The 87 Oscar losers for the best film that is worth recovering

Yeah, we know what you're going to say. It is only an award that is given to films from a very small part of the cinema that is made worldwide, but if the most covered seventh art awards in the world have been missing the shot for 87 years when choosing the one that is the best movie of every year, we were not going to overlook it. And yes, it is a list made of suggestions. The cinema is endless. And surely this year they will also be wrong

1927/28: In the beginning there was dystopia

The first very first film to win an Oscar was Alas. We're not going to pretend we've seen it, but Metropolis has and it's a great movie. Three cheers for Maria.

1928/29: The Passion of Renée Maria Falconetti

Statuette for the Broadway Melody. AHA. It seems that everyone was very happy in that movie. On the other side of emotions is The Passion of Joan of Arc, a great work by Dreyer in which its director made a new thing that was being tested very big: pictorial composition and where Renee Maria Falconetti commissioned one of the most captivating performances. of the cinema.

1929/1930: Buñuel facing blockbusters

It was time to reward serious overproduction (the study policy was beginning to take shape) and that is why Quietly triumphed on the front. Meanwhile, and in France, a genius named Buñuel presented La edad de Oro, another exquisite sample of surrealism after Un perro andalouz in which amour fou was staged.

1930/31: a Fritz Lang noir before film noir

Do you think you would see Cimarrón, one of the first big-budget westerns, if it weren't for the fact that it won an Oscar? What about M, the Vampire of Düsseldorf, the film that best expresses the inhumanity of the masses when human beings act in groups?

1931/32: the mafia knocks on your door

The studios, already strong, plant an ensemble film with great actors (Greta Garbo, John Barrymore, Joan Crawford) at the Gran Hotel. But Howard Hawks and Richard Rosson planted Scarface, the terror of the underworld. The first great work of the gangster genre and one of those occasions in which you suspect that its directors were more against than for the system.

1932/33: Horseback Riding to the Empire State Building

Okay, they were still gestating moments for the most popular award in the seventh art, but we're not going to forget it for that reason. We find it unforgivable that good old King Kong was passed over by Cabalgata. By the way, this movie was by Frank Lloyd, a prolific filmmaker of the time and one of the founders of the Academy of Motion Picture Arts and Sciences in Hollywood. Good fairness.

1934: comedies versus comedies

We don't like to detract from Frank Capra, especially when he has given us, like the Oscar-winning It Happened One Night, one of the fundamental titles of screwball comedy. But it is our job to remember that that same yearW. S. Van Dyke filmed The Dinner for the Accused. Dark aesthetics, sparkling dialogues, carefree tendencies towards alcoholism... It seems that 1934 was the year of having a good time. At least on screen. It's not like you blame him.

1935: everything in you reminds me of you, except you

Another award to Frank Lloyd, who was currently the head of the Academy. At least it was Mutiny on board, which is considered the best film and a great maritime adventure of those that extol very civic values ​​and have a great final speech. The Marx brothers were planting the world then A Night at the Opera, and that means the cabin scene. Feeling it very much, what happens on this ship in five minutes calls us much more than on the other in its more than 2 hours.

1936: No, Chaplin didn't win it

The great Ziegfeld can do little against Modern Times, Chaplin against Fordism, defending the men who are just one more link in the capitalist production chain and doing it while amusing the viewer. We are not going to reveal Chaplin to you, so we do not extend any further.

1937: Howard Hawks' Beast

How small is The Life of Emile Zola compared to The Beast of My Girl, that moment in which Howard Hawks showed that the most everyday situations could be transformed, without warning, into a complicated and fun game of feelings.

1938: Renoir, the difficult made easy

When they shouldn't give them, they do. Frank Capra won the statuette with Live as you want the same year in which Jean Renoir, one of the masters of cinema, appeared at the ceremony with The Great Illusion under his arm, a moving film about the problems of national identity and class that might have been the first non-English language film to take the award. Patriotic for those on the left, anti-war for those on the right, with that apparent simplicity and his definitive complexity, Renoir managed to place himself very high on the podium of film authors.

