Tom O'Neil is claiming this as an exclusive, but the truth is most have been suspecting for some time that Richard Griffiths would go supporting for the reprisal of his Tony Award-winning role in "The History Boys." The role was shortened somewhat for the film version and so it was only a matter of time before something "official" happened. We've had Griffiths in our supporting charts for weeks now, and the only ambivalence about shoving him into the predicted five has been awaiting this very announcement. Well, we've got it now.

John Cameron Mitchell might be one of the few true artists working in the film medium today. In his much celebrated feature debut “Hedwig and the Angry Inch,” the actor/director pealed his own creation from the stage and molded it into a cinematic experience that became one of the most accomplished films of 2001. His electric performance as a shafted transsexual (let’s say almost transgender) rock star reached new heights on celluloid, claiming a lion’s share of critical honors, while his efforts behind the camera announced the arrival of a promising new directorial talent.

Now with “Shortbus,” one of the best films of 2006 and undeniably one of the most thematically potent, Mitchell has found his groove as a speaker to the metaphors of primal and cultural humanity. Glaring through, yet paradoxically past the cardinal sexual characteristics we share as frail co-inhabitants of a wicked world, he has tapped into a method of creativity that reawakens the senses to a commercial medium’s true potential.

“It’s a film about the question we all have to ask of whether we’re going to be alone,” Mitchell explains with a staggering intellectual delicacy. “And sex is just one of the languages we use to not be alone.”

Indeed, if unsuspecting viewers make it beyond “Shortbus”’s riveting opening sequence, they will find a central nervous system of artistry that speaks to deeper truths than the most well-intended of artfully-minded cinema. A bona fide explosion of sexual expression that dictates the film’s themes in vivid detail, the scene climaxes with a puzzling moment Mitchell describes with measured confidence and candor.

“You meet James…who is sucking his own dick. It’s kind of comic but there’s this element of poignancy there, too. Who is someone in their 30s who would try that? Why is he trying to be self-sufficient at this point, to self-fertilize? And then burst into tears? That is my way of introducing the character. Sex can be used as metaphor.”

Therein lays the workings of Mitchell’s unique genius. It’s the standard assumption that inter-character relationships are meant to reveal and reflect the themes of a given film, but to comment upon the human condition through a character’s relationship with him or herself is another level of artistic thinking altogether. Such a motif abounds in “Shortbus”’s eclectic ensemble.

Mechanically, the film is a dissection of community, largely the result of collaboration and improvisation from amateur thespians. It looks at individual and group reality through the lens of sex, detailing an array of characters Mitchell is quick to admit ultimately represented various facets of his own personality.

“There’s a part of me that’s like a stalker,” he admits. “There’s a part of me that’s like a non-orgasmic woman who can’t connect. And I’ve had a part of me that feels like I’ll never be with anyone. But everyone sort of brought their own stuff to it and I just directed it.”

He continues: “We started working on it in 2003, which was when we had our website with our mission statement and our audition to send tapes. It was open call. We avoided agents. [We were looking for] people who could work in an improvisational way, who were smart, who were funny, who were charismatic in some way, a diversity of sexuality and gender.”

The result was a meaningful interface of creative input, one the director found quite different from the experience of his first major creation.

“‘Hedwig’ was kind of developed gig by gig,” he explains, “sort of a solo show with a composer. ‘Shortbus’ was through improv, borrowing a page from Mike Leigh and John Cassavettes. I’d love to work with a very tightly-honed script and very virtuosic actors next time. I’d like to do an opera some day. I’d love to write a novel, make an album. I like to work in a lot of different ways and I love to keep it diverse.”

Set in the culturally booming setting of New York City, “Shortbus” also makes light of our society’s post-9/11 consciousness. One line that sticks out is “You’re taking a picture of yourself at Ground Zero. Do you smile?” It’s a delicate stick and move that actually speaks modestly to what Mitchell describes as President Bush’s favorite weapon: fear. And wrapped up in the natural reaction to what has been considered by many to be an emotionally oppressive regime, Mitchell identifies another pitfall altogether.

