In 'Smoke Sauna Sisterhood' Women Bare Their Bodies And Souls
Imagine a sauna in the middle of a snowy forest. The smell of steaming rocks, burnt embers, and warm cedar infiltrates your senses. If you're like me, a feeling of ease immediately floods your body. A deep inhale, followed by an even deeper exhale dispels all feelings of negativity and stress. Here, secluded from the distractions of the outside world, the mind is free to roam.
In Smoke Sauna Sisterhood, which premiered in the World Cinema Documentary category at this year's Sundance Film Festival, director Anna Hints dedicates her film to the sacred Estonian tradition of "savvusanna kombõ," or, smoke saunas heated by a stove. For an hour and a half, we feel as if we are among a local group of women who frequent the sauna to cleanse their bodies and minds and connect with fellow feminine spirits.
Smoke Sauna Sisterhood follows a very loose narrative structure. Forgoing a linear storyline, the film plays mostly like a fly-on-the-wall observational documentary. Nameless women of all ages and sizes gather at the sauna deep in the southern Estonia forest. There, they bare not only their bodies but their souls. Each with a story to tell, the women take turns leading vulnerable conversations around such topics as sex, relationships, cancer, shame, body image, and death. Much like a church confessional, the sauna acts as a safe space for complete honesty, no matter how complex the topic at hand is.
The film draws a poignant parallel between women and mother nature: both act as a resource for life. This sentiment is explored abstractly through their stories and in respectfully photographed images of their naked bodies. The environment of the film is also completely absorbing and stunning. Cinematographer Ants Tammik highlights the rich, organic colors of the Estonian outback from the depths of the damp sauna to the purity of the vast, snow-covered ground. Seeing these women set against this backdrop is nothing short of magical.
Smoke Sauna Sisterhood is a striking celebration of natural beauty in all forms. For as vulnerable as these women seemingly are – naked and confessing to shortcomings or defeats – their strength is beyond measure. The film's intimacy, combined with universally poignant themes, makes Smoke Sauna Sisterhood a rare, much-needed cinematic escape.
This review originally ran on January 29, 2023 during the Sundance Film Festival
https://youtu.be/u57aVf1-SBk?si=AscSKNBZ90iSec0J
'Maestro' Hits All The Right Notes With Stunning Finesse
A star was born in Bradley Cooper's directorial debut, and that star has matured into a force of nature in his sophomore feature, the Leonard Bernstein biopic, Maestro. The depth of beauty runs deep throughout the film's 129-minute runtime, as Cooper offers audiences a richly observed panoramic portrait of a misunderstood artist whose music contributed to some of the most unforgettable scores of all time. Starring as the multi-hyphenated conductor/composer himself, Bradley Cooper's ability to capture magic both onscreen and off is a sight–and sound–to behold. Move over Lydia Tár, there's a new maestro in town.
The biographical drama serves as a character study of Leonard Bernstein (Cooper) at five different pivotal stages in his life. Spanning 25 years young to 71 years old, the film's primary focus isn't solely centered around musical achievements or performances. Rather, audiences embark on a decades-long love story between the flighty Bernstein and the grounded and mature love of his life, actress Felicia Montealegre Cohn Bernstein (Carey Mulligan). The film weaves through their lighthearted honeymoon phase with a stoic black-and-white color grade. Signaling a sense of reminiscence for the past, nearly half of the film is portrayed in black and white. During this time period, both Bernstein and Montealegre's careers accelerate, albeit at different paces and scales, and signs of tomfoolery on Leonard's behalf become apparent. We learn that Leonard, prior to marrying Felicia, had been in a relationship with a man (Matt Bomer) and his attraction to men is still very much being acted upon. This creates a growing conflict within their relationship, and an internal explosion within Felicia is embodied in the film as it visually transforms into color.
The couple's intricate and complicated relationship dynamic fills the second half of the film, which is now portrayed in stunning color. Family, friends, instruments, and cigarettes come in and out of every scene, it is fully captivating both visually and musically. The film's sudden color switch causes our eyes and ears to perk up with the expectation that something big will be coming, and oh boy, does it deliver. In perhaps one of the finest musical scenes I've ever witnessed in a movie, Bradley Cooper takes the stage near the end of the film's third act and gives the performance of a lifetime. His embodiment of Leonard Bernstein conducting a full orchestra and choir in a six-minute stunning one-take had chills running down both of my legs. Taking place in an equally beautiful old church, the grand concerto comes to a dramatic end, and the audience I was sitting with erupted into rapturous applause, myself included. I think we collectively forgot that this is a movie and not a full-bodied, 3-D experience accompanied by the London Symphony Orchestra. It was a moment that resonated with me more than any other film moment this year.
