Best Actor 2020: Results

5. Gary Oldman in Mank - Oldman gives a great performance where he manages to deliver on a role that asks of him qualities rarely asked of him, which is charm and wit. Oldman carries the film wonderfully and makes up for many of its weaknesses. 

Best Scene: Final talk with Marion.

4. Steven Yeun in Minari - You know this is an amazing lineup when this performance is 4th.Yeun delivers a great understated turn. This in finding the emotional complications but also simple joys of a man trying to achieve the American dream.

Best Scene: Final argument.

3. Chadwick Boseman in Ma Rainey's Black Bottom - Boseman will be a deserving winner, in this amazing swan song of a performance. Boseman steals the film entirely, in his charismatic, but also deeply emotional and tragic portrait of a man burdened by hate, ambition and sadness.

Best Scene: Story of his father.

2. Riz Ahmed in Sound of Metal - Ahmed gives a great performance here. This finding so much history and honesty in depicting an entirely convincing journey of a man quickly losing his hearing but slowly discovering himself.

Best Scene: Final talk with Joe.

1. Anthony Hopkins in The Father - Good Predictions Anonymous, Michael McCarthy, Razor, Emi Grant, Tahmeed, Luke, Glenn, Omar, David Jones, Shaggy, and Michael Patison. As much as I adore this lineup, this was an easy choice. This as Hopkins delivers his greatest performance that contains all that makes him great and more, in his complex, captivating and altogether devestating portrait of a man slowly losing his mind. 

Best Scene: "Mommy"

Next: 2020 Alternate Lead

Best Actor 2020: Gary Oldman in Mank

Gary Oldman received his third Oscar nomination for portraying Herman J. Mankiewicz aka the titular character in Mank. 

Before watching Mank again, which tells the story of the career of Citizen Kane co-writer, I was filled with some uncertainty as the general opinion towards the film only seemed to degrade. Having watched it again, I enjoyed it again. A flawed film, mainly found within the late Jack Fincher's screenplay which bites off more than it can or needs to chew. The film works as the story of a screenwriter with unlikely connections, it falters more so when it tries to be a closer analysis of the politics of the period and especially when it tries to tack on the Kane authorship controversy. Reading the screenplay, David Fincher is EXTREMELY faithful to his father's work, which while understandable, leaves the film far too scattershot overall where the film could've used a re-write, or at least some reworking, to tighten and focus things, though what's good is good.

Speaking of what's good, let's speak of Gary Oldman, an actor who probably has never been accused of playing himself, or can be seen as playing himself. Always the chameleon perhaps even to his detriment with how long it took for him to be recognized for any film. Funny once one breaks the barrier they suddenly can repeat seemingly with relative ease as Oldman has now earned his 3rd Oscar nomination in less than 10 years time, despite having spent the majority of his career nomination-less. For his third turn, we have what appears to be his least transformative, although I think that itself is also not true. Oldman's performance very much is a creation of Herman "Mank" Mankiewicz, just he created George Smiley and Winston Churchill, it's just a bit different in this regard. This as Oldman seeks to craft Mank, as he always does. Now Oldman, as usual does this really from the top down in crafting a role. This one is no different in that regard even if seemingly at bit less obvious. Oldman always has been adept at American accents, and this one is no different, it is just a given. I think there is a bit more into this though here that Oldman grants a slightly different touch to it. This as he speaks with kind of a slight slur within his speaking making Mank as kind of a man always slightly drunk even when possibly sober. Oldman's vocal choice at the very least both granting a sense of the man as an alcoholic, but also suggesting kind of the wear of his drinking. This is matched by his physical work, where he walks as well with a certain stumbling quality, as again a man who moves as though he is inebriated to some degree at all times. 

Now the alcoholism of Mank isn't exactly the focus of the film, it is rather an aspect of the man that Oldman effectively uses to help to define his manner. Oldman's portrayal rather is interestingly a kind of protagonist that he isn't often tasked to portray, this being a more sympathetic sort in being in some ways the guide towards this particular time in old Hollywood. This broken up into different times, where actually Oldman does portray different Manks, if subtly given the time between each of them is relatively brief. The easiest way to broach this is to go in chronological order, against the film's jumbled narrative in terms of time jumping. This as we first run into Mank as he is recruiting other up and coming writers. Oldman is quite good in crafting a kind of different type of confidence in this early scene. This as he doesn't portray Mank as the leaders of the writers, more of the ring leader. Oldman has a playfulness about it, a manner of someone who very much has a kind of fun within the system, or at least some fun. This as Oldman's parts of the delivery of a particular pitch has a panache to it, but just enough of one. His eyes exude this kind of cunning as Mank just as much seems to be understanding of the futility of the pitch, as much as he attempts to sell it as a good writer should. There's a slight bemusement that Oldman has in his little glances, granting a sort of humor within his cynicism. This as he projects Mank both capable of behaving within the studio system, but also showing a man who interacts it with a certain disdain towards it all. 

We follow Mank as he seems to wander into the world of William Randolph Hearst (Charles Dance)  and his mistress Marion Davies (Amanda Seyfried) by chance, where we get something that Oldman is rarely called upon to project, despite playing so many different roles, which is charm. Oldman is more than game, though this too isn't the charm of the real Oldman, which is distinctly English to say the least, but here Oldman refashions it as something wholly Mank. This as Oldman fashions a style of the man as distinctly the wit. A difficult type to actually pull off given that usually the wit is a bit more of an overtly vicious type, but Oldman is able to find a way around this while also projecting this. This as in his first scene with Dance and more importantly Seyfried, Oldman finds this kind of measured manner within this. This as he kind of always speaks some sort of cutting word to add or throw at some way or another. Oldman's delivery though is essential in articulately this in a way in which Mank kind of fashions his appeal by saying what he means but without exactly saying it as well. This as Oldman manages to mix intentions with this kind of jovial ease that seems to make even his critiques somehow not entirely unappealing despite his state as an obvious drunkard with an opinion that is a near constant. This kind of maneuvering though is so much of the film, and so much of it relies very much on Oldman, realizing the personal style of Mank. This personal style though as the constant wit and critic, much to his own dismay eventually. 

