Welcome back to Oscar on the Oscars, the annual column where I talk about the awards show with which I share a name. The 94th Academy Awards are scheduled for this Sunday, March 27, and, as I highlighted in the last installment of this column, seem to be aiming for a return to normalcy after last year’s quirky, COVID-19-delayed ceremony. Before the little gold statues get distributed, though, I’m taking this pre-Oscars installment to celebrate the films and individuals who stand absolutely no shot of taking one home. In the spirit of positivity, I’m not going to say which existing nominees ought to be replaced, instead celebrating those who also deserved recognition. In no particular order, here’s my list of this year’s most egregious snubs.

 

Mike Faist and David Alvarez for “West Side Story” 

Ariana DeBose earned a well-deserved nomination for Best Supporting Actress for her exuberant turn as Anita in Steven Spielberg’s “West Side Story.” Sixty years ago, Rita Moreno (set to receive an honorary degree at the university’s upcoming commencement) won the award for the same role. Though undeniable in its power, DeBose’s energy is matched by her co-stars, who unfortunately weren’t nominated in any of the acting categories. 

Particularly disappointing was the lack of “West Side Story” representation in the Best Supporting Actor category. Mike Faist, who plays Riff, and David Alvarez, who plays Bernardo, deliver gripping performances, both complete with powerhouse acting and captivating song and dance skills (which is unsurprising considering they both have backgrounds in Broadway). Faist brings livewire energy and a nihilistic charisma to his role as the leader of the Jets, and Alvarez is forceful yet fiery as the conflicted leader of the Sharks. 

 

Timothée Chalamet, Rebecca Ferguson, and Denis Villeneuve for “Dune”

I reviewed “Dune” for The Argus upon its release last October, and found it remarkable, and it seems that the Academy agrees with my assessment: the film scored ten nominations, including Best Picture. Oddly, though, none of these nominations were in acting categories. It seems somewhat counterintuitive that a film might be among the best of the year, yet none of its actors are noteworthy enough. Indeed, “Dune” is packed with an excellent ensemble, especially considering Timothée Chalamet and Rebecca Ferguson’s central performances as Paul, the young heir to the noble house of Atreides, and Jessica, Paul’s mother torn between protecting her son and guiding his rise to power, respectively. 

Speaking of confusing nominations, it just flatly doesn’t make sense that Denis Villeneuve didn’t get a nod for his directing work on “Dune,” considering how much the film’s greatness is guided by his unique vision.

 

Hidetoshi Nishijima and Toko Miura for “Drive My Car”

“Drive My Car,” a moody, meditative drama directed by Ryūsuke Hamaguchi, is the first Japanese film ever nominated for Best Picture. Coming off the heels of  “Parasite,” which was the first Korean nominee and subsequent winner for Best Picture in 2020, it seems like the Academy is paying greater attention to the artistry of Asian cinema. However, “Drive My Car” has another commonality with “Parasite”: Neither one saw a single cast member nominated in the acting categories.

At best, this is an unfortunate coincidence, and at worst, it plays into insidious racial stereotypes of Asians as robotic and unemotional, able to be recognized for their technical ability but not their fine, emotive acting work. “Drive My Car” is powered by the rich bond between Hidetoshi Nishijima as Yūsuke Kafuku, a melancholic theater director, and Toko Miura as Misaki Watari, the quiet but deeply emotional young woman hired as Kafuku’s driver. Given these striking performances at the very heart of the film, the complete lack of recognition is a frustrating oversight. 

 

“The French Dispatch,” Generally

Wes Anderson’s latest, “The French Dispatch” was one of the last year’s most interesting films. The director’s signature visual precision serves as an effervescent exterior for deeper meditations on topics ranging from the artist’s process to the emotional toll of life as an “other.” Yet when Oscars season came around, the film came up empty-handed. Though the film’s anthology nature and ensemble cast make it unlikely to have received acting nominations, it seems eminently deserving in categories such as Original Screenplay for Anderson’s pointed, witty dialogue, as well as Production, Costume Design, or Cinematography, particularly considering the technical wizardry behind the film’s richly detailed tableaux. 

 

“The Last Duel,” Generally

“The Last Duel,” a historical drama directed by Ridley Scott, is a rich, thought-provoking saga inspired by the true story of a trial by combat over an accusation of rape in 14th-century France. The film is split into three chapters, representing the perspectives of knight Jean de Carrouges (Matt Damon), his friend and accused rapist Jacques Le Gris (Adam Driver), and noblewoman and accuser Marguerite de Carrouges (a powerfully understated Jodie Comer). The screenplay, written by Nicole Holofcener, Ben Affleck (who also stars as the libertine Count Pierre d’Alençon), and Damon, isn’t so much a “Rashomon”-esque interrogation of the truth as it is a revelation of how a society’s pervading misogyny silences women and corrupts men. 

 

Oscar Isaac for “The Card Counter” 

Writer-director Paul Schrader’s “The Card Counter” is another film I reviewed for The Argus last fall. As a grimly engrossing character study that interrogates a conscience haunted by the War on Terror, I found the film haunting and deeply compelling. Of particular note was Oscar Isaac’s tour de force lead performance as protagonist William Tell—a quiet, odd man with a cold exterior—who Isaac nonetheless renders with rich humanity and warmth. While the film was well-reviewed, it wasn’t a hit with audiences, perhaps due to its dark, contemplative mood when they expected something more upbeat. Unfortunately, it seems that the Academy’s voters felt the same way. 

 

Those included on this list, if nothing else, have the approval of this Oscar. Oscar on the Oscars will be back with a look at the films that did win during Sunday’s ceremony.

 

Oscar Kim Bauman can be reached at obauman@wesleyan.edu