The craftwork that makes up Maestro is impeccable, from the costumes to the makeup and prosthetics used to portray Bernstein's later years. The richness and nuanced characteristics are captured by the master of photography, Matthew Libatique, in stunning detail. Playing to the strengths of both the black and white and color, Libatique brings the man and the music to life. Further reviving the virtuoso's story is the score, which were all instrumental works pulled from the Bernstein archives.
On the performance front, Bradley Cooper fully transforms into Leonard Bernstein and at times, it's easy to forget that this isn't a documentary. His speech pattern and his physical performance are magnetic, it's hard to look at anyone else when he's on screen. That's not to say Carey Mulligan isn't also a dynamic force, but her strength comes from a more subtle place. The opportunity to explore Leonard and Felicia's yin/yang personalities–independent of and with each other–is an actor's playground. There is so much material to devour yet Cooper and Mulligan never let the combative and unpredictable nature of the Bernsteins' relationship feel forced or unnecessarily fraught.
Maestro is the result of a finely tuned synchronicity from all sides. Performance, direction, aesthetics, and craft all contribute to this monumental work of art. Some may be baffled to hear that the musical component of Bernstein's legacy plays second fiddle to his complicated love story, but rest assured, there is no shortage of awe-inducing moments that will have you whispering "wow" from under your breath. Maestro hits all the right notes and then some.
'Saltburn' Is a Glossy Romp Through Hipster Affluence
If Saltburn was a person, he would be that hipster kid with main character energy. The unchallenged confidence and colorful charisma make for a staggering first impression but behind the initial charm exists a desperation to be seen as cool. Following her directorial debut Promising Young Woman, filmmaker Emerald Fennell crafts a slightly edgy film about loud luxury that skews favorably toward Gen Z. Saltburn offers a fun enough viewing experience but I'm not sure it's sticky enough to stay in the public consciousness for long.
Much like a modern-day adaptation of The Talented Mr. Ripley for the streaming generation, Saltburn tells the rags-to-riches story of college student Oliver Quick (Barry Keoghan). Entering his first year at Oxford University, Oliver struggles to fit in with his high-society peers. A chance encounter with the (objectively) gorgeous aristocrat Felix Catton (Jacob Elordi) brings Oliver into a world that, up until then, had been far from within his reach. As summer break approaches, Felix invites Oliver to spend the next few months with him at Saltburn, the grand English manor that has been in the Catton family for generations. Given Oliver's dysfunctional family dynamic and subsequent vow that he would never step foot in his childhood home again, he graciously accepts Felix's invitation.
Upon arriving at Saltburn, there is a period of adjustment for Oliver who is not used to wearing full black tie attire to dinner and having waitstaff at every beck and call, but it only takes a couple of days to adapt to the Catton's laissez-faire lifestyle. It's not long before he too is peacocking as an heir to the Saltburn estate, much to the delight of Felix's delusional parents Sir James (Richard E. Grant) and Elspeth (Rosamund Pike). Oliver is becoming obsessed with his newly adopted association with wealth, power, and–more disturbingly–Felix.
There's a saying that goes, "Eat the rich", but in this case, it's more like "Drink the rich's bath water." As Oliver continues to lose himself in Saltburn, the darker and more voyeuristic his actions become. It's apparent that Oliver is in love, but with who–or what–is the burning question. From here, the film explodes into a dizzying array of power games, privilege, seduction, and madness.
Despite the abundance of riches that purposefully bloat the film, there is a superficiality that lingers throughout Saltburn as if the whole thing is playing too safe. It's provocative enough at times to garner gasps from the audience (and is definitely not a kid's movie by any means) but it seems to stay too comfortable on the surface rather than digging deeper and exploring more complex depths of the narrative. Working with what they have on the page, the performances are deliciously satisfying. Barry Keoghan is by far the scene stealer and brings an undeniable electricity to the role of Oliver. Watching his career trajectory from co-starring in The Killing of a Sacred Deer and American Animals to headlining major studio films like The Banshees of Inisherin and Saltburn has been so rewarding to experience. Visually, every frame looks like a glossy pop-magazine come to life. Shot in stunning detail by Damian Chazelle's go-to cinematographer Linus Sandgren, Saltburn's richly crafted aesthetic plays in perfect unison with the onscreen shenanigans.