We see this as we see him showing his brother, the eventually more successful Joseph Mankiewicz, the ropes in dealing with tyrannical studio chief Louis B. Mayer. Oldman's reactions are very much the heart of this scene in reacting to every bit of Mayer's ridiculousness. Oldman carries a certain satisfaction of man all too knowing of the situation, though reacts towards it with just it as a big joke that he must exist in rather than trying to directly do too much about it himself. Oldman's reaction portray a kind of acceptance of his own inferiority in accepting the situation while also projecting a bit of superiority in his bemused grin. This in being amused by the game, even within a glint of disgust within the game all the same. This though Oldman shows as the weapon of the man in a way who seems to hold nothing too importantly, therefore his jabs can exist mostly without exception. This as we see in one of the best scenes of the film, this being a gathering at Hearst's impressive estate. Mank coming into the affair with little jabs and jives for all the sycophants, while also directly commenting on politics. Every little thing a kind of witticism though spoken by Oldman as these sort of standard asides for Mank. This presenting this as a kind of ease in allowing himself to be both cutting while also in this seemingly almost falsely affable way. Oldman speaking the words as though Mank is making a joke for everyone to enjoy, even though it is still very pointed to particular individual's expense in the room. Oldman making a proper kind of dance about the whole thing as the man always speaking his mind, but doing in a way that he gets away with it, for now.  

This leading to what is really the best aspect of the film which is started by a quiet walk between Mank and Marion, leading to a kind of platonic romance of sorts. Oldman is great in managing to realization this kind of specific manner in these moments. This as he reacts to Marion and her words, with a genuine sense of affection in appreciation someone else who in some way shares a mutual spirit with one another. There his most direct charm in his reactions to her that are still witty, though now more than anything so often encouraging and supportive. His reactions though with a man still very much listening, and often in his eyes just truly appreciating the woman for who she is. His delivery of everything to her with a kind of more genuinely loving tone. This making his suggestions with this kind of actual grace to him while he praises Marion's best qualities and seems to create a genuine friendship with her. Each one of these scenes between Mank and Marion are the best within the film. This as both actors are able to capture a natural chemistry between the two, while also not really simplifying the relationship in any way. It isn't quite familial, it isn't quite as a romantic relationship. There is something rather idiosyncratic about it, as the two seem to just inspire each other, and understand each other in their own special way. They craft the sincerity of two friends with an appreciation for exactly who they are rather what it is they are meant to be. It is something that wholly works within the film, and a large part is the actors absolutely deliver on the idea of the friendship being just simply a given. 

Now this is where the film gets kind of all over the place, as it explores Mank trying to do something involving Upton Sinclair's run for governor of California, though the real Mank was an anti-fascist conservative, not an anti-fascist socialist, I only mention this as it gets such devotion the film despite having little to do with the real Mank so the inclusion seems somewhat curious. Anyway, as much as I question the swerve, I have to say I think Oldman navigates it incredibly well in making Mank this sort of downtrodden hero of sorts to explore this aspect. This as again Oldman's quiet moments of reaction do say a lot. This in this quiet anxiety in seeing the studios machinations against Sinclair, that builds up to a kind of despondency and urgency to do something. Oldman conducting so well as internalized within a state of the man that becomes increasingly downtrodden. These moments of Oldman trying to fight against it he conveys the certain more upfront desperation of it, and direct venom at times making his act as Lear's fool fall apart a bit. This leading to his downfall. This as like the film I'll flash forward to the man writing Citizen Kane, now as an outcast of the system and seeming to make his attack on those who banished him. As much as the framing device frankly should've been reduced, I think Oldman acquits himself incredibly well by tempering some elements of Mank and accentuating others. This as his attacks are still there however a bit less charming. What is more evident is the self-loathing and depression within the situation. Oldman finding a quiet vulnerability now within the man who can't quite as easily amuse himself, though that gear is still there. I still found these scenes watchable, due to Oldman who is true to giving life to this man even when the scenario isn't the most inspired.

 

The film, jumbled as is, ends on two separate notes. The first where Mank comes to a Hearst party fully drunk. Oldman portraying the always drunk man drunker, effectively in my view as he just heightens each element a bit more though very much shows that his act of cutting wit becomes a bit more obvious and far too aggressive for his crowd. This with no longer the timing for jokes, making the jabs all the more obvious. Oldman though delivers the man fully going at the prize though in this messy haze of an ad hominem attack. This as his words all more hateful towards those he's speaking to, the derision on display, yet in Oldman's manner showing a sloppy man who can barely hold himself together. This in by speaking the truth, also speaking the truth of presenting himself to be the fool he's been playing the whole time, just now lopsided. This is put parallel against his argument with Welles over credit for the screenplay of Kane, which has no business to be in the film. I like the scene for Oldman's performance. This as he suggests a man who has gained some agency through being humbled a bit. This now the sort of manner of the man is confident and direct in his stance. Oldman exuding not a man hiding his truth within a haze of jokes, rather just speaking what he knows, as he knows it. Oldman frankly makes sense of this scene better than the film does which just makes it a kind of gear shift that feels so poorly connected to the rest. Oldman though makes the connection through his presentation of Mank's kind of determination between the way faces Hearst and Mayer, against the way he faces Welles. It seems I'm suppose to criticize this performance, however I find myself unable to. This is committed and articulate work. Oldman understands and realizes his character artfully and with ease in a style that is in some ways not typically his own. Oldman delivers on the part, highlighting all the merits the film does contain, and more than anything I don't see any other actor capable of better job than Oldman does here. This as much as Oldman's film is the least of the nominees, Oldman does deliver a great performance, though with the least in terms of material, which actually is an achievement that is all his own.

Best Actor 2020: Anthony Hopkins in The Father

Anthony Hopkins won his second Oscar from his sixth nomination for portraying Anthony in The Father. 

The Father is a brilliant film depicting a man going through Alzheimer's while his daughter Anne (Olivia Colman) tries to take care of him. That description by the way doesn't at all serve this film which is so much more than that basic plot outline. That alone might make one simply describe as a "fine film", if you have not seen it, but if you have, it is a stunning and surprisingly visceral experience. 

Anthony Hopkins, who has now become the oldest actor nominated for this award, has hit the point in his career where his greatness is merely considered a facet of who he is as an actor. In a way this is a shame, as it can cause some to take for granted what he is doing, when something he might be doing might be substantial for most actors however seems easy for him. Well that is a disservice to Hopkins's craft, which should not be judge any differently simply because it is known that he is great. This here from the outset, without watching the film again, it might be easy to take Hopkins for granted as he's playing this older man, named Anthony, one might assume, this is just another good performance for him, that is quite wrong. We open in the film and Hopkins is wonderful in establishing Anthony seemingly in his early state. This as there is an affable charm that Hopkins initially brings to Anthony as he denies needing any help from his daughter. Hopkins though here is a choice, a magnificent choice, in as he approaches the role of Anthony. This as a man who will do everything he can essentially to not be where he is in terms of his own mind. That affability, an attempt to be normal within his existence, something that is not easy. Hopkins, who does doddering perhaps better than anyone, puts forth someone trying to brush off any concern by acting as still very much at peace with himself.

