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March 2018

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Page 24 of 43 23 POST MARCH 2018 OSCARS WRAP UP A LOOK AT THE NIGHT'S BIG WINNERS he snubs (No Tom Hanks? No Spielberg? No Wonder Woman?) are now ancient history. The surprises (A low-budget horror film, Get Out, scores a Best Picture nod! Two first-time directors get nominated! Meryl Streep finally gets nominated! We're joking — it's her record-busting 21 st nom) have sunk in. And now all the glitter and pixie-dust has finally settled on the red carpet and the 90 th Oscars are over — and so are the races. And in terms of race — and gender — what a difference a year makes. Change is slowly coming to the Oscars, which this year paid far more attention to African-American filmmakers and artists — and to women. The acclaimed and multi-layered horror film Get Out, the debut feature film from comedian-turned director Jordan Peele, scooped up four major Oscar nom- inations — including Best Picture, Best Director (in a very strong year, Peele beat out the likes of Steven Spielberg, Ridley Scott and Martin McDonagh, and became only the fifth African-American filmmaker to earn a Best Director nom) and Best Actor for star Daniel Kaluuya. Oscar newbie Kaluuya was joined by Oscar newcomer Mary J. Blige for her powerful performance in Dee Rees' black/white family epic Mudbound, along with previous winners Octavia Spencer (The Help) and veteran Denzel Washington (it's his ninth nomination, and he previously won for Glory and Training Day). And joining Peele was another Oscar first-timer, Greta Gerwig, who stepped behind the camera and made an assured and polished directorial debut with her coming-of-age story with Lady Bird. After 90 long years, another Oscar glass ceiling was finally broken when, for the first time, the Academy nominated a woman DP — Mudbound cinematographer Rachel Morrison. So was the 90 th Oscars "The Year of Minorities?" Hardly, but if it wasn't radi- cal change, at least change is in the air. "Inclusion riders," anyone? So who ended up grabbing the golden boys and who ended up crying into their flat champagne? Here we take a look at the races, the results and examine why voters embraced some films and nominees, while remaining indifferent to the charms of others. BY IAIN BLAIR T Three Billboards Outside Ebbing, Missouri

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