The Oscar Goes To... | Little White Lies

The Oscar Goes To...

Two senior women sitting in a Chinese restaurant, one wearing a yellow jacket and the other a pink jumper.
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A brief history of the “legacy Oscar” and its winners

by Charles Bramesco

Some vot­ers infor­mal­ly con­sid­er the Acad­e­my Award a career-long acknowl­edge­ment; some actors resent this.
A person with wild, curly brown hair wearing a plaid shirt and colourful accessories, appearing to be in an energetic, animated state.
The Oscar Goes To...

Why Stephanie Hsu should win the Oscar for Best Supporting Actress

by Anahit Behrooz

Her per­for­mance in Every­thing Every­where All At Once is a mas­ter­class in pain and rage, deserv­ing of a clos­er look.
Close-up of a person with dark, windswept hair and intense expression, conveying a sense of emotion or distress.
The Oscar Goes To...

Why Stars at Noon deserves the Best Sound Design Oscar

by Catherine Bray

Claire Denis’ roman­tic thriller is a mas­ter­class in audi­to­ry envi­ron­men­tal storytelling.
Animated characters, a dark-haired girl and a blond-haired boy, standing together against a night sky with a crescent moon.
The Oscar Goes To...

Why We Met in Virtual Reality deserves the Best Documentary Oscar

by Alicia Haddick

Joe Hunt­ing’s play­ful doc­u­men­tary is a hope­ful look at the space cre­at­ed in vir­tu­al worlds for peo­ple to form gen­uine emo­tion­al connections.
Shirtless young man with flowers in hair holding smartphone.
The Oscar Goes To...

Why Harris Dickinson deserves the Best Actor Oscar

by Guy Lodge

Although Tri­an­gle of Sad­ness has picked up con­sid­er­able awards buzz, its put-upon lead actor deliv­ers a dour per­for­mance wor­thy of a spe­cial mention.
Three medical staff members examining a patient, all wearing scrubs and a lab coat. The patient appears surprised, with a shocked expression on their face.
The Oscar Goes To...

Why Jackass Forever deserves the Best Editing Academy Award

by Callie Petch

Com­e­dy is a fre­quent­ly over­looked genre when it comes to pres­ti­gious awards, but Jack­ass For­ev­er proves that it takes a lot of effort to effort­less­ly look foolish.
Group of four people, diverse ethnicities, wearing casual summer clothing, posing and smiling in an outdoor setting.
The Oscar Goes To...

Why Fire Island deserves the Best Adapted Screenplay Oscar

by Emma Fraser

Joel Kim Boost­er’s delight­ful mod­ern take on Jane Austen’s Pride & Prej­u­dice is the con­tem­po­rary romance we deserve.
Young woman in black coat and hat standing on stairs in indoor setting.
The Oscar Goes To...

Why Decision to Leave deserves the Best Costume Design Oscar

by Josh Slater-Williams

Park Chan-wook’s ele­gant neo-noir has been shut out of the awards race, but Jung Ae Kwak’s impec­ca­ble cos­tume work deserves a clos­er look.
A woman lying on a couch, wearing a green dress, with her eyes closed and a pained expression on her face.
The Oscar Goes To...

Why Corsage deserves the Best Make-Up & Hairstyling Academy Award

by Alexandria Slater

Helene Lang and Maike Hein­lein smart­ly utilise Sis­si’s per­son­al styling to empha­sise the ways in which she was repressed and sub­se­quent­ly rebelled.
Two individuals with wavy blonde hair, wearing black clothing, embracing in a dimly lit room with colourful lights.
The Oscar Goes To...

Why Tár should win the Best Original Screenplay Academy Award

by Justine Smith

Todd Field­’s script for the clas­si­cal music psy­chodra­ma is a metic­u­lous­ly craft­ed exer­cise in form.
Blonde woman with curly hair embracing a dark-haired person, their faces close together, eyes closed.
The Oscar Goes To...

Why Virginie Efira should win the Best Actress Oscar

by Ryan Coleman

The Bel­gian actress has been qui­et­ly build­ing a body of excel­lent work, defined by her empa­thet­ic por­tray­als of mul­ti­fac­eted women.
Vibrant illustration depicting Japanese cultural figures in traditional dress, surrounded by sakura blossoms. Emphasis on bold colours, striking poses and intricate, decorative patterns.
The Oscar Goes To...

Why Inu-Oh deserves the Oscar for Best Production Design

by Kambole Campbell

Masaa­ki Yuasa’s ani­mat­ed epic is more than wor­thy of con­sid­er­a­tion beyond the nar­row restric­tions of the ​‘Best Ani­mat­ed Fea­ture’ category.