When he is questioned about why he dismissed his most recent caretaker to his daughter. Hopkins is already amazing in the scene of explaining that he believes she stole his watch leading to the dismissal. Hopkins's delivery initially is brushing off any questions as though he is just capable and able to ignore the mistakes he might've made. When pressed more though Hopkins is amazing just in the way he does so much in even a moment of Anthony trying to gather his thoughts. He becomes lost for a moment, but in becoming lost you see a bit of anger as he tries to basically push himself to remember something. Hopkins then speaking to the watch he claims the caretaker stole with some confidence and suddenly a greater comfort. In that briefest of moments conveying the conflict in the man's mind, a conflict Anthony wants to try to deny more than anything else. Hopkins is so good though in his delivery eventually even becoming playful in just trying to dismiss the situation, trying to avoid one thing by focusing on another. There is something immediately heartbreaking though as he does respond to his daughter's concern. There is a genuine care in his voice if only for a moment, Hopkins showing the true father in the moment. When Anne though implies a knowledge of his hidden watch, and Hopkins again switches again so naturally to a bit annoyance that he plays with both a hint of rage, but also just a sense of fun. When he finds the watch, again Hopkins's face is no longer with any issue, and he speaks to his daughter with glow, reassuring himself. When the conversation turns that she's leaving to some other city, possibly Paris, Hopkins has such a potent internalized fear that he shows a man holding back such fear while also trying to hold strong. When she reveals a new man in her life. Hopkins wavers between so much. A vicious attack on his daughter, as though for her to give up this new phase in her life, again almost a joke to act like it is nothing as he notes that in Paris they don't speak English, but then genuine heartbreak in seeming to think directly of being this lonely man without a family. This is a masterclass of acting...and it is only his first scene. 

In many ways we get every bit of greatness that there can be to an Anthony Hopkins performance all in this performance, that as he so naturally creates this state of Anthony that slowly seems to reveal itself. This just even in the kind of charm that Hopkins can find in his own manner. The way even as he prepares a few things around the house, Hopkins manages to find a nice certain lightness to it, granting a bit character and humanity even within this seemingly minor moment. The film though begins to reveal itself, which is almost as much a horror film as a drama in a way. Hopkins takes us within this certain sense of discovery within his performance as he wanders around seemingly his own flat discovering a man he does not know. Hopkins's reaction creates this sense of curiosity at first in asking about it. This attempt at trying to almost convince himself of something that makes sense. This as his eyes show a man trying to analyze the situation. When the man does not immediately answer, a sudden burst of anger again speaks more so to his own frustration at trying to understand more so than does come from trying to demand anything from the man. I love the way Hopkins expresses this pained attempt to accept any immediate solution. This as the man claims to be Anne's husband, Hopkins accepts it with this rambling delivery. This that shows the man almost trying to speak himself into sense. Hopkins presenting effectively even within this moment where he seems to be getting along, there is a desperation within the playfulness. This suggesting that Anthony is trying to comfort himself while trying to accept this answer, showing the man actively fighting against his own state that seems to fighting against himself. Hopkins speaking on his daughter's attempts to save him is amazing. This as Hopkins is captivating in itself, but what is so much more is how much he makes this difficult state so natural and fluid within his performance. 

I think there even could have been a danger to making this just some showcase, but that's never the case here. Hopkins always expresses the very human qualities in creating the very potent anxieties of his Anthony's situation. When Anne arrives to the flat, which Anthony now has been told is not his, as a woman who is not his daughter, Hopkins's performance is absolutely heartbreaking. This as he speaks "Where's Anne" the break in his voice on the name is heart-wrenching. This as Hopkins in that moment creates Anthony having a realization that there is something desperately wrong with him for a moment before seguing so naturally again to him doddering off on something and trying to forget what it was that so pained him. He speaks to his daughter, who does not look like his daughter, with a lack of eye contact. This almost as he's not trying to notice that she is breaking his sense of his own reality. This speaking with an attempted distance against to feign some confidence in his own faculties, while just within this Hopkins carries such a sense of desperation just beneath his skin. There is such a quiet moment, another one that I love, as he asks if the place he is in is indeed his flat. Hopkins asks so genuinely searching for some answer but more so looking for some comfort. Hopkins depicting this difficult state as he shows Anthony trying, and really wanting so badly to be able to understand where he is or who he is speaking to. 

Every scene by Hopkins is tremendous in terms of both creating such a uniquely captivating portrait of a man in this state, but also so viscerally crafting the experience from this perspective. A moment where Anthony meets his new potential caregiver, who looks suspiciously like his other daughter, Hopkins is extraordinary again. This as he puts on the full charisma the man is capable of, and in turn we get Hopkins at his most charismatic. This as he introduces himself with such a spry manner of Anthony in a potential moment of clarity, or at least trying to present himself as such. Hopkins is having the right kind of fun in the moment, and actually is quite fun. This in bringing so much energy suddenly as he invites the new girl for a drink. Hopkins is beaming with life in this moment just ready to introduce himself as the best version of himself. Even this though as he comments on the sobriety of his wife, and his other daughter his drifting off Hopkins suggests blanks he's not quite sure of yet is trying to dismiss in his ramblings. Absolutely love the moment of him claiming to be a dancer to the caregiver, Hopkins is so charming in explaining this and his little tap dance is a kind perfection as delivered by Hopkins. This as Hopkins could not be more endearing in a singular moment. This though when suddenly comparing to his daughter though, you see Hopkins other side of the performer as easily. This swapping to strict intensity and even terror as he notes the girl laughs inanely like his daughter. Even as claiming like a joke, that intensity Hopkins summons in a notice is incredible. Of course what is most incredible though is how Hopkins makes it this kind of natural wavelength of reaction of the man trying to navigate the situation, trying to control it in his own way, which in the moment is both to seem so likable, while also so hate able at a seconds notice. 

