Oscars

TAYLOR Swift gave a rare performance in front of a star-studded crowd as she kicked off a campaign to win her first Oscar.

The superstar, 36, sang a four-track set at the glitzy Academy Museum Gala in Los Angeles on Saturday.

It included her single I Knew It, I Knew You, which was recorded for Toy Story 5 — and which Taylor hopes will be nominated for Best Original Song at the awards ceremony next March.

The singer made an impression in her custom Dior gown with platinum earrings featuring 32.40 carats of diamonds and a platinum bracelet.

Her look was created by Northern Irish fashion designer Jonathan Anderson, who was also behind the wedding dress she wore marrying American football player Travis Kelce three months ago.

Insiders believe Taylor was hoping the performance — which also included the live debut of her hit single The Fate of Ophelia — was her going the extra mile to woo Academy Award ­voters after several failed attempts to get an Oscar nomination in the past.

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She has released original tracks for a series of hit films over the years, including The Hunger Games, Fifty Shades Freed, and Cats, but has never qualified for the gong.

Her 15-minute All Too Well: The Short Film also failed to secure a nomination in 2023.

But I Knew It, I Knew You spent two weeks at No1 in the UK when it came out in June, making it Taylor’s most successful film track to date.

An industry insider said: “Taylor knows how Hollywood works and is keen to build goodwill and visibility among the people who vote for the Oscars.

“She’s made no secret of her ambition to win an Academy Award so is pulling out all the stops this year.”

If she does win an Oscar, it would bring her one step closer to one of the highest achievements in US showbiz: the EGOT — winning an Emmy, Grammy, Oscar and a Tony.

Only 28 people have done so, and Taylor is halfway there, having bagged 14 Grammys and an Emmy.

She is also working on a musical which would put her in line for a Tony, the highest accolade in theatre.

A number of A-listers were at the fancy bash, considered LA’s answer to New York’s Met Gala.

Taylor chatted with several celebrity pals inside, including Sabrina Carpenter who wore a royal blue, backless dress with shoulder tassels.

Swift’s former foe Kim Kardashian, 45, was also at the event, channelling Elizabeth Taylor with a bouffant hairdo, an archival 1951 Balenciaga dress, and a 55.8-carat diamond necklace.

Meanwhile, actress Teyana Taylor, 35, wore a Schiaparelli torso bodysuit alongside Kylie Minogue, 58, who posed in a a slashed black gown.

Charlize Theron, 51, turned up to receive the Icon Award for her celebrated acting career.

Venice, Telluride and Toronto have wrapped, and the New York Film Festival is winding down. Ovations have been meticulously timed. Existential crises have been parsed, not including the trauma induced by Tom Cruise’s “Digger,” which prudently skipped the festivals to delay, if only for a couple of weeks, the poisonous word of mouth from seeping out. (It’s still well worth seeing.)

And there have been, of course, prizes, including a Netflix movie, the Spanish maximalist melodrama “La Bola Negra,” winning Toronto’s People’s Choice Award. That’s a first for the streamer, which means we will again be asking the question: Can a Netflix film finally win the best picture Oscar?

If you’ve seen “The Odyssey,” you probably know the answer to that question. But with more than five months (!) until the 99th Academy Awards, it’s a bit early for ironclad guarantees, even if it feels like it would take the winds of Poseidon to blow “The Odyssey’s” best picture campaign off course.

But it’s not too soon to roll out a first set of Oscar power rankings for best picture. With apologies to “Obsession,” “Fjord,” “Possible Love,” “You Can See Everything,” “Elsinore,” and whatever other movies you love (or look forward to loving), let’s start counting.

10. ‘Tender Loving Care’

(Joseph Lynn / Thin Man Films / Bleecker Street)

Because of ongoing health issues, Mike Leigh has said that this warm and wrenching drama will be his last movie. If so, it’d be quite the capper to a career that has netted him seven Oscar nominations, five for his screenplays and two for direction. Yes, only one of his movies, “Secrets & Lies,” has been nominated for best picture. But “Tender Loving Care,” centered on two social service workers navigating the fraying social safety net and, in one case, anxiety about aging parents, possesses a bracing humanity full of compassion and urgency. It’s also quite funny. And it boasts a great cast, including newly minted Emmy winner Kate O’Flynn, as charming here as she is on “Widow’s Bay.” Leigh has more than earned a final curtain call with this one.