1939: We Vow That The Witch Of The East Will Never Hunger Again

What do you most want to wear to parties? The Wizard of Oz or Gone with the Wind? It doesn't matter, although the winning film gave the first Oscar, in high school, to a black actress (Hattie McDaniel), Judy Garland's has another added merit: having become an icon for the gay community.

1940: the detail and lyricism of John Ford

Rebecca vs. The Grapes of Wrath. A Hitchcock very much on the ground in front of a John Ford reaching the ceiling.

1941: Citizen Welles

How Green Was My Valley is an absolute masterpiece of the pastoral genre. But perhaps those in charge of awarding the best cinema on the other side of the Atlantic should consider when the strange circumstance occurs that they have to reward two works equally, that if one of them is left off the podium we would be facing a tremendous injustice. We refer to Citizen Kane, to his plans, to his narrative ingenuity and to the transcendence of the rest of the coming directors.

1942: to laugh or not to laugh against Nazism

Mrs. Miniver is another great propaganda film in the days of World War II. To be or not to be, with the war also in the background, he intended to reflect with a lot of comedy on the terrible forms of Nazism. This while the viewer is confused about what is real and what is fiction within the story itself.

1943: we will always have Renoir

These are bad times, in general, for the cinema, but Casablanca stands as a film legend taking the well-deserved award. From the 1943 vintage, another gem by Renoir in exile also stands out, This Land Is Mine, in which he made a moving and humane pamphlet in favor of democracy at a time when many of the citizens of the allied nations they had lost the illusion in the system.

1944: Billy Wilder, James M. Cain and Raymond Chandler

Following my path, films that please with good priests and kind messages, is what was awarded at the Oscars in 1944. Bane, by Billy Wilder, is a classic film noir with superb direction whose story, quite groundbreaking for the time, it was just what academics should punish. In the end, he took the moral victory.

1945: Rome, open wound

Days Without a Trace has gone down in history as the greatest allegation against alcoholism, but Rome, an Open City is the best film against fascism. And he also plays at home. Rosselini, one of the inventors of neo-realism, plants another stylistic outbreak here that many would continue later and also gives the public, his people, a very hard mirror in which to recognize themselves.

1946: How beautiful it is to fail at the Oscars

In the midst of a turbulent period of establishing political values, a film forever changed the way the American nation viewed itself: How Beautiful It Is To Live, by Frank Capra. Because, beyond The Best Years of Our Lives, the one with Capra and James Stewart was indeed a movie with wings.

1947: Orson Welles's beautiful accident

Anti-Semitism was the leading theme this year. The invisible barrier, from Kazan, seeks to focus on that underground cancer internalized by the majority of citizens, perhaps without knowing it. On the other side of the acknowledgments was The Lady from Shanghai, a project by Orson Welles that was considered a failure but that we see as a beautiful accident perhaps more effective for what it errs than for what it tries to get right. Oh, and the hall of mirrors sequence is just too much.

1948: Slippers vs. Shakespeare

The Red Shoes was a surreal film that revolutionized some chromatic issues in its day. An exquisite offering from Powell and Pressburger that has earned its place as Faust myth transmuted into the most vibrant (and cheesy) musical tragedy you'll ever see. Hamlet, by Laurence Olivier, won. Well.

1949: Harry Lime's Ferris Wheel

The Politician, winner of this edition of the Oscars, is truly a highly recommendable film (that devilish pace, that fair measure in terms of the denunciation side) but Carol Reed's The Third Man stood out from its peers, one one of the best titles in British cinema and one of those films in which spaces (men and the city, interiors and exteriors) are the great force that makes everything converge.

1950: Rashomon's (in)justice

We love it, we are even moved by the award for Naked Eve, by Joseph L. Mankiewicz, the play that camouflaged just enough homosexuality on Broadway and incidentally made a nice metanarrative game (the actors were playing themselves ). But well, there is also Rashomon, perhaps the best film about the idea of ​​justice ever filmed.