As the situation becomes more isolating, and our perspective more isolated to Hopkins, Hopkins's performance gradually presents this state of mental degradation. What is so devastating in this is Hopkins actually doesn't just present this as a one note sorrowful note. This as he does have a certain mischievous quality at times when Anthony is trying to construct things a certain way for himself. Hopkins is the best kind of cheeky even in his physical manner of poking his head to look at another male stranger's wrist. Hopkins asking about it with this certain cagey questioning. Hopkins is even actually amusing in this moment at first in the questions, just as you see also a painful fixation on trying to construct his world by insisting his missing watch is due to someone else's theft, not due to him losing a grasp on his memory. Hopkins conveying so effectively this idea of the man attempting to navigate the world as he knows it, and it is astonishing how vividly he is able to express this. This in attempting to assure some thought. When visiting the doctor, his insists on telling the story he thinks he knows is with this repeated syncopation in his delivery. This in trying to keep consistent within his mind, and a certain satisfaction when it seems like he is able to convince others of his version of the story. It is so powerfully done as Hopkins finds this combination between this false confidence that is betrayed by a desperation that is constantly needling at that attempted confidence. 

Hopkins's performance here is masterful in multiple ways though. This as great as he is with the louder moments, he is as great in the quieter ones. This as just the observing man trying to decipher what is going on. Just the way he observes in this attempt to sometimes ignore the strangeness of his situation, but others in where a sense of fear begins to take him. Hopkins's expressions are worthy of a classic Ingmar Bergman performance in expressing so much complexity in this distress. Hopkins blending between a man truly enfeebled by his situation as he is just trying to decipher it, but also trying to fight against it. This in trying to figure out through his confusion where Hopkins expresses this unpleasant emotional hostility to his very existence. There is a weight within Hopkins work of the pressure of the world that seems to slowly become all the more sinister and hostile towards him. The more confusing it all becomes the greater the constriction within Hopkins's portrayal of the man wanting so badly to stave off what it is that seems to be destroying him. Hopkins leaves no reaction to be just that. This even in a moment of seeing a boy playing with a bag, the simplicity of the moment adding some genuine calm in his life with such a poignancy found in Hopkins's expression of this minor bit of happiness and respite. This opposed to when the first male stranger returns and pesters him and physically abuses him. Hopkins shows the man fighting against this and is all the more devastating for it. This by showing him failing by falling into misery, is a terrible sight and quite frankly horrifying to watch in the moment. Hopkins falling into such dismay and revealing the scared man behind every else. Hopkins is amazing by so quietly just internalizing the distress, and showing the man just shrinking in himself to avoid this sorrow.

Now this would already be an outstanding performance. All on its own. This as Hopkins just embodies all the role demands, which is a great deal, but he really does all the more. This as every tricky emotion, he captures. Every difficult situation of the ever changing mind of the man, Hopkins embodies while never losing a singular truth at its core. This in not only playing with honestly everything we've come to expect from Hopkins, that being a great actor, but also some things we might've never quite seen from him. This is perhaps the performance Anthony Hopkins has been waiting to play his whole life. This as it has everything in it that makes him great, yet there's still more he gives us.acting in terms of the depth of character and vividness of the scenario he expresses here. I honestly believe you could take any moment Hopkins has here, and find brilliant  That though, is still without mentioning his final scene. This as Anthony finds himself no longer living in his own flat, or his daughter's flat, he finds himself just in a nursing home, visited by a sympathetic female nurse, while also briefly interacting with a quietly sinister male nurse. The former though goes to comfort him and explain his situation now, being only occasionally visited by his daughter, and left alone in the care of the nursing home workers. Hopkins's performance now depicts a vulnerability, I frankly didn't know he had in him, and I've always felt Hopkins to be immensely talented. Hopkins expressing first the confusion that is all the more penetrative. This in a moment first trying every trick he still has in his mind to fight it. Hopkins now delivery these in rapid succession, though all the more desperate of an act than ever before as Anthony is trying anything to change the situation he is in one last time. Hopkins still speaking as a man trying to negotiate the situation yet in his delivery it is even more of struggle to try to speak these alterations he wants to his reality. This overwhelming fear though that Hopkins begins to seed within his expression as the truth begins to dawn as he draws closer to a kind of acceptance. His question as this sporadic attempt to just try to hold on for just a second longer. Hopkins showing this progression of the breakdown in this astonishing realization. His mind slipping and the anxiety gripping him. Hopkins showing the man losing all hold and falling into that acceptance. This as Hopkins reverts to a physical near a fetal manner, in his eyes falling into such sorrow, and his crying for his "mommy" being one of the most heartbreaking moments I've ever seen honestly. Hopkins losing his mind is terrifying to watch as he is so convincing in showing the man regressing to the state of a child. A moment that in the wrong hands could've fallen flat, yet is distressing through Hopkins's masterful work. This in seemingly losing himself entirely within the role, finding this man so lost that he's just grasping on all that he has left, and that only being the memory of his childhood. Hopkins's expresses this as a truth, and frankly it is hard to witness, because of how real Hopkins is in this breakdown. Hopkins is phenomenal, beyond belief really, as his performance shows all that there is to this man, and all that there is left. His cries growing fainter, as these final gasps of a dying man trying to find the only solace he has left. This portrait of man mind's draining from him, which he finds all the nuance, all the complexity, and all the heart-wrenching humanity within it. This is transcendent work by Anthony Hopkins, and the greatest work I have seen from the great actor.

Best Actor 2020: Chadwick Boseman in Ma Rainey's Black Bottom

Chadwick Boseman received his only Oscar nomination for portraying Levee Green in Ma Rainey's Black Bottom.

Ma Rainey's Black Bottom, which depicts a tumultuous recording session in 1927, feels like a bit of a missed opportunity. The play feels like a good starting point for a great screenwriter to expand it to something truly cinematic and special, akin to something like Amadeus. The material itself feels quite stagey with the little adapting done to the material. It doesn't help having George C. Wolfe as the director, who is better known as a stage director and it shows. There's just so many little moments that have a certain awkwardness to them, and there isn't any choices that really invigorate the film on a visual level. Additionally the more I spend time with the film, the more I feel that Viola Davis was wildly miscast, both due to lacking the vocal ability, and also perhaps is too aggressively serious as an actress for a role like Ma Rainey, which I think deserved a bit more vivaciousness. 

