of growing-up experiences seemed to have gained respect. Just living through the big and small challenges of life has connected with people, especially the young. Given that the mindset of what entertainment should mean has shifted at this point in time in history, perhaps a comedy-drama might just walk away with top honours at the Oscars this year. About time, we say.
Oscars 2022 will take place on 28 March.
Archita Kashyap is an experienced journalist and writer on film, music, and pop culture. She has handled entertainment content for broadcast news and digital platforms over 15 years.
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