1951: Wilder vs. Journalism

In Hollywood they are still very full with the magic of the dance and they give all the awards to An American in Paris. In the meantime, Billy Wilder left aside the comical side of him to immerse himself in a harsh portrait of human egoism in the form of a power pact that occurs between the press and politics. You don't have to come here to tell us journalists that we have no ethics, that Wilder already left us a message before in The Great Carnival.

1952: Singing under DeMille

Hollywood loves a good exercise in visual ostentation more than anyone, especially in the days of mega-productions. That year, specifically, the circus of DeMille's The Greatest Show on Earth, but don't you prefer the joviality and choreographic spirit of Singing in the Rain?

1953: The Ozu Revolution

Even if they were hiding it, it's quite possible that academics already knew then that the best film and the best performances were not in From Here to Eternity. No, they were in Tales from Tokyo, by Ozu, for many, the most revolutionary film of the time, one that really discovered another way of filming, looking and feeling. Even if it's only for the planes-pillow…

1954: The window what?

Actually, academics didn't have it hard. It didn't cost anything to have nominated Rear Window, one of the films directed for the American moviegoing taste that best spoke to them of their own fondness for voyeurism. But it wasn't even nominated for best picture. At least that year he won a beautiful union tale from Kazan, The Law of Silence.

1955: Rebel Without a Prize

The children, grandchildren and great-grandchildren of those years know nothing about Marty, an Oscar-winning film with which Delbert Martin Mann also won the Palme d'Or at Cannes. But something does sound like Rebel with a Cause.

1956: Around the Western in 80 Fords

No matter how much of a feast for the senses Around the World in Eighty Days is, the epic journey of a Phileas Fog played by David Niven. All we know is that Desert Centaurs is one of the biggest film milestones. In their policy of belittling the western genre, they lost the opportunity to reward (once again) Ford and to recognize that their way of rewarding films was by seeing what was hidden in them beyond the form.

1957: playing chess with death

The Bridge on the River Kwai is one of the most famous parenting movies. Another option that can bring you more satisfaction is The Seventh Seal, for many, the gateway to Bergman's cinema, an essential filmmaker and one of the most expert artists in guiding the viewer to the depths of vital angst.

1958: Vertigigi

This time, in how can we move on from Vertigo, Hollywood ignores a mix of thriller and psychodrama of impressive complexity considered by many critics the best film by the filmmaker to award 9 Oscars to Vincente Minnelli with his extravagant but modest Gigi.

1959: A Pocket Robber vs. Ben-Hur

For those who say that the nouvelle vague throws them back because it is too intellectual, messy and without a plot, I recommend Pickpocket, by Robert Bresson. If they see it and the dynamism achieved by this economy of means has not amazed them, if they continue in their thirteen, tell them to put on Ben-Hur, which is the one that won the statuette that year.

1960: "Hey, Carmiña, I'm Hitchcock, I'm leaving it"

This is where all lovers of Billy Wilder, Shirley MacLaine and broken dreams (and mirrors) come to raise their voices. But yes, Psychosis seems much more revolutionary to us than The Apartment. Along the lines of Hitchcock's works that the academy forgot to reward, one of the stories that has transformed the viewer's gaze the most (imagine being at that time and seeing the protagonist killed... in the middle of the film!) and a canonical work in what we could call Freudian cinema. Also the one that should be in the top 3 movie posters sold at El Corte Inglés.

1961: Resnais ya tal

The musical concept of gang fights can't go wrong, which is why the academy just gave West Side Story the statuette. But honestly, it was much more relevant Last year in Marienbad, Resnais's fantastic experiment in the realm of dreams, memories and self-image. "You are like a shadow and you wait for me to come closer." Delirium.

1962: Atticus Finch killing an arab

It doesn't matter any good points (he has them, of course) that we can get out of Lawrence of Arabia. To Kill a Mockingbird is one of the most definitive coming-of-age films and a sharp critique of racism, the kind that permeates and educates without indoctrination.

1963:

Tom Jones or Eight and a Half. What do you say.