 

This film is notable for marking the final film of Chadwick Boseman. An actor who left us far too soon, and unlike many, it wasn't due to any tragic vice, just simple tragedy. An actor who managed to make a substantial cultural impact in such a short time in the spotlight from his progression of portrayals of various notable African Americans, and of course his role as T'Challa in Black Panther/MCU, which has already become a kind of cultural touchstone. I will admit for most of his career I saw Boseman as a rock solid leading man/movie star style performer. Someone you could always depend on even if you more or less get what you would expect. This by the way is not at all a slight, this as his presence alone was something remarkable in itself. And as limited as the roles were in some respects, you could see a talented actor there. This kind of expected Chadwick Boseman role was even found in his other 2020 film Da Five Bloods, which relied on that presence as a confident man of action. Boseman just was able to carry that quiet stoicism in a way that still was magnetic even if it often presented a degree of limitation in terms of the roles he was tasked to play. Of course all of that was not taking into account his final performance here as Levee Green in Ma Rainey. This being a performance that is entirely unlike anything else Boseman had done, and suggests perhaps there was an even greater actor beyond that of the one we had become familiar with.

Now forget Ma Rainey, because there is Levee Green here as the hot shot trumpet player and song writer determined to make a name for himself. I mean I already mentioned Boseman being magnetic, but actually his other performances honestly seem like warm ups compared to this one. Boseman's charisma here is at an all time high here, as he just seems to pierce through the screen here. This even in his first scene where he tries to steal the spotlight from Davis's Rainey during a musical performance through his Trumpet solo. Boseman successfully doing so, in part because his also dubbed trumpet playing is far more convincing than Davis's atrocious lip syncing, but also because this is just Boseman in this part, where he is the star of this show. Boseman storms into his first scene, into the major portion of the film which is the recording session, with the other band mates and eventually Ma Rainey. Levee walks in to show off his brand new shoes. He storms in with his considerable presence, and I think there is so much in just how Boseman approaches this first moment. This as he is brimming with energy and confidence. He's ready to make stamp on things and Boseman is fantastic in just exuding this glow of ambition. There's more to this then that though. This as Boseman from the outset is showing this man who is a whole lot more than you think. This just though in any situation he shows a man who charms first, and reveals himself later. The smile of his almost seemingly glued to his face, to create a kind of weaponized affability from the outset. 

Although the film is stagey, it is remarkable how well Boseman handles the dialogue, which can be a mouth fill in occasionally at times. It never seems as such though as Boseman delivers it with such ease and never does it interfere with his potent sense of character. Boseman seems born to play Levee here as he has so much comfort in this role, which is truly special when this is quite the complex man. This even in his initial discussion with the band-mates who each serve their kind of philosophies. Boseman measures his work so brilliantly in the way he makes his smile a weapon in a way. This as when they initially discuss about Levee's ambitions, which includes using his own arrangements for the recording session, Boseman wields his intensity so effectively. He becomes more upfront about it, albeit briefly, when anyone seems to relent in his favor, Boseman switches back to that smile and that charisma. He seems to encourage once again and becomes just the most agreeable sort again. Boseman is brilliant as just from the cursory look Levee makes you think he's just an affable young man who is eager to please. There is so much going on beneath the surface. An amazing moment early on is when Levee speaks to being all set to deal with the devil, much to the religious band mate Cutler(Colman Domingo)'s dismay. As Cutler questions this, there's a moment where Boseman loses his smile as he insists on his unpleasant background, it is honestly downright chilling as Boseman suggests something terrible that is bubbling just beneath the surface. 

There is a darkness within Boseman's work that is fascinating with the way he plays with it here. Boseman frankly makes the film for me, because when it does work, it's because he is being onscreen and is just so captivating to watch here. He is like a mater of ceremonies quite frankly for the film. This even in the way he handles the scene he has that potent energy in every motion he takes. Boseman doesn't waste his space and he never wastes an opportunity. When Ma Rainey doesn't use Levee's choice, Boseman again puts forth the frustrations again a real anger at seeing an authority oppress him. When it seems though he can't really bluff his way out, Boseman's smile returns and Levee attempts to reclaim the scene by mocking Ma Rainey's nephew who is given a small part in the recording due to nepotism. Suddenly Boseman shows Levee back on top of the world. He is loving the take down of the man and you see the man in power of the situation again. Boseman fashions this incredible duality that he never makes simplistic, though and so powerfully makes it this fluid aspect of his performance. There is a brief moment later where one of the recording execs suggests an opportunity for Levee to sell his songs. Boseman again charisma full blast a man as he is just so eager to please seemingly in selling himself to his way to a presumed top. When the man leaves though, Boseman's face hardens suddenly yet so naturally in showing the strict serious ambition within the man. The hardening though suggesting as much fear connected within the ambition as there is drive.

As the story progresses the first real indicator to the nature of Levee comes as he delivers a monologue to the other band-mates about his mother and father. I think there is a danger in delivering a dramatic monologue such as this, if the actor is not good enough it come off as very stiff very fast, well thankfully, Boseman's not just good he's great. This as he recalls it all with such an immaculate delivery. Boseman's performance has a certain almost nostalgia quality at first in telling of his father's early success, until beginning to speak of when white men came to rape his mother. Boseman naturally seguing to the memory of this on his face, as his eyes slowly develop tears in his eyes. You can feel the pain within Boseman's delivery. As he explains his attempt to save his mother, Boseman speaks with a real vulnerability of a very real wound that is felt within every word of his pained delivery. As he continues, he speaks to the story of his father, as a man who smiled towards his wife's attackers and simply left. Boseman is stellar as he continues to speak of his father going back to get revenge. He speaks with this understated joy and pride in the story just as there also is such a deep pain in speaking to his father's death. Boseman in this single monologue goes through every emotion of it with such ease. Making it such a  vivid and powerful story, but going even further. This even in his delivery as he explains the weapon of the smile, Boseman shows the thought within Levee's methods, and how the man has come to approach the world.

I think the only flaw here might be that Boseman is too good (not an actual flaw by the way), this as Levee's ambition is basically trying to steal Ma Rainey's thunder, Davis just is not on Boseman's level here. As he comes at here with that incisive intent Davis doesn't deliver the same, to the point I kind of wish the film just had been about Levee. This is even to the point, there is a moment where I frankly thought Boseman steals a scene just in maintaining his satisfied smile while Ma Rainey complains about not getting a coke. Boseman is THE star of the film, and honestly takes no prisoners here, as anyone playing Levee should as it would be against the very nature of the character to share the spotlight. And I have to admit, I love it, particularly since it is perfect for who Levee is as a character. This as Levee is trying to get everything Ma Rainey has, even her seeming mistress. In this moment of seduction Boseman is just exuding all the charm here, he just owns the moment like he owns every moment. He has not only the charm though, but this kind of drive in his eyes as the intention seems to be an accomplishment that is even beyond seducing a beautiful woman. The aggression within the smoothness that is so notable in Boseman's work. His confidence both fueled by his ambition and fueling his ambition. Boseman though effectively shows the progression within this is where an instability comes as the particular nature of Levee's ambition leads to his downfall.

