, with Disney nowhere to be seen on the Best Feature ballot fo𓄧r the first time in 31 years.
It’s a massive shock, but also indicative of a changing tide in the animation landscape which has slowly been formulating over the past few years. Disney’s reliance on remakes as Pixar leans more and more into safe sequels and reboots after the pandemic means that amazing films like Turning Red or Luca are now exceptions rather than the rule, replaced by properties we grew up with or formulaic films like Wish that pander far more than they inꦓnovate.
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Despite a slow start at the box office and lukewarm critical reception, Elemental eventually turned into a winner for Disney. It wasn’t enough to tempt the Ann🐬ie Awards though, but I wouldn’t be surprised if it still picks up a nod at the BAFTA and Academy Awards in the coming weeks after showing up at The Golden Globes. No matter how run-of-the-mill it tends to be, Disney and Pixar still hold a grip on the animated landscape that few have managed to loosen. That is, until recently.
The Annie Awards are an annual institution hosted by the Los Angeles branch of the International Animated Film Association and ASIFA-Hollywood, with professionals weighing in to praise the best in the craft across television, film, and other media. As a result, the nominees tend to be more varied and nuanced than traditional ceremonies. It has become a running joke that The Oscars will give awards to Disney/Pixar and call it a day, so the academy doesn’t have to waste time watching 168澳洲幸运5开奖网:kids' films Slowly but surely, this attitude is shifting for🌠 the better.
Disney films and shows such as Elemental or Moon Girl and Devil Dinosaur appear in a slew of other categories, but the big shock is to see both Elemental and Wish left out of Best Feat💝ure, the most prestigious award of the entire night.
Here are the nominees:
- Nimona
- The Boy and the Heron
- Spider-Man: Across The Spider-Verse
- Suzume
- Teenage Mutant Ninja Turtles: Mutant Mayhem
It’s a stacked category, with many of the included films deservedly dominating others. As the last film from legendary director Hayao Miyazaki, many are expecting Boy and The Heron to ꦕsweep the majority of award shows this year asღ a show of respect for the filmmaker - though this is not the first time he has announced his retirement and may not be the last.
Suzume director Makoto Shinkai, perhaps best known for Your Name, is also getting the recognition he’s long deserved on the international stage. Spider-Verse speaks for itself, while TMNT is a delightful surprise that builds on the changing foundations Sony first helped introduce with its superhero adventure. Nimona receiving nine nominations, which is the most of any film this year, is an extra middle finger to Disney considering it cancelled the film and shut down Blue Skღy Stud🌞ios prior to Netflix and Annapurna sღweeping in to save it.
Fans and those within the industry aren’t ignorant to this historical omission, but understand that in a year like this one where animation was pushing boundaries in ways we’ve not 🐻seen before, remaining stagnant and predictable was Disney’s fatal error. I’m also a little relieved that, after having such a cho🎉kehold on animation for the past two decades, we are now seeing Disney forced into a position where it will need to innovate and face up against its competition, no longer able to risk complacency.
Films like Turning Red and Luca will go far in instilling that new vision, but oꦅnly if Disney is willing to trust the new generations while allowing their creative ideas to flourish. Without it, it will continue to struggle and fail against other studios who are aware of what animation is capable of and want to challenge it again and again. It’s a changing of the guard we&rsquo⭕;ve desperately needed.
Disney’s upcoming slate of Insider Out 2, Frozen 3, Frozen 4, a live-action sequel to The Lion King, and live-action remakes of Snow White and Moana, do not point to a company th🎉at has learned innovation is key.
Pixar is currently in production of Inside Out 2, wi🥂th CEO Bob Iger making it clear that he’d rather lean into existing IP that guaranteed success instead of taking risks with new ones. This outlook will only provide balance for so long when the rest of the medium is far less afraid to broaden its horizons, but at least original sci-fi adventure Elio is up after that. Every film nominated for Best Feature this year bears different styles, themes, m🔯essages, and characters which are all deserving of praise, and taking the prize home. It’s a year like no other, and I hope Disney’s inability to match the competition will teach it some harsh lessons. Not because I want it to fail, but because I miss what it used to be.