1964: Sergio Leone revisiting Yojimbo

It makes you want to make yourself some tea and put on a fancy hat on a Friday night to see My Fair Lady, a film with so much talent in all its departments and such an addictive story that we understand why academics awarded George Cukor's film. A pity that, to favor the musical, they left the superb remake of Yojimbo that is For a Fistful of Dollars. Sergio Leone in a state of grace.

1965: how sweet to sing that the mountain whispers

Smiles and Tears? Two consecutive musicals taking the grand prize? Well, we went to Repulsion, by Polanski, and to the unsettling cinema. It is not easy to do the psychological drama well at the same time as the physical one, and the thousand ways in which we see and touch Carol aka Catherine Deneuve in this film are only typical of a master.

1966: Boyero loves this one

The Oscars were given for rewarding English theater. A man for eternity is that sober and prudent cinema loaded with great performances within the British canon. At that time, Blow-Up (Desire of a Summer Morning) also came out, one of those films that, in addition to having been the introduction to cinephilia for millions of adolescents with artistic airs, is Antonioni's allegorical cinema for disguise a thriller in a discourse on the alienation of youth in modern times. Carlos Boyero called her unbearable.

1967: Jesus loves you more than you will know

He won the social denunciation of In the heat of the night, but in our hearts we are more fond of remembering Mistress Robinson and her charms, which seduced us and the young and lost Dustin Hoffman in The Graduate. Without The Graduate we wouldn't have had Rushmore Academy, so it's up to you.

1968: Kubrick, an odyssey in the Academy

Oliver is a candid musical drama directed by Carol Reed in 1968 that swept the film competition. It is also the film that took away (along with the rest of the contenders) the prize for 2001: A Space Odyssey, the revolutionary film by Stanley Kubrick so underrated (in the strict sense of the word, we assume that they did not know what they were getting at). they were facing) that wasn't even nominated that year for Best Visual Effects.

1969: Back Road Cowboys

Although the well-intentioned demystification of the American dream that is Midnight Cowboy won, there was a movie that not only questioned what was inherited but also made it blow up. We are talking about Easy Rider, the feature film that marked the beginning of what has been called the new Hollywood. If they didn't award it, it was because it was too rough, almost anti-establishment by the standards of commercial cinema at the time.

1970: suicide is painless

How about some propaganda? How about raising the morale of the American people now that Vietnam is not going particularly well? That is what that year's award meant to Patton. But Robert Altman, always gifted with a technical script, did a little the opposite of the film that the academics ended up exalting. A critique, from a warlike perspective, of what the Americans had brought to Southeast Asia. And that M.A.S.H. was also nominated! Perhaps they thought it was too soon to give the award to a semi-unknown.

1971: loving Australia above all things

For this year's French Connection Against the Drug Empire we pass the baton to Waking Up in Hell, Ted Kotcheff's wacky Australian epic whose dirty realism and mental drive leads us straight to the revelation that hell is us themselves.

1972: and if you complain, we'll send you a horse's head

No, if the Godfather has won, we are not going to offer any alternative here. Come on, accuse us in the comments of false advertising.

1973: The Synod of 1973

Was 1973 one of the toughest years in terms of Best Picture competition? The Heist won, but... is it better than The Exorcist or American Graffiti? Even with those, Terrence Malick's cult film Bad Lands fell out of the category. Also Mean Streets, Scorsese's revealing debut.

1974: Isn't that clear about the horse's head?

The Godfather. Part II won and stays that way. Yeah.

1975: Someone Flew Over Amity Island

What makes you vote for One Flew Over the Cuckoo's Nest over Shark? The fear. The fear of recognizing that something so basic could have caused you such deep feelings. The rise of the blockbuster, Rob Scheider and the bug that prevented a generation from looking at what lies beneath the sea surface in the same way are well worth a prize.

1976: the eye of the tiger journalistic

Big is the cult of Rocky, but bigger still was the Network, an unforgiving world. The definitive journalism film that should put data science students the world over, far ahead of All the President's Men (also in competition that year). If you see it today, you will see that what it tells is very topical. I'm sure Dan Gilroy, the director of Nightcrawler, is with us. By the way: do you know what else was also left out? Taxi Driver.