Emerald Fennell's sophomore feature is a time capsule of mid-2000s glamour and full of sweaty, horny college students. The nostalgia is nice but not substantial enough to carry the film on its own. There is a line early on in the film when Oliver engages in a debate with his professor and fellow classmate about style vs substance, arguing "It's not what you say but how you say it." Unfortunately, Fennell follows Oliver's methodology, Saltburn is all style and limited substance.
'Aligned' Is a Gorgeous Meditation on Self-Acceptance
Captivating scenery and hypnotic movements run abundant in writer/director Apollo Bakopoulos' heartfelt film, Aligned. The gorgeous opening dance montage and accompanying piano score sets up audiences for an intimate evolution of self-reflection as we watch Aeneas, an aspiring professional dancer, embark on a life-changing journey of self-discovery. Making its World Premiere at the 2023 Brooklyn Film Festival, Aligned is an inspiring watch that comes with a positive message, leaving the viewer with a sense of good vibrations and a tangible spark of self-confidence to carry with them throughout the day.
Aeneas (Panos Malakos) seems to have it all, a supportive girlfriend, his health, and the opportunity of a lifetime: a three-month residency to train at a dance academy in Greece, which will bring him closer to his ultimate goal of becoming a professional dancer. He arrives in Athens from New York City full of excitement and open to the possibility of what lies ahead. Once at the studio, he is immediately introduced to Alex (Dimitris Fritzelas), a fellow dancer who quickly becomes a friend. Intimacy is the universal dancers' language and the closer the two men become on stage, the more that translates off stage as well.
Through their shared cultural heritage, Aeneas and Alex find a deep and unexpected connection they both acknowledge is worth exploring further. Aeneas expresses his lack of self-confidence and vulnerability to a receptive Alex, who offers non-judgemental comfort and support. His advice, to lead with the heart rather than the mind, is a common phrase repeated throughout Aeneas' self-discovery journey. At a crossroads with his newfound queer interest in Athens and a deteriorating relationship with his girlfriend at home, Aeneas is finally able to confront his deep-rooted insecurities and feel the transformative power of self-love.
Running 78 minutes long, Aligned jumps into the crux of the story immediately and doesn't linger on supplemental details or scenes that drag the material down. The filmmaker could have been tempted to linger on the dance sequences and additional distractions, however, the decision to stick to the bare bones of what is necessary is a mature and respectable approach. The fluid camerawork that captures the beautiful dance montages between the two men embodies the feeling of freedom and non-sexual physical intimacy. One scene, in particular, stands out as truly stunning, when the men improvise a dance in their apartment. This is the first time they advance from the boundaries of platonic friendship into a more emotionally invested relationship. Without words, they convey everything we need to know.
Filmmaker Apollo Bakopoulos creates a gateway to openly discussing one's insecurities and struggles with low self-esteem in Aligned, showing that living authentically is the only true path to happiness. Aeneas' struggles are meant to hold up a mirror to our own self-sabotaging habits, and Alex's words of affirmation are intended to resonate with us as well. Fear and familiarity have been the invisible chains holding Aeneas back from embodying his true self. It's scary forging into the unknown, but it's even scarier living in complacency and regret. Through the captivating dance and photography of Aligned, we are offered a gentle reminder that self-acceptance is a journey and takes time. There is no linear path, and forward momentum leads to freedom.
'All of Us Strangers': Enter the Liminal Space Where Love and Loss Co-Exist
If you look closely, you'll see writer/director Andrew Haigh hidden in plain sight throughout the melancholic romantic drama, All Of Us Strangers. Loosely adapted from the Japanese ghost story Strangers, written by Taichi Yamada in 1987, Haigh infuses chapters from his own life story into this mesmerizing tale of love, loss, and second chances. His personal connection to the material makes the film feel that much more fragile; Haigh's finely tuned singular experience doesn't omit his audience but rather, it creates a universal resonance where audiences can see themselves reflected in the film too.