9. ‘Club Kid’

Jordan Firstman’s sincere, funny and genuinely moving debut feature has him playing a queer New York underground party promoter blindsided by the arrival of the 10-year-old son previously unknown to him. You could take issue with the uncomplicated perfection of the child, who has exquisite taste in music (Cocteau Twins, really?) and barely a trace of trauma despite the harrowing event that landed him in New York. But “Club Kid” is so assured and heartwarming that you can’t muster the energy to object. There’s probably going to be one feel-good movie nominated, and if it’s between this and “I Play Rocky,” I’ll cast my lot with the one that doesn’t rely so heavily on re-creating the familiar.

8. ‘All of a Sudden’

This 196-minute movie unfolds at, let’s just say, a leisurely pace, and includes a near-20-minute scene in which a character lays out the flaws of late-stage capitalism using a whiteboard. And it’s riveting. Or at least engaging. It’s certainly audacious, this drama about a hardworking director of a Parisian nursing home and the way a chance friendship changes her life. The Oscars’ best picture field now routinely includes two international movies, and Ryûsuke Hamaguchi’s dreamlike meditation on mortality and human connection feels like a sure bet to make the cut. Virginie Efira and Tao Okamoto shared the best actress prize at Cannes and merit attention from Oscar voters as well.

7. ‘The Debut’

Spoiler alert: One awards-season shoo-in is Julianne Moore winning every lead actress prize for her bravura work in this delightful Jesse Eisenberg comedy. Moore plays Mona, a meek, thoroughly unseen wife and mother who impulsively decides to audition for a community theater musical despite having no experience. The movie earned a huge response at its Telluride premiere, though there were some quibbles about the surprising, surreal turns the story takes. C’mon. Isn’t that precisely what we want from a film? With Moore, co-star Paul Giamatti, Eisenberg’s screenplay and original song (Eisenberg wrote several numbers for the film’s fictional musical) assured spots, a best picture nod feels undeniable.

6. ‘The Invite’

(Atsushi Nishijima / A24)

Olivia Wilde’s dinner-party dramedy boasts a killer quartet — Wilde and Seth Rogen as longtime marrieds nursing resentments, Penélope Cruz and Edward Norton playing their upstairs neighbors — and expert direction from Wilde, who navigates the movie’s tonal shifts with authority. It’s wickedly funny and unsentimental and pulls off a bittersweet ending that’s ambiguous enough to keep you talking long after the film ends. One of the year’s most satisfying pleasures.

5. ‘Project Hail Mary’

(Jonathan Olley / Amazon MGM Studios)

Speaking of endings, how many did “Project Hail Mary” have? Two? Three? I lost count. And it doesn’t matter. This was the upbeat end-of-the-world movie that audiences needed at a time when the possibility of human extinction feels uncomfortably real. In a year full of Spielberg knockoffs (and an uneven movie from the man himself), this will be the one left standing.

4. ‘Wild Horse Nine’

(Diego Araya Corvalan / Searchlight Pictures)

Martin McDonagh’s melancholy irreverence plays well with Oscar voters. His last two movies, “Three Billboards Outside Ebbing, Missouri” and “The Banshees of Inisherin,” earned best picture nominations and a combined 16 nods. “Wild Horse Nine,” a biting buddy dramedy about two mismatched CIA assassins (John Malkovich and Sam Rockwell), should continue the filmmaker’s success and may even catapult Malkovich to a long-overdue Oscar. At the very least, it gave him his best role in decades.

3. ‘La Bola Negra’

The filmmakers, Javier Calvo and Javier Ambrossi, are talented and charismatic, former romantic partners who still work together because that’s how Europeans roll. Los Javis (they even have a fun nickname) won the directing prize at Cannes, the first of several festivals that their movie conquered, culminating in that audience award at Toronto. With its three interconnected stories that follow queer men through nearly a century of Spanish history, “La Bola Negra” has an epic feel and emotional payoff that could carry it far. Netflix is all in, opening it in select theaters Oct. 16 and giving it an exclusive 46-day theatrical window, the longest it has afforded any movie. We’ll see if that puts it into the cultural conversation in a way that has eluded other Netflix contenders.