1977: Even Woody Allen would dance disco

Okay, Annie Hall was quite the find. But as long as we focus on urban neuroses and witty, existentialist dialogue, we forget to honor one, if not the greatest, disco-era tribute film. Saturday night fever will continue to be alive and well, at least in this corner of the network.

1978: St. John Carpenter

As much as we hold Michael Cimino in esteem (and The Hunter is probably his best film) that year Carpenter cracked up for Halloween. That is to say, the horror film that would mark some patterns in the genre (the subjective level, the minimalist music, the suggestion rather than the explicit scare) that are still repeated and plagiarized over and over again today.

1979: horror vs. divorce

Very nice Kramer vs. Kramer, the drama of how hard it is for a man to raise his children alone (a strange topic that is so interesting to cinema, but not its equivalent, in proportion, with the other genre). Something more exciting, however, is Apocalypse Now, a work in which Coppola left, in addition to pocket and health, one of the most original and emblematic war works (and, incidentally, a comb to what the Vietnam War meant).

1980: nottooearlygetupearlier

What a drama Robert Redford stood up in his behind-the-scenes debut, Ordinary People. Oh wait, we're talking about the same year that The Shining came out. You know, Kubrick's horror movie and one of the most nutritious cult works in the history of cinema.

1981: pots of fire

I'm sure you remember the scene from Chariots of Fire. Of the boys running on the beach with music by Vangelis. But surely you don't remember anything else. However, if you have seen Das Boot. The submarine (well, more than seen, if you've experienced it) surely you won't be able to miss more than one scene and, in general, its total immersion, a pure essay on what claustrophobia means on various levels.

1982: digital motorcycles against Gandhi

Gandhi is another classic award winning academic biopic. In the year of The Thing, Blade Runner and Tron. The thing has a crime. Since we have to choose only one of these three gems, we are going to give it to Tron, who for all that he developed at a technical level well deserves the tribute.

1983: Tony Montana may you be in heaven

Terms of Endearment is directed by James L. Brooks, the director of As Good As It Gets (!) and one of the writers and producers of The Simpsons (?). Okay, we'll keep an eye on it. Meanwhile, we are left with what for us is THE 1983 film, that tour de force by Brian De Palma called The Price of Power. Doesn't it happen to you that you feel like listening to Moroder for a while and going out to shoot rivals?

1984: Leone and the Cockeye Song

Leone's farewell to the movies, Once Upon a Time in America, wasn't even nominated for Best Picture in a year that they won Amadeus Awards. Although there is no consensus on whether we are looking at one of the greatest works of art in cinema, there is on the fact that it is one of the most beautifully filmed x-rays of the immigrant (and criminal, and much more) soul of the United States.

1985: Terry Gilliam, Guy from iPanema

So we don't know, but nowadays watching Out of Africa can be an especially difficult experience if you don't have a stomach covered in an anti-acrid layer. It becomes easier to see that delirium called Brazil and offered by Terry Gilliam. A dirty dystopia contrary to the stylistic canon imposed by Hollywood that is presented as the perfect work to forever upset your 7-year-old niece or nephew.

1986: a place to always be kids

Vietman was still hot and hence Oliver Stone's Platoon award. Against so much war, better a bit of old-school friendship like that of the protagonists of Count on me, one of those rare films that are allowed to move without falling into the stomach. And you? Are you a Cornie, a Chris, a Vern or a Teddy?

1987: The Last Clumsy Soldier

Any award to Bernardo Bertolucci seems right to us, even if it means awarding The Last Emperor. But that was the year of Full Metal Jacket. You know, a bit of pessimism and misanthropy against a world more violent than its characters are in the film. That if it's not for Ducky's smile, it's for the parody videos of Gunnery Sergeant Hartman.

1988: ZAZ

Rain Man is cheap. It is an award for a truly soulless film. It is the worst thing that Hollywood has ever represented. Not like Grab it as you can, a courageous, daring film that exceeded the limits of absurd comedy... and that pioneered the core that the genre derived from years later, in spoof movies. A type of film that is, truly, every man for himself.

