Finding the ‘Origin’ of the Oscar Problem

Ava Duvernay’s drama should be dominating the early awards, so why has it been largely shut out?

Ava Duvernay’s “Origin” is a masterpiece, but so far, the sprawling look at the roots of hate has failed to land some of the major film prizes.

After watching the movie at this year’s Toronto Film Festival, I thought I’d seen a prime Oscar best picture contender, and that Duvernay might get her first directing nomination. Factor in Neon, the film’s distributor and the studio behind “Parasite’s” Oscar-dominating run, and “Origin” seemed poised to be an awards season force.

But I’m beginning to wonder. Early industry awards groups, such as AFI, New York Film Critics Circle and the Los Angeles Film Critics Association, have all but overlooked “Origin.” It was left off AFI’S list of the 10 best films, and the Golden Globes passed it over. So what’s going on here?

Written and directed by Duvernay, “Origin” is an adaptation of Isabel Wilkerson’s bestselling book “Caste: The Origins of Our Discontents.” It chronicles the author’s quest to unravel humanity’s divisions as she writes her acclaimed nonfiction work. Guided by a stellar performance from Oscar nominee Aunjanue Ellis-taylor (“King Richard”), the film artfully balances probing inquiries into prejudice with a deeply human examination of love and grief as Wilkerson deals with her own loss.

Is the problem that the predominantly white Hollywood industry isn’t embracing a movie by a Black filmmaker that stars a Black actress in a story about the Black experience? Has the film’s marketing campaign failed to convey how universal “Origin’s” story is — and that its themes and concerns resonate with viewers regardless of race, gender, creed or sexual orientation?

For her part, Duvernay dismisses the idea that her film is a “Black movie.” “The film is about a woman who has a question and goes out in the world to find it,” Duvernay tells Variety. “What are films called made by people who aren’t Black? Are they defined by their race? Then why is my film defined by mine?”

She’s asking the right questions, of course. However, the sad fact is that media coverage of movies like Barry Jenkins’ “Moonlight” or Duvernay’s own “Selma” too often focuses on the skin color of their creators. That’s particularly infuriating considering that movies from non-black artists aren’t similarly defined — nobody mentions the race of the director of, say, “Forrest Gump” or “A Beautiful Mind.”

Reviews for “Origin” have been strong. Numerous tastemakers and screenings, both here and abroad, have generated overwhelmingly positive reactions from attendees. Yet, according to one insider, many screenings have struggled to fill their seats. That hasn’t been the case with other Black-centric stories this season, such as Cord Jefferson’s satirical “American Fiction” and Blitz Bazawule’s musical reimagining of “The Color Purple.” Why aren’t people showing up for “Origin”?

This is a great movie. It needs to be seen. Will the Academy and other awards voters give “Origin” the chance it deserves, or are they unfairly dismissing it? Duvernay, like her film’s heroine, poses a more troubling thought: “Would this offering be seen and accepted differently if it came from someone else?”