Adam (Andrew Scott) lives a quiet (albeit, seemingly lonely) life as a queer screenwriter living in an apartment tower in contemporary London. The film opens with a gorgeous skyline shot of a blood-orange sun, marking the end of another unproductive day for Adam. His recent attempt to put pen to paper on his latest screenplay is coming up fruitless. He moves apathetically, going through the motions of the evening until an interruption by his mysterious neighbor, Harry (Paul Mescal). Harry is a charmer and unabashedly flirtatious. In a bold move for this near-stranger, Harry invites himself inside Adam's apartment and subsequently proceeds to pierce a hole in Adam's self-protective armor. This is jarring for Adam since he has lived his life in subdued modesty but sensing the start of a personal evolution, he embraces Harry and the unknown.
As Harry begins chipping away at Adam's tough exterior, offering him the space to feel safe exploring a relationship with a man, another revelation is on the horizon for Adam. Looking for inspiration for his script, Adam turns to old photos from his childhood. This walk down memory lane triggers something internal and Adam is inexplicably drawn to make a pilgrimage to his childhood home where he lived with his mum and dad (Claire Foy and Jamie Bell) before their sudden deaths. Adam was only 12 years old when his parents died in a car crash over the Christmas holiday, and since then, he has learned to cope by pushing down any emotions surrounding their existence. As he reaches the house, a flood of visceral memories come rushing back as Adam sees his parents standing before him, just as they looked 30 years ago. Is this a dream? It must be, but it feels very real to Adam. Regardless, this surreal experience gives everyone–dad, mum, and child–the opportunity to finally have proper closure and a final goodbye.
The fragility that stems from an adult man reckoning with childhood trauma is a devastatingly cathartic experience to witness. Andrew Scott was born to embody the role of Adam, his nuanced mannerisms and sensational performance are heartbreaking as we see a scared boy hiding inside a grown man. Scott plays Adam's vulnerability journey with such a dynamic range–he starts off fairly constricted and uncomfortable but over the course of the 105-minute runtime, he is exploring a cacophony of emotions. Acting opposite Scott is Paul Mescal's Harry, a good-natured free spirit who wears his heart on his sleeve. Their dynamic is raw, at times fraught with miscommunications, but at the foundation is an acceptance that we would be lucky to be immersed in.
Haigh captures the tone of All of Us Strangers through the use of 35mm film to evoke the "texture" of memory. This analog vessel is an embodiment of the time period as well as the sentiment that memories, much like the physical element of film, can fade or become distorted with time. Aiding in the tonal aesthetic is the subtle yet enriching score by French pianist Emilie Levienaise-Farrouch. Her compositions turn feelings of detachment and catharsis into auditory sensations and offer a beautiful finishing touch.
There is a quote I heard recently that reads, "Be nicer to your parents, it's their first time experiencing the world too." I couldn't stop thinking about that as I was watching All of Us Strangers. Haigh's emphasis on connection and the complicated human experience, set against a mesmerizing, reality-bending backdrop, is a visual and sensational knockout. At its core, All of Us Strangers is a devastating tale of navigating through grief, and while heartache never feels great, the ability to experience such an emotion is a testament to being alive, which is always something worth being grateful for.
This review is part of our AFI FEST 2023 coverage.
'Lead and Copper': An Exposé On The Horrifying Flint Water Crisis
The Flint, Michigan water crisis will forever be remembered as one of the worst public health disasters in American history. The human-created disaster spanned 2014 - 2016 and tens of thousands of lives were forever damaged by their local government's carelessness and corporate greed. In the documentary Lead and Copper, filmmaker William Hart investigates why Flint officials made the deadly water supply switch in the first place and the severe consequences the community still faces today.
I'd bet that a majority of Americans have never been to Flint, but the opening few minutes of the film do an excellent job of making the audience feel as if we had spent our whole lives there. Sweeping shots of the city, the rolling hills, and robust rivers portray a picturesque community that made up this small but mighty town. All was well in Flint until April 2014, when the city irrationally changed its water supply source from the Detroit-supplied Lake Huron to the Flint River. At the time, Flint residents were paying the highest water bill in the United States at around $230 a month–a shocking statistic that the film lays bare in bold lettering. The local governing officials were becoming fed up with the price gouging and decided to switch to a cheaper, albeit riskier, option. Behind closed doors, it was decided that the municipality water would come from the Flint River, which was meant to be a band-aid, not the solution, to the wider water accessibility issue.