1989: Walking Spike Lee

We unceremoniously kill Driving Miss Daisy in front of Do the Right Thing. For one of the biggest complaint films that African-American directors have created and they go and leave it out of competition.

1990: Death Among Us

Kevin Costner, the subject of Native American genocide and a wolf named socks (we're talking about Dances with Wolves) outclassed the Coen brothers' Death Among the Flowers. A film in which all film noir was honored and given a little push, a mirror in which to look at everything that this genre would bring later. Oh, and Goodfellas was left out too. That they could have also rewarded the third part of The Godfather, but we are going to leave it be.

1991: Belle and Hannibal Lecter

It is true that The Silence of the Lambs is a very good film, but what was played in competition in 1991 was something else. We are talking about the first time that a cartoon film enters the nominations for Best Picture, with Beauty and the Beast. It would have been a nice gesture on the part of the Academy to finally recognize that this art form is just that, art. By the way, from here we encourage the organizers to stop segregating animated films into parallel categories.

1992: if it was okay until Annie Lennox...

Like the marinière T-shirt and the leather jacket, the western always comes back. This time Clint Eastwood put it back into circulation in the very remarkable Unforgiven. That year is also Bram Stoker's Dracula (by Coppola), a faithful adaptation with visual discoveries and also a Keanu Reeves who conquered anyone.

1993: what it is, what it is

Schindler's List is a major (and exploitative) Holocaust film, another perfectly prepared Spielberg spectacle to get carried away with emotions and kick off the fever for the digital effect of color correction to isolate one tone next to the other. black and white But there is another film from that year that has transcended throughout all these years among young people and others who are not so young. The Nightmare Before Christmas is the indisputable benchmark for neo-Gothics, geeks and other weirdos. Some beautiful scenes for printing on sweatshirts and bags. A new sensitivity.

1994: Run, Vincent Vega, run

Do we dare to unseat Zemeckis' Forrest Gump? How about a little cult? We brought out Pulp Fiction, by Tarantino.

1995: Anger can never be taken from us

With love to his fans and to Mel Gibson we say it, but Braveheart's triumph is the triumph of the most irrational masculinity. In the year in which, on top of that, Fincher took Seven out of his sleeve, a film whose finale will be among the 20 best of all time.

1996: The Coens' Long Winter

The English Patient is lyrical, sentimental cinema… Yes, yes, but Fargo is comedy from Mars and strokes of genius that include bits of Steve Buscemi in a wood chipper.

1997: everything is lounge, except my life, my life is more like Lynch

Titanic's ocean liner overwhelmed billboards and prize collections. Much quieter was the arrival of Lost Highway into our lives, a presence that has only increased as any psychogenic escape to the depths of the self-respecting human being should do.

1998: White Russians

Yes, it seems that we are Coens fanboys, but it hurts a little that Shakespeare in Love beat El Nota and his absurd and uncomfortable comedy. The nihilism of The Big Lebowski is well worth a White Russian and a statuette, or what.

1999: teeth against the sidewalk

One of the precursor milestones of the Mr Wonderful ideology, Life is Beautiful, stole its just prize from Edward Norton playing a Nazi. No sir, that award should have gone to American History X.

2000. Nolan before Nolan

Is the Gladiator award a way for The Academy of Motion Picture Arts and Sciences to try to connect with the sensibilities of the mainstream audience in multiplexes? In any case, this is how they left out Memento, the consecration work of the Nolan totem, a small preview of the creative display that he would give us in the coming years and also, together with Following, his most spontaneous, imperfect and conquering film.

2001: for a wonderful mind, that of Luhrmann

We feel sorry for Ron Howard and his Wonderful Mind, if there was a film that connected with the public it was Moulin Rouge!, its Fin de Siècle, its artificial imagery and the filmic oligophrenia of Baz Luhrmann. The best soap opera ever starring Nicole Kidman, and beware, we are talking about the actress who starred in All for a Dream. If you are not convinced, remember that Ghost World is also out there.