“Cynicism seems to be the currency of the day,” he begins, “especially in such a weird, ‘Bush-whacked’ country. It’s like the only comfort some intelligent people have is cynicism, and certainly humor, but kind of a fatalistic humor where you’re powerless and you think nothing’s going to change, which is just as dangerous. I think there are incredible cultural critics today who point out the absurdity brilliantly – ‘The Daily Show,’ Steven Colbert – but the odd thing is there are not a lot of people presenting alternatives. Though our film has a very small audience and doesn’t provide solutions to problems, it provides perhaps a way of thinking that makes sense, which isn’t based on fear, and which is based on this understanding that we all ‘get it in the end,’ in many ways, and we’re all in the same boat.”

Through a delicate assembly of organic ensemble interaction, Mitchell makes his points of love and acceptance, emotional necessity and the power of discourse at every step of the way. From his vantage point, there is hope in community, however one chooses to define it.

“All of these characters are heroes, in a way,” he declares, “because they’re trying to connect. Those who don’t try, those who hide away behind their technology are ultimately not people I’d want to share a drink with. It’s like all this technology that is meant to connect us seems to separate us and just create another shield. The advantage of growing up a sexual minority is you can see there’s surface and then there’s what really is there. You understand metaphor at a younger age because you had to hide something. So art naturally is a refuge for sexual minorities, and all minorities, really, because you’re an outsider and you see it from the outside point of view: satire. Oscar Wilde, Dave Chappelle, all these people have an outsider’s point of view, which is the artist’s point of view.”

There is a murmur of concern in the already growing positive critical assessment of “Shortbus” that the film will struggle to find an audience. Leaving alone the effort a true independent film has to make to stay above water in this era of faux indie excursions fronted by “dependent” arms of major studios, the sheer sexual intensity of the film will keep many at arms length sight unseen. Mitchell seems to understand his film’s place, however, with somewhat minimal concern for his film’s ultimate fate in the vast marketplace.

“I try to have low expectations,” he offers. “There are some people who didn’t like ‘Hedwig.’ Some people won’t like this. Some people won’t like it because of the sex, and some won’t like it because it’s soft-hearted. It’s pretty warm and fuzzy compared to most films. But from my point of view it’s an awareness of gender and sexuality being things that unite and divide us and the humor that comes from that. It’s ultimately a boring thing, your sexuality – inherently neutral and kind of dull. It’s what you do with it that’s interesting.”

No column this week. Nothing to write about (other than more discussion on the brilliance of "The Departed") and not enough moving and shaking to really get into anything with meat on it. However, the real issue this week and last seems to be the generally overwhelming response to "The Last King of Scotland," a film Fox Searchlight is really starting to see as a Best Picture contender.

This is the other end of the spectrum from "Little Miss Sunshine," yes, but the typical PR machinery on Kevin Macdonald's searing effort thus far has been smooth sailing. When you've got Oprah raving about the film, Cate Blanchett shouting its praises to buddy Brad Pitt, guild audiences feeling shaken to the core from the emotional turbulence of the film, and, not to mention, a visual marketing scheme that seems built for Oscar ads (imagine all that orange and red throughout one of Variety's special issues this fall) - let's just say there's a lot of potential there.

Anyway, more next week. I'll leave you with the charts:

Main Category Charts
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Oscar Predictions Archive
"The Contenders"

Previous Oscar Columns:
09/18/06 - "Aftermath"
09/11/06 - "It's All Happening."
09/04/06 - "Aw, Canucks."
08/28/06 - "On Your Marks..."
08/14/06 - "Enough Foreplay!"
08/07/06 - "Don't Knock Masturbation; it's Sex with Someone I Love"
07/31/06 - "Old and New, the Oscar Season Approaches"

We're looking at a pretty solid trailer for Universal's supposed major Oscar candidate. As I've made mention of here, Eric Roth's screenplay is incredibly stale and flat with little reason to believe the material could be lifted off the page in any dynamic way. And trailers can, as we all know ("Pearl Harbor"), make films look much more fascinating than they are.

