The summer that promised a return to movie theaters certainly made up for lost time, with last year’s scheduled releases such asF9,Black Widow,A Quiet Place: Part II, andJungle Cruisefinally making their way to screens. Not every tentpole lived up to the hype (Snake Eyesbombed so badly it wasdropped on home video after four weeks), and audiences may have chosen to watch the excellentThe Suicide SquadandIn the Heightsat home on HBO Max instead of in theaters.
However, beyond the blockbuster fare the summer was filled with a terrific slate of smaller gems. While the upcoming fall festival titles will likely dominate awards seasons, generally a few summer films can sneak into the top categories. Whether they only contend for critics’ prizes and the Indie Spirit Awards or find themselves in the major Oscar races, these seven independent films shouldn’t be left out of the awards discussion.
The Green Knight
David Lowery’s gorgeous medieval fantasy has the makings of a future classic. Both a sweeping fantasy adventure and a thoughtful meditation on mortality,The Green Knightis a gorgeous technical and emotional achievement. In a just world Lowery’s retooling of the “Sir Gawain” epic fable would make its way into the Best Adapted Screenplay category andDev Patel’s sensitive turn as the impulsive hero would be in the Best Actor conversation, butThe Green Knightmay have a legitimate shot in the technical categories. A24 surprisingly took home a Best Visual Effects win forEx Machinaand could see similar recognition forThe Green Knight’s impressive mix of digital and practical. The film’s immaculate period detail should hopefully earn it nods for Best Cinematography, Best Makeup and Hairstyling, Best Production Design, and Best Sound.
In a year stacked with movie musicals,Annetteis certainly a darker, subversive alternative to crowd pleasers likeIn the Heightsand the upcomingDear Evan HansenandWest Side Story.Leos Carax’s sensibilities may be too weird for the Academy, even ifAdam Driver’s tour de force performance as a self-destructive comedian is one of his greatest roles to date andSimon Helberg’s sensitive accompanist would be a welcome contender in the Best Supporting Actor race. However,Annette’s terrific original soundtrack bySparkshas more than a few standout numbers worthy of Best Original Song consideration; is there a better way to kick off an Oscars ceremony than arendition of “So May We Start”?
If we’re talking about standout moments tailor-made to be “Oscar clips,”Winston Duke’s final monologue during the closing scene ofNine Daysis about as perfect as you can get. In the mythological drama, Duke stars as a mythological arbiter who determines prospective souls’ worthiness to take a physical form on Earth. His quiet, restrained performance as a procedural employee removed from the inherent emotion of his task is one of the year’s best, and would be a welcome addition to the Best Actor race. Summer indies generally have a better shot in the Best Original Screenplay category, and if more experimental arthouse fare likeFirst ReformedandThe Lobstermanaged to slip in, perhapsEdson Oda’s thoughtful story can too.
Riders of Justice
Denmark is coming off of a Best International Film win forAnother Roundand would be apt to campaign another film starringMads Mikkelsenin the category during this year’s selection process.Riders of Justicehas a lot in common withThomas Vinterberg’s Oscar winner; both are heartbreaking and hilarious in equal measure, and both subvert familiar genres with shocking plot twists and morally ambiguous characters. WhileRiders of Justicemay technically fall in the action-comedy realm, it’s a surprisingly sensitive depiction of masculinity from directorAnders Thomas Jensen, a previous winner in the Best Short Film category. Perhaps Jensen could leap into the Best Director race following Vinterberg’s breakthrough nomination last year.
The British indieLimboactually had a brief awards run last year at the BAFTA and British Independent Spirit Awards, but the film didn’t reach U.S. viewers until this summer. The added attention benefitsLimbo’s visibility, and the impressive directorial debut fromBen Sharrokcertainly tackles timely subject material. The brittle dramedy follows a group of refugees who live “in limbo” on a desolate Scottish isle waiting for updates on their asylum status. While Sharrok’s screenplay and the remarkable lead performance from newcomerAmir El-Masrymay have a better shot at critics’ circle groups, the elegant cinematography fromNick Cookedoes a terrific job highlighting the characters’ isolation.
The Sparks Brothers
The Oscars have recently awarded music documentaries likeAmyand20 Feet From Stardom, and they also gravitate towards heartwarming crowd pleasers likeFree SoloandMy Octopus Teacher.Edgar Wright’s extensive documentation of the offbeat musical duo Sparks fulfills both inclinations. Wright cleverly incorporates creative animated segments with extensive archive footage for an engaging spotlight on the influential pair, and the theme of artistic integrity in the face of setbacks may resonate with voters.The Sparks Brotherswould be a fun contender within the Best Documentary Feature race. Wright really should have an Oscar nomination by now, and perhaps with the backing of Focus Features for this and the upcomingLast Night in Soho, it will be his breakthrough year.
Under the previously more selective membership of the Academy, a film as outrageous asZolawould never have touched the awards discussion, but perhaps a more open-minded body that awarded subversive genre stories likeGet OutandPromising Young Womanwill appreciate this raunchy stripper saga. Zola is undoubtedly one of the funniest and most shocking films of the year so far, but first time filmmakerJanicza Bravoinventively incorporates the viral Twitter as a framing device for the wild story. Bravo would be an inspired choice for Best Director, as would supporting nods forRiley Keough’s untrustworthy exotic dancer andColman Domingo’s wacky, yet terrifying drug dealer.
