Every award season, there is a quiet, oh-so-lovely film that moves me in every way, a contrast to the capital-C contenders that get loud, splashy Oscar campaigns and photo shoots and attention.
I cherish and tend to that film like it’s my own little pet, a special creature I am so proud of and want the world to know is exceptional. I become the film’s evangelist and, often, its delusionalist, riding out award hopes to the bitter end.
In past years, that’s included movies like All of Us Strangers, Passages, Dìdi, Eighth Grade, May December, C’mon C’mon, and fittingly, Mike Leigh’s Hard Truths.
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