Flint residents familiar with the local river didn't even want to swim in that water, let alone drink it. Quickly, it became blatantly obvious that the switch was the wrong course of action. The community complained of yellow/brown water that resembled cooking grease pouring out of their faucets. People were getting sick, their hair and skin had become visibly damaged, and that wasn't even the worst of it. To everyone's horror, the city was denying there was anything wrong. People turned to buying bottled water in bulk to shower with and wash their dishes. It was unsustainable, costly, and unfair. Eventually, city officials couldn't deny the issue any longer. These people, under their watch, had been poisoned.
The stories that survivors of the water crisis tell in such detail throughout the film are enough to make you gag in disgust, both at the tainted water they were subjected to as well as their local government. William Hart interviews many people who came to the same conclusion nearly 10 years ago, which is that this happened because Flint officials valued money over human lives. Exposed emails to and from city officials further confirm the theory of turning a blind eye to the lead and copper rules and regulations. The lack of action by those in power signaled that human lives are expendable, especially ones that may run along racial or economic lines.
The film itself is presented in a typical documentary format, including interviews with subjects in their home or business and the inclusion of archival footage from court proceedings and council meetings. The score comes across as a little heavy-handed at times, yet on the whole, the film does an excellent job of recapping the water crisis as well as providing a compelling human interest story about the resilience of the Flint residents. One quote that really struck a chord comes from Elijah Eugene Cummings, the politician and civil rights advocate who served in the U.S. House of Representatives for Maryland's 7th congressional district from 1996 until his death in 2019. Cummings perfectly sums up the course of thinking that we should all be leading with, especially those in positions of power and influence: "We don't inherit our environment from our ancestors, we borrow it from our children."
'Dream Scenario': Nic Cage Delivers Brilliance in This Existential Tragicomedy
I'm convinced that Norwegian writer/director Kristoffer Borgli found a way to enter into my dreams and subconscious. That's the only way I can explain how Dream Scenario and his previous film, Sick of Myself, feel so tailor-made for me. A dark comedy about a flawed protagonist struggling with loneliness, sign me up! Distributed by A24 and produced by Ari Aster, Dream Scenario is visually stunning, completely original, and most excitingly: refreshingly weird. In a somewhat meta role for Nicolas Cage, who is used to his "memeification" at this stage in his career, Dream Scenario is a film I didn't want to wake up from.
Paul Matthews (Nicolas Cage) is a middle-aged, married, father of two. He is a tenured professor at the local university and is content with his life in upper-middle-class suburbia. Everything about Paul is ordinary, and that is fine with him. He is comfortable with the way things are. Each day carries on just like every other until, in a bizarre turn of events, Paul is informed that people have been unexplainably dreaming about him at night. His daughter, his students, his colleagues, and his former ex-girlfriend have all seen Paul in their dreams, which are surreally depicted in various degrees. What starts out as a couple of strange coincidences turns into an international phenomenon when total strangers report seeing Paul appear in their dreams as well. Soon enough, this ordinary man becomes the most talked about person on the planet, catapulting him into a worldwide celebrity with a fan base that the Kardashians would be jealous of.
Just as quickly as his 15 minutes of fame falls into his lap, it ruthlessly begins to fade. The dreams that were once harmless sharply turn into night terrors, with people fearing for their safety, even if they are close to Paul in real life. Paul initially had no control over his stardom and now realizes that his downfall is out of his hands as well. His wife (Julianne Nicholson) grows frustrated with Paul's explosive behavior at home, his children (Jessica Clement and Lily Bird) become embarrassed by him, and his managers (Michael Cera and Kate Berlant) become desperate to secure opportunities for their once-celebrity client. In a twisted turn of fate, Paul's rise to fame and subsequent fall into obscurity leaves him destitute, heartbroken, and delusional.
