Just because most of the big movies this year have had their theatrical releases delayed until 2021 doesn’t mean that Oscar season is canceled. No, au contraire, due to this year’s Oscars allowing digitally-released films to compete, we have plenty of films to look forward to in November and December.
Here are the 10 most promising titles
“Ammonite” (November 13, VOD)
One of the more highly anticipated films on the list. Francis Lee (“God’s own Country”) brings together Kate Winslet and Saoirse Ronan for this intense move story set in 1840’s England. This film is sure to be a major awards player come 2021. Ever since “Ammonite” was selected to be part of Cannes’ non-existent 2020 edition, there has been persistent hype surrounding Lee’s film, although comparisons to last year’s “Portrait of A Lady on Fire” will surely be made.
“Sound of Metal” (November 13th, VOD)
Riz Ahmed has never been better. Playing a metal drummer who starts to lose his hearing, Ahmed turns “Sound of Metal” into a heartbreaking tale of redemption as it goes along, culminating in a final shot that is both necessary and absolutely perfect. Kudos to Nicolas Becker’s landmark sound editing, which deserves an Oscar nomination.
“Hillbilly Elegy” (November 24th, Netflix)
Ron Howard directs from Vanessa Taylor’s screenplay about a law student grappling with family history and the American dream. It’s always been hit-and-miss with Howard (“Cinderella Man,” “Apollo 13,” “A Beautiful Mind”), but the source material here is strong and the film’s cast has Amy Adams and Glenn Close as the co-leads. Enough said.
“Mank” (December 4th, Netflix)
It’s been six years since David Fincher released his last feature, “Gone Girl.” The wait for a new film by the venerable director is finally over, as Fincher is about to release “Mank,” a forthcoming Netflix feature about “Citizen Kane” co-screenwriter Herman Mankiewicz (played here by Gary Oldman). “Mank” will tackle the Welles-vs-Mankiewicz feud, which has been a controversial point of contention for the last 60 years, especially after the publication of Pauline Kael’s much-disputed 1971 essay, which claimed that the mastermind behind the ‘Kane’ screenplay was solely Mankiewicz and not Wells. Cinematographer Erik Messerschmidt will be in charge of the black and white photography in “Mank,” rumored to replicate Gregg Toland’s photography in the 1941 film.
“Nomadland” (December 4th, Disney+)
In “Nomadland” Chloe Zhao (coming off the critically-acclaimed “The Rider”) adapts journalist Jessica Bruder’s 2017 non-fiction book “Nomadland: Surviving America in the Twenty-First Century”. The film, taking place during the 2008 economic recession, follows a woman (played by Frances McDormand) who packs her van and sets off on the road exploring a life on the total outskirts of mainstream society, she, by in turn, becomes a Nomad. It will simultaneously world premiere at TIFF, NYFF, and Venice on September 11th.
“The Father” (December 18th, VOD)
Anthony Hopkins is gunning for that second Best Actor trophy for his brilliant work as Anthony in “The Father.” Playing a man, suffering from Alzheimer’s, who refuses all assistance from his daughter as his mental state deteriorates, Hopkins and director Florian Zeller create an indelible portrait of identity loss As he tries to make sense of the continuous changing circumstances, Anthony begins to doubt his loved ones, his own mind and the fabric of the new world he’s created. Zeller, adapting his play for the screen, ingeniously finds a way to suck the viewer into the head of a man losing grasp of reality. The patience, frustration, hurt, and unwavering love depicted between Hopinks’ ill character and daughter Anne (Olivia Colman) is the heart and soul of the film.
“Soul” (December 25th, Disney+)
Another of Disney’s pushed back slate, many thought this spiritual sequel to “Inside Out” starring Jamie Foxx as Pixar’s first black-led story could be moved to Disney +. But, for the time being, we are hopeful we can see the beautiful frames of this classic-in-the-making on the big screen. If there ever was a Best Animated Film contender this year then this Cannes-labeled blockbuster is certainly it.
“News of the World” (December 25th, VOD)
Paul Greengrass reunites with Tom Hanks to bring us this Western drama following a Texan who plies his trade giving news to townspeople across the west, who then gets caught up in the rescue attempt of a kidnapped girl. Buzz is very strong for Greengrass’ film, with resident IndieWire insider Anne Thompson hinting it could be a major player come next April’s Oscars — we’re not surprised, the last time Hanks and Greengrass teamed up for a film was in 2013 for their excellent “Captain Phillips.”
“Ma Rainey’s Black Bottom” (December 25th, VOD)
This had to be on the list, even with a tentative TBD 2020 release date. George C. Wolfe (“Lackawanna Blues”) brings this August Wilson play to Netflix. Following the tensions encountered by Musician Ma Rainey after a conflict between both her bandmates, her white agent, and producer, the film is sure to have an incredible central performance with Oscar winner Viola Davis taking on the role of the ‘Mother of the blues’. but what truly makes this a must-see is that it is the late Chadwick Boseman’s final film.
“One Night in Miami” (December 25th, VOD)
Oscar-winner Regina King takes to the director’s chair for this incredibly exciting fictional story involving icons Muhammad Ali, Jim Brown, Sam Cooke, and Malcolm X as they discuss their various involvements in the civil rights movements of the 1960s. The fact that both the Toronto and Venice Film Festivals selected King’s film as part of their lineups this year is a sure-fire indicator that this might very well be a worthy film comes awards season.
Promising Young Woman (December 25th, VOD)
Emerald Fennell’s debut feature, “Promising Young Woman” plays like a feminist “Death Wish.” This thought-provoking movie has been the talk of the town ever since its premiere last weekend. Carey Mulligan stars as Cassie a barista and med-school dropout, haunted by her best friend’s dorm-room rape and ensuing suicide. Cassie spends her evenings, however, in clubs and bars, exacting revenge on any man who dares go over the line with her.