The changes, which have been repeated to me like a ritornello in the multiple encounters I have throughout the week, are that “The Power of the Dog” won’t be the winner, not even “Belfast,” but rather “CODA.” And that Penélope is the sure winner in her category, that for some reason she has climbed the obstacles she had to summit virtually. Not long after we arrive in the city and see our distributor, Sony Pictures Classics, do we hear the first rumors that things have been turned around with regard to the past months in that mysterious obstacle course that is the “Oscar race” (it is a race, but you don’t know what the obstacles are). Some Good News from Oscar Season: How Big Studios Supported Questlove and Hamaguchi (Column) Will Smith Is Gone, but the Academy Hasn't Even Begun to Deal with the Sting of His Slap You shouldn’t talk about things until they’re signed, sealed and settled with contracts.
#PENELOPREADS DIAREY MANUAL#
One of the secret reasons I have for being in Los Angeles (as well as going hand in hand with Penélope to the Dolby Theatre and experiencing in situ if her nomination still has a road to travel or if the prize was the nomination) is to meet with some actors as I think about the cast for my next film, which is starring Cate Blanchett and based on five stories by Lucia Berlin from her book “A Manual for Cleaning Women.” It’s an open secret, but I can’t discuss it, on orders from my production company El Deseo. Yesterday was an exhausting day, especially in the evening.
Almodóvar’s 2021 film “Parallel Mothers” was nominated for two awards: Best Actress (Penélope Cruz) and Best Original Score (Alberto Iglesias). It was provided for IndieWire in an exclusive English translation. Editor’s note: The following essay was written by filmmaker Pedro Almodóvar shortly after he attended the 94th Academy Awards ceremony on Sunday.
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