Through Dream Scenario, Kristoffer Borgli explores themes of modern celebrity and hive mentality with sharp, edgy humor. The premise is totally wacky and yet with every scene, I fall deeper in love with Paul Matthews and start to develop a sense of protectiveness around him. The script is something special and only could have been brought to life by one man: Nicolas Cage. His performance is masterfully measured and equally unhinged in all of the right moments (Paul Matthews and Paul Hunham from Alexander Payne's The Holdovers would definitely be the friends who drink scotch and complain about their bratty students in an alternate universe). Cage is magnetic in both solo scenes and acting alongside the always fabulous Julianne Nicholson. Cage agrees with the film's specialness, saying, “It was one of the best scripts I’ve read, quite frankly, and I think it’s my best performance and probably the best movie I’ve ever made.”
On the craft side, exceptional editing by Borgli acts as an omniscient character that further aids in punchlines and humorous moments. The score by composer Owen Pallett is much more grounded than the film itself, mirroring the stable and steady life Paul had before he shot to stardom. An assortment of strings and simple melodies from a grand piano create a classical sound that is unexpected for this zany of a film. As a chamber music composer, Pallett brings his experience working with esteemed groups and artists–including The National Ballet of Canada, the Toronto Symphony Orchestra, Frank Ocean, and Sigur Rós–to this dark comedy. The Dream Scenario score could have easily gone in the direction of Son Lux x Everything Everywhere All At Once or Colin Stetson x Hereditary, but the decision to explore simple, more organic sounds feels like the right call here. While the score breathes, it allows the stellar sound design to get noticed.
Dream Scenario is one of the most unforgettable films of the year and will no doubt put Kristoffer Borgli's name in the mainstream consciousness. Fans of Eternal Sunshine of the Spotless Mind and Curb Your Enthusiasm will find tonal similarities abound in Dream Scenario although the film successfully carves out a niche for itself as a wholly original concept. It's not a stretch to say that Nic Cage may find himself the darling of awards season once again. Wouldn't that be a dream come true?
'Shadow Brother Sunday': Alden Ehrenreich Crafts a Tight, Tense Debut Short Film
Any time a well-known actor steps out from behind the lens and into the role of a filmmaker, it comes with an additional layer of pressure. After starring in a string of big-screen hits, including Netflix's Fair Play, Disney's Solo: A Star Wars Story, Elizabeth Banks' Cocaine Bear, and the Coen Brothers' Hail, Caesar!, Alden Ehrenreich proves that his expansion into directing has come by way of learning the tricks of the trade from some of the industry's best. The experience of working with top-tier directors effortlessly translates onto the screen in his short debut film, Shadow Brother Sunday. After watching the film, it's easy to recognize that the guy's got talent, and hopefully, this is just the beginning of a very storied and fruitful filmmaking career.
In Shadow Brother Sunday, which Ehrenreich wrote and directed, he transforms himself into Cole, an aspiring musician whose jealousy toward his famous brother seeps into dangerous territory. When Jacob (Nick Robinson), an actor on the rise, returns home to attend the premiere of his latest film with his family, the general mood in the household is celebratory and bright. That is, until Cole enters and brings with him a dark cloud of negativity and gloom. Frustrated with his financial situation and seeing an easy opportunity for quick cash, Cole entertains the idea of selling his brother's personal information to a gossip site. The decision weighs on Cole; he loves his brother, yet feels entitled to the same amount of success that Jacob is currently basking in. Time is ticking, and Cole has to make a choice: stand by his brother, or sell him out.
Ehrenreich uses the film's 15-minute runtime to craft a concise drama. The pacing hits the right tension notes and ends on a cliffhanger that will hopefully be addressed in a feature-length adaptation (one can dream!). As a filmmaker, Ehrenreich wanted to create as much authenticity for the actors as possible, which is why his performance is immersed in method acting–gaining over 20 pounds to fully embody Cole's uncomfortable physical state. He also set up dinner parties so that the faux family could get acquainted off-camera and organically develop their relationships.
For transparency's sake, Ehrenreich didn't claim to take this project on alone. Shadow Brother Sunday is equipped with backing and support that most directors in the short film space only dream of, including Francis Ford Coppola serving as Executive Producer and Elizabeth Banks moderating the premiere's Q&A. Still, Hollywood legends aside, the film could hold its own
As Ehrenreich continues down the directorial path with confidence and passion, I believe he could follow a similar trajectory to Bradley Cooper (Maestro, A Star is Born). Shadow Brother Sunday premiered at the 2023 Tribeca Film Festival and won a Special Jury Award for Excellence in Filmmaking from the Salute Your Shorts Film Festival. It qualifies to be considered for a 2024 Academy® Award.