 

As the other men press Levee on his beliefs, he pushes back particularly against Cutler's belief in God. This as he is initially mocking with little dismissive asides though with a bit affability, the surface of Levee that Boseman is projecting. As Cutler continues though the darkness of the man reveals itself all the more. As he listens to the story of a African American preacher who danced among a group of racists to survive. Boseman's face takes in the story even is incredible in showing the man both angry at the story, but also attached to his own plight. This as he further attacks Boseman brings forth such an intensity in his hatred towards God. Boseman though even in this shows this vulnerability within the attack, a man so wounded by his past experience that he has almost a personal vendetta against everyone who isn't him, which especially includes God. Boseman in the moment of calling out God, is filled with such a potent mix in his face of absolute rage and anguish. Boseman finds naturally the self-destructive tendency of the man who as much as he tries can't quite control himself. This leading to his firing by Ma Rainey and something far more extreme. This as the studio exec rejects Levee's songs. A great scene for Boseman again this as the smile is fading and his facade is becoming ever more desperate. His delivery becoming strained and falser by the second. The hostile man behind it all within the smile now out and ready to be seen. This leading Levee to stab band-mate Toledo for stepping on his shoe, a scene I think a bit bungled by Wolfe who doesn't know how to shoot it or pace it, yet it still works due to Boseman. This as Boseman shows all the hate in the man's heart no longer hidden by anything. Tears in his eyes, just such anxiety and pain in his voice. Levee a man with nothing but all his pains out in the open. Boseman showing the ambitious man now with out ambition as nothing but a broken man. Boseman finding the right heartbreak within the moment, by showing as much hate as there is in Levee, you sense it came from the abuse the world has given him over the years. This is an amazing performance by Chadwick Boseman. This as he realizes every potential, every bit of complexity and every bit of power within this tragedy of a man whose  distaste for the world finally overwhelms him. Even as much as I don't love the film as a whole, greatness is found by Boseman. This is outstanding work, that proved that in the end we didn't lose a good actor when Boseman passed, we lost a great one. 

Best Actor 2020: Steven Yeun in Minari

Steven Yeun received his first Oscar nomination for portraying Jacob Yi in Minari. 

Minari is a great film depicting a family of Korean immigrants trying to start a farm in Arkansas during the 1980's. 

Steven Yeun with this Oscar nomination makes academy history by becoming the first Korean and even first East Asian born actor to be nominated in this category. An achievement in itself, however also notable is the nature of this role, which is not the type frequently recognized by the academy, that of the introverted man. I'll admit I have a special appreciation for the successful depiction of introverts, because it is so frequently screwed up to become either just different quirky kind of extrovert or just plainly dull. A great introverted turn needs to to say so much in often so little. Now let's take Steven Yeun's performance here as the patriarch of the family, who we follow just as they've moved to Arkansas. Now from the outset this is just a performance that exudes authenticity as this Korean immigrant father. This as even his American accent that isn't at all like Yeun's actual accent, this as Jacob has a somewhat broken American accent. It is so naturally handled by Yeun in creating a sense of really the amount of time that Jacob has spent in America. This as he has a certain level of comfort in speaking English, yet clearly has only learned over the past few years. This flawless bit of establishing the history of the man though is really only the tip of the ice berg in his realization of this man. 

I think it is worth noting really how far away his presence here is actually from a lot of Yeun's recent work, such as his goofy yet endearing turns in Okja and Sorry To Bother You, or his criminally overlooked turn in Burning as a slick yet ambiguously sinister playboy. You can forget that entirely as Yeun exudes a entirely different presence here. This as there is an innate maturity here of a father just in the way he moves really, and just his manner within his family. Yeun has kind of the right almost wear, for the lack of a better word, in we can see the years of the family on him. This is not in a negative way, rather just that weight of responsibility is within Yeun's work. You never second guess him as the family man, he simply is this father here, and you feel the right connection within the family. I have to say it is here where you get the greatness of Yeun work in creating Jacob as this introvert, as we see him in different situations, rightly Yeun depicts very different sides to the man. I think it is important here that this isn't played by Yeun as different facades or anything like that, rather we see the different qualities the man needs to project depending where he is, or what it is that he has to do. 

Take Yeun's scenes where we see Jacob interacting with the local peoples, rather that is occasionally with slight social interaction or with some business in mind. In the former Yeun projects the man as being very closed off within his space. Yeun though is careful in this as he so naturally shows in this manner who just as a man who prefers to keep to himself and his family. There isn't a hostility within it, rather just almost a kind of solace of being apart, and being where he is most comfortable. When speaking to business arrangements Yeun projects more directly however within this Yeun presents a man very much doing what he has to in order to get what he needs for his farm. Yeun bringing the appropriate courtesy but still very much a distance in keeping it as businesslike as possible within the arrangement. There is a great touch in this with Jacob's interactions with a local man, who ends up working for him, Paul (Will Patton). Early on you have the same kind of passive distance in Yeun's delivery in their initial interaction. Afterwards, while I wouldn't quite say Yeun shows Jacob warming up to him, he brings such a natural slightly more open quality in his reactions. This in showing a bit more direct emotion and casual manner in his speaking towards the man, this opening up, not in the more obvious way, but in a way that is entirely befitting Jacob's more introverted style.  

This all though is in contrast with how Jacob is with his family, and in this we see so much of who the man is by how Yeun approaches these scenes opposed to those outside his homestead. Yeun is fantastic in naturally showing the other side to the man, not a as a different man, but that man being able to be himself. Although here we see how finely tuned Yeun is to this character by the way he differentiates his scenes with each family member, that grants more there than is even written. Take his relationship with his children particularly his son David (Alan Kim). This as Yeun brings so much warmth to the father in the moments of trying to excite the kids within their new surroundings. This is earnest as Yeun shows only a pure sense of the man trying to share his own excitement with them. In this though there is even the right playfulness in their interaction as a truly loving father, and you get a real sense of the family dynamic within this. There is wonderful moment early on with David where the two discover how to find water without hiring a water diviner. This is a pitch perfect scene for Yeun, as he brings a sense of fun in just the way he tries to prod his son to finding the solution. Then there is so much pride and love as his son seems to find the solution. The little asides about Koreans being smart, bring such an endearing quality as he shares his personal pride with his son with such authentic intimacy. It is worth noting though Yeun is just as convincing in disciplining his son. I love how direct and simple Yeun's delivery is in these moments, as a no nonsense, simple request for David "To find a stick". This also is no joke in Yeun's performance, rather he upfront shows Jacob will have no disrespect from his son. 