Test screening reviews on "The Good Shepherd" have been in line with my thoughts on the script, but ultimately, it is a powerful story that could be something special. But then there's that relocation of "Children of Men" to the end of the year, and not as much as a peep from those with vested interests in Oscar campaigns. I get nervous when no one's at least TRYING to spin me.

This should really go on The Blog, but screw it.

Jesus, the cars couldn't go fast enough on the way home. "The Departed" is a sharp jab to the sternum, an adrenaline rush that certainly has no equal in that regard this year, and I'd venture saying no film has delighted this much in ruthless artistic agression in decades. This is the jolt the greats of the 70s were riding high on. And it's just too easy to say this is Marty's best movie since "Goodfellas."

I've got to go - I don't know - sedate myself or something. I fell 10 feet tall and as if minutes are going by like seconds. I'll dish out a review tomorrow, after my brain goes through its inevitable withdrawal this evening and I begin to make sense of the night during tomorrow's already approaching artistic hangover.

What a film.

Strong reviews for Ryan Gosling's amazing performance in "Half Nelson" are enough to give the actor serious consideration in this year's awards derby, especially with major players either taking their exits (Sean Penn, Ed Harris) or hoping to find traction in lesser products (Derek Luke). ThinkFilm has a major push in store for the actor, but the awards train doesn't look like it will stop there.

The team will also be hanging supporting actress hopes on Shareeka Epps, as well as the screenplay, written by Anna Boden and Ryan Fleck. Worth mentioning here is that the duo's script is an ADAPTED screenplay, not an original. It was adapted to feature length from Boden and Fleck's Sundance award-winning short "Gowanus." Gosling did not appear in the short, though Epps did.

I think, with the right saturation, Gosling could certainly threaten this nomination. Other arenas might be a stretch, but it is most important for voters to actually SEE the film. Critical response is insular in and of itself and in cases such as this, it does nothing for a film other than install confidence in the studio pushing the product. So...it's a good start.

We don't cover a lot of breaking news around these parts that doesn't pertain to the awards season, but hey, exceptions are out there to be had.

As you know, actor Jim Carrey left his 15 year commitment with UTA on Thursday, following the disintegration of two of his higher-profile projects: Jay Roach's "Used Guys" and Tim Burton's "Believe It or Not." It isn't a shock that his departure would launch a frenzy to land the actor at one of the other fiercly competitive firms, and CAA might seem the obvious bet. Well, I don't know when we can expect an announcement, but I can confirm that Carrey has been meeting with agents at the monolith agency as recently as this evening at their soon to be vacated Wilshire premises (that new building in Century City looks like something out of the land of Oz). Anyway, more than likely, we're looking at another major get for a company that has a gruesome stranglehold on much of this town's talent.

As for Carrey's career prospects from here, it's probably a good idea to have jumped ship. It's true, he has had major box office success ("Bruce Almighty") and critical acclaim ("Eternal Sunshine of the Spotless Mind") in recent years, but it's time for the actor to experience some sort of consistency, one would think. Carrey has and has had the chops to be a serious actor for some time. He'll always be a box office draw when the project is right, but the lack of prestigious material coming his way (or otherwise falling apart) is enough to make anyone reconsider their loyalties. UTA will always be the firm that launched his successful career. Perhaps his next representation can help take him to that next level.

Pass it on...

In the wake of a somewhat uneventful Toronto Film Festival, we take away from the festivities more in the way of buzz amongst various opinions than we do from actual awards bestowed. “Bella” snagged the People’s Choice award Saturday afternoon, but it doesn’t really speak to what we’re hearing elsewhere. In the end, Hollywood has successfully utilized the festival for the fall awards campaign – an industry of manipulation.

The biggest boost comes for actor Peter O’Toole, whose performance in “Venus” is largely considered lower rung for the infamous thespian, but still viewed as good enough to finally hand him an acting Oscar after seven misfires. O’Toole’s situation seems interestingly reminiscent of Paul Newman’s in the mid-80s. After receiving an Honorary Oscar in 1985, Newman took home the leading man win for one of his lesser turns in Martin Scorsese’s “The Color of Money.”

