Hope germinates: Why should we get quality films for two years in 2021?

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Here’s a potential silver lining for 2021 after the film industry was thrashed to Rocky depths in 2020: We may never have it so sweet. Especially if we mean quality dramas and exciting new stories – cinema isn’t doing enough of the kind of things people complain about. Of course, a lot depends on the reopening of theaters and the awaited movies that live up to the hype, but hey, there is hope! Staying in – sign up for our home entertainment tips Continue reading One thing is certain: the Great 2020 Shutdown ensures that in one year we get two award seasons efficiently. The awards deadline is usually the end of the year, during which the feast of premium launches becomes a famine of duds and rejections. However, this year, the whole season has been moved back two months, culminating on April 25 at the Academy Awards. Deadlines for submission have been extended to the end of February.

As a consequence, the regular January/Feb dump is no longer in operation.

A feast, not a hunger. Then, just six months later, when things get back to normal, we’re getting ready for next year’s awards, which means that 2021 is still going to be full of good movies – at least that’s the hope. In the coming months, we already have a range of exciting titles to look forward to: Chloé Zhao’s Frances McDormand Docufiction Nomadland, Regina King’s directorial debut One Night in Miami, the Indian epic The White Tiger, Fragments of a Woman’s emotional tour de force, Mads Mikkelsen’s drinking drama Another Round, and Carey Mulligan’s thriller Promising Young Woman (which premiered at Sundance a year ago).

Later in the year, new heavyweight films such as Damien Chazelle, Joel Coen, Jane Campion, Guillermo del Toro, Ridley Scott and Paul Thomas Anderson, not to mention long-awaited top films such as Dune and West Side Story, could be included in the 2022 awards season. If 2020 was good for anything, it was to distinguish the wheat from the chaff – not just at the awards shows, but across the board. This year we should get the nice things we were promised last year: Wes Anderson’s The French Dispatch, Edgar Wright’s Last Night in Soho, Roger Michell’s The Duke, Joanna Hogg’s The Souvenir: Part II, David Lowery’s The Green Knight, and Minari and Zola’s indie hits.

And if the one-inch subtitle barrier has really been breached by Parasite, there’s still a backlog of festival-proven international cinema, but the question is whether it’s going to end up in theaters or online, and if anybody’s going to want to see it after such a screen-heavy 2020.

And let’s not get carried away: we could be grumbling like Statler and Waldorf this time next year about them not being made the way they used to be.

But let’s at least rejoice in this year’s marginally higher chance of seeing a good film in theaters.

We certainly deserve that?

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