2. ‘Dune: Part Three’

Can Denis Villeneuve’s third and final “Dune” movie, which hasn’t screened widely for press, take the “Lord of the Rings” trilogy path to a best picture victory? If there’s resistance to giving Christopher Nolan back-to-back best picture winners, the greatest threat might come from a movie occupying the same lane, an auteur-driven epic lauded by critics and embraced by audiences. The second (and superior) “Dune” won just two Oscars, compared to the six taken by 2021’s “Dune: Part One.” Perhaps voters were playing the long game.

1. ‘The Odyssey’

(Melinda Sue Gordon / Universal Pictures)

Maybe you saw it when it opened in July, contributing to its $1.75-billion box office. Maybe you’re still trying to see it in Imax 70 mm, the way God (i.e., Christopher Nolan) intended. Maybe you agree with translator Emily Wilson, who thinks Nolan’s movie “lacks psychological, emotional, political and ethical depth” and that its writing is “abysmal.” Whichever side you’re on, “The Odyssey” is probably going to sweep through the Oscars, owing to its craft and thrilling showmanship, its stellar acting and that moment when Odysseus’ dog recognizes his long-absent master and wags his tail before heading off to Elysian Fields.

OSCAR-winner Eva Marie Saint, who has died aged 102, was a reluctant star who became a Hollywood legend.

From Alfred Hitchcock to Marlon Brando, the girl from New Jersey took on the biggest names in the business and triumphed.

She was nine months pregnant when she won the Academy Award for Best Supporting Actress in On The Waterfront in 1955, joking: “I may have the baby right here!”

Two days later her son — named Darrell, not Oscar — arrived.

Eva’s powerhouse performance alongside Marlon Brando was even more remarkable as it was her first film.

She had little truck with modern stars’ long acceptance speeches.

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The oldest living Oscar winner said of her two-sentence appearance: “That was a lot for someone to say in those days.

“Most people just said thank you and walked off the stage, which I loved.

“It’s gotten out of hand these days where people have to be funny and go on and on and on.”

With the worldwide success of follow-up movie North By Northwest, an agent pushed her to make more films and become a “superstar”.

Her reply was simple: “I can’t. I can only do one a year. I have young children.”

Her agent’s response was: “Well, I guess you won’t be a superstar.”

Her perfectly calm reply: “Well, I guess not.”

But she became one anyway, and her legendary beauty even inspired the 1984 song Rattlesnakes by Lloyd Cole.

Born in Newark, New Jersey, on July 4, 1924, Eva was from a Quaker background.

“I was in the chorus in high school, not a soloist,” she once said.

“I was on the basketball team. I played the violin, part of the orchestra. I never wanted to be out there alone. Ever.”

She studied acting at university in Ohio, then moved to New York, working in theatre and television.

Her big break came in the Broadway play The Trip To Bountiful, where she caught the eye of director Elia Kazan, who cast the then 29-year-old alongside Brando in On The Waterfront.

She said: “Brando was wonderful. Probably the finest actor I’ve ever worked with.”

But he was fickle. She said: “I only saw him once after On The Waterfront.

Years later, Elizabeth Taylor was having a birthday party and he came into the room.

“He came up, we hugged, and he saw a pretty brunette over my shoulder. He said goodbye and that was the last time I ever saw him.”

With an Oscar under her belt, Hollywood was desperate to make the most of her stardust, but Eva didn’t want to leave her second baby, Laurette, to work on North By Northwest.

Hitchcock’s on-set abuse was well known, but to Eva he was the perfect English gent.

She said: “Hitchcock was a high-class guy. He always had a suit on.”

North By Northwest was a box office hit and one of the pinnacles of Eva’s career.

Going out one night with co-star Cary Grant, she saw how he was mobbed.

She said: “I couldn’t have coped with that kind of fame. I wanted a normal life.”

And when she filmed Exodus in 1960 with Paul Newman, she took family on location in Israel and Cyprus.

She met Jeffrey Hayden before she was famous and they married in 1951 — a union that lasted 65 years until his death in 2016.

Eva’s TV roles included playing Superman’s mother in 2006 and Cybill Shepherd’s mum in Eighties hit TV series Moonlighting.

For her 100th birthday all her family gathered for a big party at her home in Los Angeles.

Eva said: “I certainly don’t feel 100 years old.”

Yet her age didn’t slow her down and she led an active life, saying: “I take walks out in the fresh air, like watching baseball — especially the Los Angeles Dodgers.

“I enjoy time with family and friends. A good life.”