Next up is Forest Whitaker, whose earth-shattering portrayal in “The Last King of Scotland” had heads spinning in Telluride a full week before doing the same thing to festival-goers in Toronto. The film has been whispered as a personal favorite for many Toronto attendees, and deservingly so. Perhaps from here Fox Searchlight can feel out other arenas they might find recognition for the film.

A few films had a rough time, only one of them dying outright (“All the King’s Men”). “Bobby” was whispered as largely disliked by a bunch of people who didn’t commit anything to print, so we’re left with In Contention (positive), Emanuel Levy (positive), Tom O’Neil (positive), trade reviews (positive) and a sing-song recap (negative) for the film’s published reaction. From here, who knows where the road will take the film? It regardless has the potential to tap into the baby boomer set and fight its way, with Harvey Weinstein artillery, to a Best Picture nomination.

Elsewhere, “Volver” strangely found Best Picture buzz. Considering the film isn’t near the league of past foreign language Best Picture nominees, I think it’s a stretch to go that far. Though Penelope Cruz’s buzz has certainly spiked and she remains part of a fierce six-woman fight for a five slot race.

“Catch a Fire” also premiered, a film long-touted on this site as a Best Picture contender based on hopes for pedigree and subject matter alone. Well, the reaction was a positive one (and how couldn’t it be in that environment), but the film is a little too unraveled to be a real Best Picture possibility. Derek Luke’s fantastic portrayal has a fighting chance, but it’s an uphill battle that finally gives me the opportunity to look elsewhere for Best Actor potential.

All of this you know quite well. So what can we say from here?

I’m venturing some guesses in my predictions this week, laying a bet on Ryan Gosling, for instance, looking better and better as contenders like Sean Penn, Ed Harris and Derek Luke seemingly take their exits.

Ben Affleck gets a big surge of hope in the supporting actor arena, considered a threat in the race around these parts for the better part of two months.

And with a Best Picture lineup remaining interestingly elusive, maybe Paramount can slam three nominees home after all. “Babel” continues a route of raves that give (and have given) plenty of reason to bow to its potential in the big race.

Now, we await the next wave of films. “The Good German,” “The Good Shepherd,” “The Prestige” and “The Departed” all come knocking in the coming months. Who knows what they will do to affect the landscape, but I’m beginning to get the feeling the awards race of 2006 will be largely dependant on pre-season potential.

An Oscar season becomes about taking away more so than adding to the mixture. Though Toronto and Telluride have been somewhat uneventful, they have succeeded in removing elements from the canvas. This time of year really is about slowly revealing the picture underneath. So let’s see what gets pealed away next.

(I'd like to thank Gerard for his accomplished and unique coverage of Toronto. Now get some sleep, kiddo.)

Main Category Charts
Technical Category Charts
Oscar Predictions Archive
"The Contenders"

Previous Oscar Columns:
09/11/06 - "It's All Happening."
09/04/06 - "Aw, Canucks."
08/28/06 - "On Your Marks..."
08/14/06 - "Enough Foreplay!"
08/07/06 - "Don't Knock Masturbation; it's Sex with Someone I Love"
07/31/06 - "Old and New, the Oscar Season Approaches"

Things might be moving slowly up in Toronto for the festivalgoers, but some movement is taking place in the awards race nonetheless. Let’s run through the laundry list and get back to festival buzz.

So Clint Eastwood’s “Letters from Iwo Jima” gets December 2006 positioning after all. Great idea from an artistic standpoint, bad idea from an awards marketing standpoint. The thing is, “Letters” gets its domestic distribution out of Warner Bros., staring at a lone Steven Soderbergh black and white thriller for its awards destiny (which, on paper, seems like it should be enough). And Edward Zwick’s “The Blood Diamond” just doesn’t look like Oscar material. “Letters” isn’t set up with Paramount, so the decision isn’t really theirs to make. At the end of the day, an ambitious decision by one studio could be disastrous for both.

If either of Eastwood’s Iwo Jima films has a shot at a Best Picture nomination, it’s “Flags of Our Fathers.” A quick glance at the history of Best Picture nominated foreign language films will tell the tale there. “Letters” was just the insurance for as much, originally slated to drop in January, right in the middle of the awards flurry. Now, who knows what the double bill will ultimately yield? Maybe there will be no effect, but there is obvious vote-splitting potential with such a scenario.

