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Nonika Singh

Like most Oscar nights, February 9 was one of tears, impassioned speeches, causes and political stances. Ahead of the D day, Hollywood’s biggest night, the academy nominations did not, however, strike the right buttons. #OscarsSoWhite; thecampaign was revived in light of charges of racism. Gender bias and more accusations followed and ruffled many feathers.

Diversity has been an issue for quite some time but became more visible and voluble during the award season recently. Even Bafta, seen as a precursor and trend-o-meter of the Oscars, kicked up a storm and received much flak for failing to nominate even a single person of colour. Joaquin Phoenix, whose stellar act inJoker literally helped him make a clean sweep, whisking off every conceivable award, including the Oscars, stirred the debate further. He spoke of systemic racism at the Baftas.

But come the Oscar night, and suddenly the emphatic win of South Korean filmParasite upset trade pundit calculations and also indicated a shift. Whether paradigm or not, director Bong Joon-ho’s remark at the Golden Globes, “Once you overcome the one-inch-tall barrier of subtitles, you will be introduced to so many more amazing films…”, suddenly found resounding resonance. Oscar voting members seemed to have taken his refrain rather seriously and did break the barrier that has prevented foreign films from picking up trophies in categories other than the foreign film, now re-christened international feature.

South Korean film’s Oscar win is a triumph in more ways than one. Dubbed as ‘stairway movie’ by the director himself, the comic thriller breaks open class divisions, pitching the aspirations of varying classes, both rich and poor, and how each feeds on the other as the title of the movie suggests. But what sets Parasite apart is how besides being a quintessential South Korean film in its cultural specificity, it has universal appeal and has earned more than $165 million. As the director said, “Today we all live in the same country capitalism.”

Even more heartening than Parasite creating history by becoming the first foreign language film to win the Best Picture award at Oscars, was the enthused response to the announcement not just limited to standing ovation. Led by Tom Hanks and Charlize Theron, the organisers were forced to let the cast complete their acceptance speeches after they were blanked off for overstepping the time limit. Oscar watchers, of course, read many meanings in the film garnering four Oscars and the cast not even nominated for one.

Featuring one of its tallest actors Song Kang-ho, is there a pattern in foreign film actors not making it even to the nominations list. During one of his tours to India, Song Kang-ho had joked, “Since people think all Koreans look alike, face value is not that important.” But here the omission of the cast which had won the Screen Actors Guild Award for ensemble cast did appear jarring.

Since 2016, the share of voting members who are people of colour has doubled — to 16 per cent. Yet racial discrimination has been raising it head time and again. There was no way it would have been brushed under the Oscar carpet. Both Steve Martin and Chris Rocks made obvious digs. Rocks said, “Cynthia Erivo is here tonight. Cynthia did such a great job inHarriet hiding Black people that the Academy got her to hide all the Black nominees.”

“It’s time to come alive, sang Janelle Monáe in the show’s opening number, “because the Oscars is so white!” Black actor led films Queen & Slim, Us, and Dolemite Is My Name were not the only ones snubbed by the Academy. Lack of diversity also extends to women. Not even a single nomination for women directors, even though Greta Gerwig’s Little Women had opened to immense critical appreciation, made many see red. Natalie Portman carried her consternation further as her cape bore the names of omitted women directors.

Like always the talking point at Oscars are not only the winners but also why the other seemingly deserving did not make the cut. Netflix’ loss may not have been conspicuous by omission. After all, it did get 24 nominations. Yet except for its rather canny dissection of divorce in Marriage Story where once again Laura Dern’s pitch perfect essay of divorce attorney won the Supporting Actress trophy and another for the documentary “American Factory”, Netfilx’ record was bleak. It’s much touted and hyped Martin Scorsese’s directorial signature The Irishman despite 10 nominations drew a blank. Netflix’ loss of face opened yet another fault line. As we go to print The Irishman’s snub is being deconstructed in many ways.

But while debates about who got pushed over and why, can continue, Parasite’s win can’t be dismissed as one off example. Is it a false dawn or real progress, the jury might be divided on whether the academy awards often called ‘white man’s club; is truly woke. But each year it throws enough surprises for its detractors to sit back if not exactly take back their words. If in 2019 a record 13 winners of colour took home awards, in 2020 it has been swept by the Korean wave. Acerbic critics may continue to see Oscars as more of a marketing event and less of salutation of cinematic excellence. But if stories unite us, in a strange way so do Oscars where Bong Joon-ho quotes Martin Scorsese famed words, “the most personal is most creative,” tips his hat to Quentin Tarantino and is ready to split the honour with other nominees. And on the sidelines LeonardoDiCapriowho won in 2016 and was nominated this year for Once Upon A Time in Hollywood quips, “It is that old cliché thatit’sanhonour to be nominated, but it really is.” Oscar is not going to lose its sheen anytime soon.