The two most recent winners in the best live action short category at the Oscars both have “Goodbye” in their titles: “The Long Goodbye” in 2021 and “An Irish Goodbye” in 2022. This year, the streak will be broken. This doesn’t have much to do with the quality of any past or present nominees, but these are the fun little coincidences you recognize when researching the history of the Oscars.
The assumed frontrunner in this category is “The Wonderful Story of Henry Sugar,” which, if my memory serves me correct, was once meant to be a feature. The story is based on Roald Dahl’s short story of the same name, and it serves as auteur director Wes Anderson’s best chance at winning an Oscar yet. Admittedly, it would be weird if the gold man was handed to Anderson for a short film, but the director’s signature style carries over here.
Anderson is not the only big name tied to a live action short nominee this year. Actor David Oyelowo is the star of Misan Harriman’s thrilling “The After.” Unlike “Henry Sugar,” which clocks in at nearly 40 minutes, “The After” is a comparatively compact 18 minutes, condensing the action into less than a sitcom’s runtime. It’s neat to see the main character of a film be a rideshare driver, as there are plenty of untold stories to tell from that unique perspective.
“Red, White and Blue” also features some star power, courtesy of Brittany Snow. She plays a single mother facing an unexpected pregnancy and the complicated search for an abortion across state lines. It’s a timely film that will ring true to many women who are seeking this form of healthcare in an uncertain era. The film is aware of the economics at play in many similar situations to the one being portrayed, adding an extra layer of realism.
On the more small-scale end of things is “Knight of Fortune,” an examination of grief which largely takes place in a morgue. This one comes to us from Denmark, and it seems to approach death in a way that is more grounded than what one might find in an American film with similar ideas. I find that most morgue scenes in American media are in crime stories on network television. To see this setting used in a less procedural way in “Knight of Fortune” is, on the surface, more true to the regular human experience.
You might be surprised how often a director makes the jump from music videos and narrative films. A filmmaker who has done a little bit of both is Vincent René-Lortie, who directed the final nominated for best live action short, “Invincible.” Much of the principal cast, including the lead, are young actors. It’s so cool to see the work of up-and-coming artists, behind and in-front of the camera, get recognized like this. I’ll root for this one on that basis.
Star power alone is not a formula for winning in this category, but it can help. I’ll be interested to see how “Henry Sugar” does despite being a high-profile release by the standards voters usually roll with in this category. The upset for something else would not be a complete stunner, but I’ll be watching this race closely.