Moving on, Peter O’Toole keeps receiving unanimous praise for his performance in Roger Michell’s “Venus.” We’re looking at a stone cold Best Actor winner, folks, because nothing else seems as novel in the year’s leading man race than finally awarding Peter O’Toole with a REAL Oscar. His stiffest competition will come from Forest Whitaker if the Academy has any real response to the brilliant “The Last King of Scotland,” but most likely Will Smith’s sentimental, aged performance as a burdened father in “The Pursuit of Happyness” will put up the most fight.

Next on the list, Ben Affleck took the win for Best Actor way over at the Venice Film Festival. His performance in “Hollywoodland” is his most accomplished to date, but this win still surprised the masses. Now we’ve got the makings of a campaign, and if the smart money stays on a supporting bid (which everyone seems to be on that page at Focus), then Affleck has a clearer trajectory than he did a week ago. The film has been well received on the whole, kind of a pleasant late-summer surprise for most.

Meanwhile, it’s all about the films. I feel like I’m seeing a good movie every other day lately, and that really is encouraging considering the final few big guns have yet to reveal themselves. Masterful outings thus far from Anthony Minghella, John Cameron Mitchell, Kevin Macdonald, Marc Forster and Stephen Frears, among numerous others, are making this a season worth becoming exhausted over; I really can’t say it enough.

Some quick commentary on the charts’ goings-on

Tobey Maguire is the big mover and shaker in the supporting ranks this week, catching a buzz wave recently, likely generated by publicists doing their jobs, but hey, where there’s smoke…

Also in the supporting chart, Ben Affleck gets re-upped to the predicted five. Now I’m wishing I’d have left him in there all along rather than pulling him back a week ago. Ah well, peaks and valleys, peaks an valleys.

Peter O’Toole, of course, also gets a big boost. And in lieu of the disastrous critical response to “All the King’s Men,” Sean Penn’s descent gives me the chance to move Jude Law up the Best Actor ranks as well. However, it’s difficult to expect the Academy to justly reward beautiful subtlety. And Penn has forced his way into a race before with a too-much performance in a critically panned film (“I Am Sam”).

Juliette Binoche explodes onto the Best Supporting Actress chart again this week, this time with reason. Her delicate and driven portrayal in “Breaking and Entering” is the stuff of awards glory. We’ll see how the campaign shakes out, as the Weinstein’s will have their supporting category hands full with “Bobby.”

The only chart that really seems to be firmed up is Best Actress. Those ten ladies look like what the category is down to, but it’s a fierce competition after that. I’d say my top six in the field are really down in the mud, with the other four ladies observing from the sidelines, waiting to make their move.

The only final thing to report, which went unmentioned beyond chart citations last week, is in the Best Original Song category. Paramount Vantage is pretty stoked about the Melissa Etheridge number, “I Need to Wake Up,” from the closing credits of “An Inconvenient Truth.” Meanwhile, the Weinsteins have high hopes for a Bryan Adams/Aretha Franklin ballad that will close “Bobby” (which is being screened as a “work in progress” at the Toronto and Venice Film Festivals). I’d expect both songs to join at least one of the original “Dreamgirls” numbers in the eventual lineup of tunes.

That’s all for now. Back to the festival. Stay up to speed with our Toronto coverage. Gerard’s feeling the pain this week, I have no doubt.

Main Category Charts
Technical Category Charts
Oscar Predictions Archive
"The Contenders"

Previous Oscar Columns:
09/04/06 - "Aw, Canucks."
08/28/06 - "On Your Marks..."
08/14/06 - "Enough Foreplay!"
08/07/06 - "Don't Knock Masturbation; it's Sex with Someone I Love"
07/31/06 - "Old and New, the Oscar Season Approaches"

So apparently Ben Affleck has taken the award for Best Actor at the Venice Film Festival for his career-best performance as George Reeves in "Hollywoodland." Great news. The performance is one of the best of the year and a knock out when you consider the caliber of work the actor has put out for the past six or seven years.