2002: Polanski and Nazi ardor

The Pianist. Because the Polanski-consumption tandem Adrien Brody beats the girls of Chicago on the street. Also, everything that is black humor, especially in the Nazi context, carries extra points.

2003: trapped in the time we have left to live

The Best Film award for the third part of The Lord of the Rings sounds more like recognition of historical importance for its new production methods than artistic quality. We took the statuette from him and handed it over to Sofia Coppola, who that year gave us Lost in Translation, the work that has captured the popular imagination of cultural misplacement and has also left us unforgettable scenes for all tastes. Some are more of the embrace of Johansson-Murray and others, like us, of average romepa.

2004: ok, we were about to break the rules... but we didn't have a Godfather handy

Million Dollar Baby is a fair winner, especially considering the very low level of that year. But we wouldn't mind honoring Finding Neverland. Why award a soulless and manufactured biopic for awards season? Because it's Johnny Depp in a mid-2000s movie playing a normal person.

2005: an eye for an eye

For many, this is the year Crash beat Brokeback Mountain. But hey, we third way pick Munich, Spielberg's tit-for-tat (glorification?) extravaganza.

2006: little mr. Scott

The Departed, Scorsese's adaptation of Hong Kong's Foul Play, is an unworthy award for this director. For this reason, it would have been much better to award the Sundance encouragement, Little Miss Sunshine, a family that was all charisma and one of the rare exceptions to the rule that "if Michael Scott comes out, it will be the funniest thing in the movie."

2007: unrewarded ambition

You can be a fan of the Coens, like the academics who honored No Country for Old Men, and also love Paul Thomas Anderson, who is increasingly valued less by the institution and who we saw him lose this year when he presented Pozos of ambition, a beautiful film about the value of friendship between a priest and a friendly entrepreneur.

2008: Pixar better than Boyle

Slumdog Millionaire is a bit of Life Is Beautiful updated (as well as inadvertently defending the meritocratic hoax in a world beginning to suffer from the effects of financial heist). No, we stay, much better, with the good slapstick and environmentalism of the adorable Wall-E.

2009: better reward Blomkamp before it was Blomkamp

Anyone of the nominees (okay, maybe less A Serious Guy) that year could have won without a problem, since they scratched the same merits as a piece of art. Hence the award for In Hostile Land. So…how about thinking outside the box and rewarding the dystopia and lovable critters of District 9? At this point in the game, we can almost guarantee that it is the best that Neill Blomkamp is going to give us.

2010: Scott Pilgrim's speech

Do you remember The King's Speech? We believe that his director did not either. What the hell, we should ask Colin Firth to explain why he started playing George VI. No, there is a jewel in that year that we will remember for decades to come. It's called Scott Pilgrim vs. The World and its hyperbolic direction and design (comic) of characters contains a large part of the feelings of the youth of our time.

2011: Ryan Gosling is indeed an artist

How beautiful The Artist, how much we love nostalgia, handsome Frenchmen and dancing dogs. Almost as much as the neon lights, the apology for violence and Ryan Gosling. Choose well, choose Drive and stay with the real heroes.

2012: deferred deaths in simulation regime

We have almost nothing against Ben Affleck, even when cast as a director like in Argo. But yes against academic cinema and a pamphleteering dot, especially if you're not Michael Bay. Looper has time travel, people who die on a delayed basis, and a trio of leads (Emily Blunt, Bruce Willis, and Joseph Gordon-Levvit) that are second to none.

2013: I would like Siri more

Steve McQueen's good movie was Shame, not 12 Years a Slave, but of course, they forgot to award him an award in 2011 and something had to be done. Isn't a tale about a haunted futuristic universe heavily influenced by technology but careful not to be technophobic much more? Also, in Her they remind you that if you're ever going to get involved with Scarlett Johansson, it's because it's all in your head.

2014: whipping

Birdman or the exasperating inconsequentiality of the crisis of the 50s. The drum solo, military pedagogy and overexertion beat the bird without problems. Whiplash is quite our tempo.

2015

Who would we like to see win this year?