11 Times In Recent History When The Oscars Got It Absolutely Right - Part 5
Forgot password
Enter the email address you used when you joined and we'll send you instructions to reset your password.
If you used Apple or Google to create your account, this process will create a password for your existing account.
This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.
Reset password instructions sent. If you have an account with us, you will receive an email within a few minutes.
Something went wrong. Try again or contact support if the problem persists.

11 Times In Recent History When The Oscars Got It Absolutely Right

It doesn’t matter if you are a hardcore film lover or just a casual surveyor of culture: you probably have an issue with the Academy of Motion Picture Arts and Sciences. Each Oscar season, we groan about the great films from the previous year that failed to impress the Academy, and complain that this body of filmmakers, actors and industry personalities is out of touch with the zeitgeist. This season, the volume of hostility toward the 6,000 or so voters grew even louder, as several snubs were with women and non-White talent, which got very little representation across the board.
This article is over 10 years old and may contain outdated information

Eternal Sunshine of the Spotless Mind Wins Best Original Screenplay (2004)

Recommended Videos

Eternal Sunshine of the Spotless Mind

When it comes to original screenplays that put an emphasis on actual originality, few names come to mind as quickly as Charlie Kaufman. Despite his reclusiveness and his lack of output since his directorial debut Synecdoche, New York in 2008, Kaufman hit his creative apex with Eternal Sunshine of the Spotless Mind. (For that title, he shared story credits with French artists Michel Gondry and Pierre Bismuth.)

Despite only earning two Oscar nominations – Kate Winslet’s comedic turn in this film got a nod and should have won – Eternal Sunshine of the Spotless Mind was an easy film for the Academy writers branch to love. In this writer’s opinion, there is no finer piece of cinematic screenwriting from the past 15 years. Its genre-mixing is audacious, its non-linear structure is daring, and yet its emotional center is compelling and contemporary.

Its competitors that year were a marvelous bunch, one of the strongest line-up of contenders for writing original work in modern times. Its opponents were as diverse as The Aviator, Vera Drake and The Incredibles. In any other year, any of those three films could have been worthy victors. However, with such life-affirming, imaginatively dazzling, thematically daring material taking one slot, it should surprise nobody that the Academy bestowed this honor on a sublime, completely unique film.


We Got This Covered is supported by our audience. When you purchase through links on our site, we may earn a small affiliate commission. Learn more about our Affiliate Policy
Author
Image of Jordan Adler
Jordan Adler
Jordan Adler is a film buff who consumes so much popcorn, he expects that a coroner's report will one day confirm that butter runs through his veins. A recent graduate of Carleton's School of Journalism, where he also majored in film studies, Jordan's writing has been featured in Tribute Magazine, the Canadian Jewish News, Marketing Magazine, Toronto Film Scene, ANDPOP and SamaritanMag.com. He is also working on a feature-length screenplay.