I pulled my initial July punch recently and took the actor out of my Best Supporting Actor predictions, but this might be the jolt he needed to really jump into the game. And truly, anyone who hasn't been taking his chances seriously has been out to lunch because this is a hell of a show from the 34 year old Affleck.

The problem for Focus Features now becomes categorization. No doubt the studio is going to want to pursue a lead actor spot for Affleck, especially after this victory. But with "Catch a Fire" and Derek Luke to take care of, the smart money still lies on a Supporting Actor campaign. The idea from day one was that "Hollywoodland" is an Adrien Brody vehicle first. Prove it now, and don't get greedy...there's a real shot at getting Affleck in the door here.

I'm ducking out early today, but check back over the weekend for lots of reviews, short and long form, including John Cameron Mitchell's latest masterwork, Anthony Minghella's most accomplished outing to date, Steven Zaillian's uneven but purposeful literary adaptation and Marc Forster's home run (one I personally think Jeff Wells has missed the boat on), among others. Until then, keep an eye on Gerard's festival coverage, and enjoy the buzz!

As Los Angeles sits like an abandoned wasteland and journalists try to decipher whether Warner Bros. is going to scoot Clint Eastwood’s “Letters from Iwo Jima” onto the 2006 schedule, Toronto is gearing up and ready to answer some questions…hopefully. The opening night presentation of “The Journals of Knud Rasmussen” is set to unveil Thursday night and as the festival commences, maybe some things will firm up. We’ll see which films go the route of “Hotel Rwanda” and which will fall the way of “Elizabethtown.” Another “Crash” could even turn up and explode onto the scene for next season’s awards derby.

Regardless of all else, one thing is certain. Hollywood has really learned to tame this beast, turning the attention of note toward Gala presentations that, more often than not, kick-start awards campaigns in earnest.

Here’s a preview:

Best Picture Hopefuls

“All the King’s Men” – Sony is still deciphering their awards palette, but the first litmus test will be for Steven Zaillian’s Robert Penn Warren adaptation, unveiling Sunday night. If the film proves to be a hiccup amongst the journalists in attendance, it’s only the first barrier as there are plenty of other go-to films in store. I’ll have a clearer opinion when I see the film here in town on Thursday.

“Babel” – Alejandro González Iñárritu’s film has played the festival circuit just right, and when the film screens before the crowd Saturday night, further critical approval might be the fuel needed to push it right through the film awards season. The Cannes presentation was met with exhilaration, though typical snobbery was present as well.

“Bobby” – There have been equally positive and negative test screening reactions to this Weinstein Company hopeful that precious few have seen, but the cat will be out of the bag next Thursday when Emilio Estevez’s ensemble drama finally plays before a significant amount of the press as a “work in progress.” The company is higher on this film’s awards potential than other films in their arsenal this year, and with absolute reason. But let’s see what the majority has to say.

“Breaking and Entering” – Playing the day before “Bobby,” next Wednesday, is Anthony Minghella’s contemporary Jude Law starrer. The Weinsteins have kept the enthusiasm on the film somewhat muted in the wake of “Bobby” being their prime Oscar horse, but if 2001 showed us anything, it is that they know how to shift focus in a hurry if need be.

“Catch a Fire” – No one who’s seen Phillip Noyce’s latest political potboiler has peeped a word about it from what I can discern. So the Sunday screening of this Focus Features hopeful will be all the tealeaves we can hope for. I’ve personally had a keen eye toward this Apartheid drama’s awards prospects for some time, but it’s all about the film in the end.

“A Good Year” – Fox is saying they don’t have major awards plans in store for this obviously pedestrian Russell Crowe romance. That might be the correct play this year, as dependant Fox Searchlight has a whopping slate and could use the extra funds. But if the critical community flips over Ridley Scott’s latest, all bets are off. We’ll know quickly, as the Saturday night screening is one of the earliest screenings of note at the festival.