Now his relationship with his wife's mother (Youn Yuh-jung) and his wife Monica (Han Ye-ri), is really the crux to the brilliance of this performance. I love how it isn't said, however just from the performances you can sense that Jacob never entirely came to connect with his mother in law. This as just when Jacob speaks to her, and with her, it is only ever with a respectable distance. In that Yeun evokes no overt connection, but rather just doing what he should do as a proper son in law. Now with his relationship with Monica, I think this is where you know the film was made by an actual Korean, and because there is no outside looking in quality to this, this as they'll have the insight to depict a family, honestly, and well families don't always get along. There is so much here really to every interaction they have in creating their relationship. It really is outstanding work, because there is only really a few lines that speak directly to this, yet this is felt so clearly within their performance. This as we know the tension built from the move the family took away from the city and to this rural area. The opening where they come across the house, their separation is so well realized by both actors as we completely understand where each is coming from in this regard. This as Yeun shows such joy in seeing his new house, where his field will be, meanwhile Han shows the almost disgust at seeing essentially the trailer they will be staying at in the middle of nowhere. The moment even in getting in the house, Yeun shows the enthusiasm as Jacob tries to urge Monica in, while Monica pushes him away when refusing the help, which shows she doesn't really want any help from him at this point. The two's tension is really perfectly realized as you get the coldness presently from Monica to Jacob, however even in that you sense not strangers, but two people who were once so intimate being pulled apart by conflict.

What we get is a fantastic and so powerfully realized sense of their marriage that is on the border of breaking. What is so remarkable about this is as it is directly connected to Jacob's dream. Now to speak on the dream, we must see where Yeun is amazing in expressing such a genuine jubilation at the idea of it. When he speaks to wanting to grow Korean vegetables and sell them, he speaks with a explosive energy. He not only believes it, he wants to sell it to his whole family on the idea. There is such a potent passion within every moment reflecting this. This as he speaks to the need for the farm, Yeun emphasizes always this real personal enthusiasm that is of such a pure place in his heart. When we simply see Jacob plowing his field, the bliss on Yeun's face is amazing, as he expresses a man truly living his dream. What I then love is that we see really a struggle with dreams, which is the possible collateral damage of them. This is in his conflict with his wife, where Yeun presents the man who does put his dream first. This as when the whole family seems potentially in danger in a storm, Yeun still reacts with a pure optimism, which is true to Jacob at this point, while also shows that Jacob isn't being wholly sensitive to those who can't quite see his perspective. This isn't to say there is a simplification of the dream. In fact his connection with his wife is found within it. There is a great little moment early on between David and Jacob, where the former asks what happens to male chicks at a chicken farm after being separated from the females. As Jacob notes they're gotten rid of, he speaks towards the fact they best make themselves useful. Yeun emphasizes a weight into this line, and in that granting the responsibility within his dream to living up to this family. We see then as the farming isn't going perfectly, Yeun expresses powerfully the frustrations that grow. This so effectively in showing such a typically quiet man's frustrations that are so well portrayed by Yeun because he's yelling, you can always see him trying to hold himself back before getting caught up with the emotion again. It is not his nature to do so, but still shows such a man can be overwhelmed. There's an essential moment where after a rough day, Jacob finally speaks to understanding Monica's frustrations and why should could leave. Yeun's expression of this defeat is heartbreaking as there is such an honest desire to provide for his family within this moment of also trying to connect with his wife against as his dream begins to seem further out of reach. We see though in Yeun's work a persistence in himself to stay with his dream no matter what. It becomes a heartbreaking as Yeun expresses the tempered dream, this still a drive, but now with a sadness as though he may never be able to achieve it. The final fight between Jacob and Monica, is incredible acting by both Yeun and Han. They're work isn't about any overt rage, rather we just see so pointedly each person's point of view filtered between their long history. They fight having known each other for so long, having loved each other for so long, but now are at this point. This is a brilliant performance by Steven Yeun, as he always stays true to the quiet nature of his character, yet in that expresses still so much in crafting this powerful and vivid empathetic portrait of a man trying to achieve the American dream.

Best Actor 2020: Riz Ahmed in Sound of Metal

Riz Ahmed received his first Oscar nomination for portraying Ruben Stone in Sound of Metal. 

Sound of Metal is a terrific character study about a heavy metal drummer who begins to rapidly lose his hearing. 

Riz Ahmed is yet another up and coming actor Oscar nominated this year who has slowly been building up an impressive resume for himself. While much of his film work, since his semi breakout in the dark comedy Four Lions, has been in supporting roles, Sound of Metal gives him the chance to take center stage once again. Ahmed takes on the role of drummer Ruben Stone who we find as he is living, in his own words, the gypsy life with his girlfriend/band-mate Lou (Olivia Cooke), which entails riding in an RV and doing various small time gigs. Ahmed's role in the opening is one really all about the past as we see a seemingly, relatively, normal living. This as much as his character is covered in tattoos, much like the previous Derek Cianfrance/Darius Marder collaboration character played by Ryan Gosling in The Place Beyond the Pines. Although this initially isn't a performance at all about being tortured, though the past is there. Ahmed's work, with Olivia Cooke, actually artfully captures a particular kind of normalcy between Ruben and Lou. They have a nice kind of ease in their chemistry. This as we just see them play together, and spend time together in their constantly moving life. Their conversations though are casual and both actors really capture the nature of a longer relationship here. There in that ease we just see these two have been together for awhile. It goes a bit further though than that in creating the essential history, which isn't quite spoken, where the two likely met at a rehab facility for drug addiction. 

I think in this you have very important moments within their interactions. Such as an early scene where the early riser Ruben prods Lou to get up to basically dance with him. A simple scene yet Ahmed uses it so well. This as his performance on one end reaffirms a clear sense of love between the two, but there is also a bit more. The way Ahmed prods has a certain sense of facilitation. This isn't a negative rather we see in Ahmed's performance a sense of a set routine he has to try to keep Lou on the straight and narrow path. This as they create a rather effective sense of this relationship which I think so artfully borders the line between just a straight up loving relationship and a co-dependent situation. In their interactions we see both, and in this they create the real history of two former addicts who found solace and support in each other, while it was probably lacking in most places. Again this is all almost entirely unsaid, and it is just impressive in the vivid sense of the relationship that both Ahmed and Cooke bring. We get those moments of just normal people in a relationship, but still the sense of a connection of a desperate need in each other to live each moment. Even though the film doesn't at all give us an obvious backstory we have a strong sense of where Ruben is coming from due to Ahmed's nuanced performance. This setting up the man clearly where he is, before he has the rug pulled out from under him as he suddenly begins to lose his hearing.

