Make your watch list golden by adding Oscar-winning movies
The Oscars are over, and the winners are now on the books, but you’re still behind on watching? Here’s a guide on where to stream the winning films.
Also look for some of the short films that took home statuettes. Wes Anderson’s “The Wonderful Story of Henry Sugar” streams on Netflix and is available for digital purchase and “The
Last Repair Shop” streams on Disney+.
‘Oppenheimer,’ 13 nominations, 7 wins:
Christopher Nolan’s atomic opus received widespread acclaim and broke box-office records. The film, which is semi-trippy and flashback heavy, chronicles the trials and tribulations of the Manhattan Project’s
J. Robert Oppenheimer (Cillian Murphy). (Digital purchase or Peacock)
‘Poor Things,’ 11 nominations, 4 wins: Think Frankenstein story and his bride. Director Yorgos Lanthimos owes a debt to Emma Stone, his childlike and highly randy Bella, in the film. The comedy is dark and the vibe Victorian fantasy. And did we mention the sex? How Bella handles that activity has been the talk of film circles. Also stars Willem Dafoe and Mark Ruffalo. (Digital purchase or Hulu)
‘Barbie,’ 8 nominations, 1 win:
Greta Gerwig’s film, in the billion-dollar club at the box office, is a live-action musical comedy focused on the 64-yearold plastic doll in a range of iterations. The film stars Margot Robbie and Ryan Gosling (as Ken). Robbie plays Stereotypical Barbie, who experiences an existential crisis but lands on the road to self-discovery. (Digital purchase or Max) ‘American Fiction,’ 5 nominations,
1 win: Cord Jefferson’s directorial debut is what satire should be: funny while succinctly pointing at truths. Jeffrey Wright plays a frustrated academic up against the wall of what Black books must be to sell. He takes action. Wright is joined by a great supporting cast in Leslie Uggams, Erika Alexander, Issa Rae, Sterling K. Brown and Tracee Ellis Ross. (Digital purchase or MGM+)
‘Anatomy of a Fall,’ 5 nominations, 1 win: Justine Triet’s film stars Sandra Hüller as a writer trying to prove her innocence in court in her husband’s death at their chalet in the French Alps. The verdict? We won’t tell. Did she or didn’t she? (Digital purchase or rental)
“It was therapeutic to me. I was like, nobody knows me, I don’t know anybody here, they don’t care about me. I’m incognito, and I’m listening to music I don’t know anything about.” — Faye Webster on seeing the symphony, a ritual she began following a split
rackets on tour and play on public courts. It’s what she thinks about when she’s trying not to cry onstage, she said.
There is a corner of Tiktok devoted to watching Webster cry. There are grainy, zoomed-in videos of her head bowed before the mic, her voice breaking seconds into a song. She doesn’t like going on Tiktok, but the platform has glommed onto her — for reasons Webster, her bandmates and even her label don’t entirely understand.
Seemingly out of nowhere, “I Know You,” a track from her self-titled 2017 album, blew up about eight months ago, soundtracking shots of ice-skating dates and sternfaced teenagers staring into their mirrors. Even as Webster releases new, starkly different singles
— a hyperpop-adjacent song slathered in Autotune, a collaboration with Lil Yachty, a friend from middle school — “people are discovering her back catalog,” said Drew Vandenberg, who has produced many of Webster’s albums. “She’s competing with herself.”
Vandenberg has known Webster since she showed up to record background vocals for her brother’s band while he was in college. Webster’s early music predated the rise of acts like Clairo and Phoebe Bridgers, young women who Webster gets lumped in with “just because they’re women writing songs,” Vandenberg said. “It’s so belittling and weird and reductive.” Webster may be more closely aligned with Jeff Tweedy, with whom she has performed; one of the tracks from her new album was called, until recently, “Wilco Type Beat,” a reference to Tweedy’s band.
So much of Webster’s music centers on “a very vivid description of life,” Vandenberg said. “She’s just talking about her day-to-day, like, I’m going to the symphony, or I’m feeling great this morning, interjected with the inner monologue of what’s going on in her head. I think that the reason people connect with that is because it just feels like how they feel all the time — like, I’m at the dog park but, inside, I’m unbelievably sad.”
Part of the reason Webster is able to relay those inner thoughts so seamlessly is that she is at ease with her bandmates, many of whom she has worked with for years.
“Underdressed at the Symphony” is the first record the band did not record entirely in Athens, Georgia, where Webster’s parents live. She banged out most of the album in a 10-day stretch at Sonic Ranch, a complex in El Paso, Texas. Webster often bunkered in her room, even when her bandmates went to eat. They went on walks while she tried to finish writing or played horse on a basketball court. “It’s totally surreal — your only focus is music,” said Matt Stoessel, who plays pedal steel and guitar in the band.
That’s the environment Webster craves, where she can focus on the music and nothing else. In her hotel in Australia, she was wearing a shirt from her favorite band, the Atlanta punk rockers Upchuck. She plays bass for them some nights, mostly unplanned: She’ll spot a flyer for a show across town and call up them up. “That helps me be like, ‘OK, I get to play music, but nobody cares about me,’ ” she said and laughed. “That’s really fun for me.”