“Little Children” – Todd Field’s latest has already stirred positive reaction from critics at Telluride and sits poised to potentially be the critical darling of the year (why, oh why?). The buzz will really begin on Wednesday, however, as Toronto is the true launching-off point for films with Oscar hopes.

Also Looking for Awards Love

“Copying Beethoven” – Now that this film finally has distribution, the campaign could be underway after Sunday's screening. If Ed Harris’s performance as Ludwig von Beethoven knocks them out of their seats, watch out for a determined Miramax/MGM campaign. If it withers away, expect to see it at the video store some day and think “Oh yeah, I remember that.”

“Infamous” – Most have written off this Truman Capote biopic, which screens next Friday, due to last year’s “Capote” stealing all of its thunder. Reactions out of Telluride have been mixed, though positive on the performances. At the very least the film will be a point of interest for legions of writers who still have that strange place in their hearts for the journalist and novelist.

“For Your Consideration” – One film that has to be an odd anticipation for studio heads and publicists sizing up their Oscar campaigns is Christopher Guest’s mockumentary of the process. Screening Sunday night, we might find an original screenplay contender on our hands. It’ll be a little while before I finally take this one in, but I personally can’t wait.

“Stranger Than Fiction” – Marc Forster’s latest has become Sony’s dark horse, a film that will likely end up deservedly playing like a champ to the critical community. This screening on Saturday night will surely announce the arrival of Will Ferrell’s more versatile acting talents, and it could put Maggie Gyllenhaal right back into the supporting actress race for her saucy turn as a bohemian baker with spunk. Rest assured, screenwriter Zach Helm will be a sought-after commodity when all is said and done.

“Venus” – Another part of Miramax’s lead actor-heavy line-up, Peter O’Toole’s buzz will increase or fall away after Saturday night’s screening. Talk began circulating a few weeks ago that the legendary actor had the chops in Roger Michell’s latest. Maybe the eighth time will be the charm. Or maybe it’s “The Final Curtain” all over again.

“Volver” – Already a rousing success at Cannes, Pedro Almodovar’s quirky and jovial latest from Sony Pictures Classics will pop up early. Screening Friday night, the event could put Penélope Cruz’s career-best performance and, to a lesser extent, co-stars Lola Dueñas and Carmen Maura back on awards watchers’ radars. Sony Classics spent a lot of money on Oscar campaigns last year, ultimately scoring a Best Picture berth for “Capote.”

Other Events to Consider

“10 Items or Less” – Could be the start of a lead actor push for Morgan Freeman.

“Alatriste” – Viggo Mortensen’s long awaited biopic.

An Evening with Michael Moore – Ever the salesman, expect Moore to use this opportunity to drum up interest in next year’s “Sicko.”

“Jindabyne” – Ray Lawrence’s latest, one of two Sony Classics Laura Linney starrers this year.

“Quelques Jours en Septembre” – Another 9/11 film, this time fictional in nature, that has received mixed reaction out of Venice.

“Rescue Dawn” – Werner Herzog transforms his own documentary, “Little Dieter Needs to Fly,” into a full-scale narrative.

“Snow Cake” – A performance film that could play well for Alan Rickman and Sigourney Weaver – or not.

“The Wind That Shakes the Barley” – Ken Loach’s Cannes stand-out hopes to find some more traction in the festival circuit.

And then, of course, there are the little films that could really stand out against the fray. “Bonneville,” “Candy,” “Cashback” (based on the Oscar nominated short of the same name), “The Last Kiss,” “The Magic Flute,” “Pan’s Labyrith” and “Seraphim Falls” could all stir talk for either this year or perhaps next year’s awards season. A personal interest is “Macbeth,” from Geoffrey Wright, director of “Romper Stomper,” but that aside, it’s all about the awards talk.

Be sure to check back here later in the week for Gerard Kennedy’s coverage of the festival.

Main Category Charts
Technical Category Charts
Oscar Predictions Archive
"The Contenders"

Previous Oscar Columns:
08/28/06 - "On Your Marks..."
08/14/06 - "Enough Foreplay!"
08/07/06 - "Don't Knock Masturbation; it's Sex with Someone I Love"
07/31/06 - "Old and New, the Oscar Season Approaches"