As Ruben starts losing his hearing Ahmed is great in depicting the progression of this realization. This in starting out in these reactions of just genuine confusion of not knowing what is going on, and just surprise at the situation. His reaction to his diagnosis is terrific in balancing a sense of disbelief but also a kind of denial all the same. As he speaks instantly of the potential alternative of a cochlear implant, Ahmed delivers these words with a fearing immediacy. This as he speaks towards needing just a solution to the problem as soon as possible without a sense of really even accepting that his situation is about to get worse before it improves. This as Ahmed shows just a worsening state of denial and internalizes powerfully that sense of that anxiety. In his eyes you almost get an idea of the barrier of denial in this time as Ruben seemingly tries to not even think about it. This to the point when he suggests alternatives for their performances again Ahmed speaks as a man looking for solutions that would quickly avoid the problem more than anything else. When Lou has Ruben call his sponsor, suggesting a potential relapse, Ahmed is terrific in his conversation. Speaking every word with an emotional defensiveness which signals a very real frustration while also trying so hard to assure that every thing is fine. Ahmed showing naturally a man truly at an edge, wholly earning his raw emotional breakdown as the man just seems at a complete loss for answers. Ahmed presenting the moment as just a mess coming from a bursting at the seams after trying so hard to hold it together and falling apart all at once. 

Eventually they seek help in a shelter designed for addicts who are deaf lead by Joe (Paul Raci). Ahmed's performance in the initial interview is excellent in conveying the state of uncertainty of a man who has been in a very specific relationship and comfort zone with Lou. This as anything against that he speaks as with a anxiety ridden dismissiveness. When Joe particularly suggests the two will need to separate during the period in which he becomes accommodated with the shelter, that defensiveness becomes all the stronger to the point of initially rejecting the shelter. Following that, Ahmed shows Ruben speaking his suicidal words as the state of the man now completely unsettled and lost in the moment as he is unable to cope with his hearing loss that uproots his life. Due to Lou refusing to let him not go to the shelter he finally does. Here we get some great work by Ahmed and I love that he doesn't suddenly become Randle McMurphy, which would be ill-fitting to the nature of this story. Instead Ahmed presents something befitting this man who is struggling on the outside with what had been his place of comfort for so long. Ahmed's eyes bringing a sense of two things. One being still that anxiety of a man at first so ill at ease at suddenly no longer being within his zone, but also the seeds of a sense of discovery. This as he watches everything going at the shelter with a degree of both confusion and the right hint of curiosity. 

In the shelter scenes Ahmed's work is pivotal in creating an arc that fittingly is so often in silence. We see that discontent early on and minor bits of almost an annoyance as though he's almost a kid sent to camp who didn't want to go. In this though Ahmed captures the energy of the character so effectively in creating the state of sort of needing some kind of output, which keeps him from any comfort. This leading Joe to get Ruben to try a practice of sitting a room in the morning of either sitting or writing. Seemingly simple moments comes from this, yet so important, this in Ahmed showing really the difficultly Ruben has in accepting the silence so to speak. This creating a real sense of the frustration of just sitting and as he initially out pours onto the paper in an emotional rage of sorts, but gradually seems to find some sense of solace in the practice. With that though we also have a progression of beautifully performed scenes by Ahmed of Ruben just slowly coming to accept the shelter and better himself through it. He makes this progression feel so honest and natural, by just slowly losing that sense of anxiety and discomfort, this instead replaced by connection within the interactions with everyone around him. Ahmed making such simple moments, as playing with kids or teaching them the drums, genuinely moving by depicting this genuine change in the man to finding an authentic output for himself essentially. This is where we see Ruben coming to accept not only his deafness but himself. This again is rarely spoken outright rather Ahmed, makes you feel every moment of this natural transformation. 

The one thing that seems to hold Ruben back is actually what once propped him up, this is as he sneaks off every so often to try to check on Lou. In these moments we see a return to that anxiety in Ahmed's eyes as he watches whatever she is doing next, and see now the negative side of that co-dependence. This leading Ruben to sell everything he owns to afford his cochlear implants, which are not quite the perfect fix that he was hoping for. Ahmed again is great by so fundamentally creating the right sense of the experience within his own work. This as his reactions show a different discovery, a somewhat unpleasant one as his expression is of the disconcerting realization that he could not simply just return himself to his old self. The following confrontation work is simply one of the best acted scenes of 2020, as the moment isn't really about right and wrong, but rather the difference within their philosophies and personal intention. This as Ruben goes to explain himself Ahmed's sense of passion is real and even his sense of real love towards Joe as he explains himself. He explains himself not from a place of discontent in the same way, rather showing a man who cares deeply, while trying to plead his case. Ahmed is fantastic in conveying the sense of split loyalties within the moment as he tries to explain, and Ahmed finds the emotional desperation in trying to come to an understanding however failing to do so. It is heartbreaking work on both end, because both actors so vividly grant you a sense where each man is coming from. What I see as the epilogue of the film then follows Ruben as he tries to recapture his old life by returning to Lou who is now in France. I think here Ahmed is great actually by the understated nature of his work. This as he shows that even that underlying motivation is almost perfunctory to some degree. When he speaks about returning to their old life, it isn't with a straight passion, but rather almost as a dutiful choice to hold up the past. The moment that is not perfunctory is their recognition of their relationship where both are remarkable in expressing just the genuine love and gratitude to each other. Even in this though Ahmed carefully shows that something has changed, and the two are no longer linked in the way they had been for so long. The love is there, but it is now different. This making his choice to leave alone an earned one. This only followed by really the pitch perfect ending through Ahmed's always outstanding performance that finds the right nuance in this moment. This as it isn't just a physical unpleasantness that he shows as Ruben removes his implants to embrace the silence. Rather Ahmed is able to project finally a contentment within the man in the moment, a man who can now be still and embrace himself for who he is. 

Best Actor 2020

And the Nominees Are:

Riz Ahmed in Sound of Metal

Steven Yeun in Minari

 

Chadwick Boseman in Ma Rainey's Black Bottom

Gary Oldman in Mank

 

Anthony Hopkins in The Father