By Arturo R. García
As Oscar winner Lupita Nyong’o’s career prospects seemingly expand by the day, so, too, do the discussions surrounding her, with some fans imagining the sight of her stepping into some iconic franchises, and others side-eyeing the increased attention she’s been getting.
By Arturo R. García
Best Supporting Actress Winner Lupita Nyong’o (“12 Years A Slave”)
Well, that was a lot to take in. Some of the highlights:
- Maybe the night’s sentimental favorite, Lupita Nyong’o, won the Best Supporting Actress award for her work on 12 Years A Slave, which went on to win Best Picture.
- John Ridley also won Best Adapted Script for his work on 12 Years, though … was it us, or was there some shade going between him and director Steve McQueen?
- Robert Lopez, a Filipino-American, won Best Original Song along with his wife Kristen Anderson-Lopez for “Let It Go,” from Frozen.
- Mexican-born Alfonso Cuarón, who some felt was snubbed for the Best Director award after Children of Men, made good Sunday and won for Gravity.
- Cis-hetero actor Jared Leto won Best Supporting Actor for playing a trans woman in Dallas Buyers Club, and seemed to omit mentioning the trans community during his far-flung acceptance speech. As Autostraddle notes, it’s not like he can claim ignorance of his actions at this point.
Feel free to add your thoughts in the comments and check out the full storify below, but under the cut, some video, and some more observations from the evening.
Chiwetel Ejiofor as Solomon Northup in 12 Years A Slave
By Kendra James
Warning: This review contains spoilers, and discussion of abuse, violence, and rape.
Normally, knowing that a story has a “happy ending” helps to ease the burden of getting through something horrific. 12 Years a Slave is not that movie. It can’t be that movie with the way Steve McQueen dispenses of the conventional methods to show the passing of time. This could be 12 months, 12 weeks, or 12 years and we wouldn’t have known; I even lost track of how long I’d been in the theatre. There’s no clear changing of the seasons; no transition from spring to summer or fall, just once the point made that a crop of cotton has been lost.
Time is marked by the passing of violence rather than the passing of seasons, and it blurs and stretches and bunches together in places as it must have for Solomon Northup (a triumphant Chiwetel Ejiofor) himself. By not providing the viewer with any demarcation of time McQueen effectively puts us in his lead character’s position. How long Solomon’s been enslaved doesn’t matter and there’s no concrete end. Just one dehumanising experience to live through after another.