Why F1 the Movie should win the best picture Oscar

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It may not be in pole position, but Brad Pitt and director Joseph Kosinski’s sleek, technically inventive ode to motor racing definitely qualifies for the Academy podium Could, should, would F1 the Movie win the best picture Oscar? Well, we have to be realistic here: F1 is currently a massive outsider, at 200-1 along with The Secret Agent , which has no chance either but for very different reasons. It’s not hard to see why: this is a swaggeringly mainstream film, where tech and branding dwarf the human input, with the film itself acting as a front-end battering ram for a sports organisation desperate to break into the promised land of the US auto racing circuit. (I mean it’s right there in the title.) So even the most reactionary, conservative Academy voter is going to find it hard to mark F1 with their tick. So no, I don’t think it could win. That’s not to say F1 doesn’t have quite a bit going for it. The Oscars, as we know, have historically had a problem with so-called “popular” ...
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‘Studio bosses were like: it sounds lovely. We’ll pass!’: Joel Edgerton and Clint Bentley on their Oscar-tipped lumberjack tragedy

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The actor and the director of Train Dreams – a quietly powerful tale of a logger in 1900s Idaho – on the slog of getting it made, the joy of motel living and why human-made things will always beat AI

America was built by men like Robert Grainier, the stoical lumberjack at the heart of Train Dreams. Grainier cuts the trees and tames the forest and lays the ground for railroads and towns. Technically, then, Train Dreams is a western. But he never once ropes a steer, shoots a bandit or circles the wagons ahead of a Comanche attack on the plains. The small print tells a different kind of story.

It was a hard film to pitch, admits the actor Joel Edgerton: an uphill struggle; plenty of studio trepidation. “You go into the meeting and say: ‘Well, it’s a movie about a guy who’s not really making choices for himself. He’s kind of pushed around by life.’”

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