The film opened Christmas Day to largely sold-out theaters, and over this past weekend it crossed the $100 million mark globally. And on Monday, when the Academy announced its nominees, “Little Women” nabbed six Oscar nominations including best picture, best adapted screenplay, best leading actress, and best supporting actress.
Some would call it a win. But “Joker” landed 11 nods, with “1917,” “Once Upon a Time in Hollywood,” and “The Irishman” snagging 10.
Four years after #OscarsSoWhite, after the Academy pledged to double its women and people of color, progress looks like an Academy that is 68 percent male and 84 percent white. This ain’t built for us.
So am I shocked Lupita Nyong’o was snubbed for her mind-bending dual role in “Us”? Nah.
Is Jennifer Lopez being left out as a lead contender for “Hustlers” and Awkwafina being overlooked for “The Farewell” a surprise? Absolutely not.
“Queen Slim” and “Just Mercy” being locked out? Expected it.
Eddie Murphy not getting his propers for “Dolemite Is My Name”? He told us how the Oscars roll in ’88.
Beyoncé getting ignored for best song (“Spirit”)? Fine, I’m a little surprised.
But we know shutting out diverse storytelling is the gold statue standard.
When it comes to the 2020 Oscars, we’re lucky to see “Parasite,” with six nominations, make history by becoming the first South Korean movie to be nominated for best picture and best international film. And Cynthia Erivo, up for best leading actress for “Harriett”, is the lone nonwhite actor nominated.
We’re 92 years in and it’s undeniable that the Oscars is a white man’s house willing to rarely crack the window and acknowledge his neighbors.
I feel her.
I knew my faves, particularly Melina Matsoukas for “Queen Slim,” would be ignored. Alma Har’el has been outspoken about the snubs for “Honey Boy.
” And Lulu Wang for “The Farewell” and Lorene Scafaria for “Hustlers” deserve their nods, too.
Period. Second, she directed it beautifully.
What went wrong?
The story is nuanced enough to allow many girls and women to relate because we are all bonded in the sense that we are expected to be less than, to not belong to ourselves, and “Little Women” does not care to be anyone’s little woman.
Maybe that’s too much for the Academy to digest. It’s hard for me to understand how they could note the movie as one of the best pictures, best screenplays, best lead and supporting actress, best score, and best costume only to ignore the architect who helped curate it all?
But a white, racist, and largely male construct stealing the shine of others so they can bask in the light and control where it lands is how the patriarchy operates.
She owns her vision. She demands more money.
She knows her worth.
And we know ours.
With or without a nomination, we see us. As for Oscar — we’re bored of him.
Jeneé Osterheldt can be reached at jenee.osterheldt@globe.
com and on Twitter @sincerelyjenee