Oscar Loves Film Club Oscar Loves Film Club

Sometimes the Academy just can't get enough. This month, your friendly Oscarologists look at those Best Pictures whose successors also picked up the grand prize. The films we explore in this episode are: The Godfather (1972) and The Godfather Part II (1974). 
This episode was recorded remotely. Thank you to Rachel Valentine Smith for our artwork and Thomas Whitelaw for our intro music.

For our first deep dive of 2023, Mark and Izzy delve into what exactly defines American Gothic and how this relates to our two Best Pictures. The films we explore in this episode are: Rebecca (1940) and Million Dollar Baby (2004). 
This episode was recorded remotely. Thank you to Rachel Valentine Smith for our artwork and Thomas Whitelaw for our intro music.

This month, your friendly Oscarologists delve into the films that connect the magic of the theatre to the joy of film, winning Best Picture in the process. The films we explore in this episode are: All About Eve (1950) and Birdman (2014). 
Thank you to Rachel Valentine Smith for our artwork and Thomas Whitelaw for our intro music.

This month, Mark and Izzy look into the films that walked away with Best Picture, which highlight their connection to Ireland. The films we explore in this episode are: Going My Way (1945) and Titanic (1998). 
Thank you to Rachel Valentine Smith for our artwork and Thomas Whitelaw for our intro music.

This month, your friendly Oscarologists dive into those rare films with multiple perspectives and narrative tributaries which have walked away with the Best Picture award. The films we explore in this episode are: Cavalcade (1933) and The Best Years of Our Lives (1946). 
Thank you to Rachel Valentine Smith for our artwork and Thomas Whitelaw for our intro music.

This month, Mark and Izzy discuss the Best Picture winners that seem like biopics and yet their protagonists are completely fictional. The films we dive into in this edition are: Tom Jones (1963) and Forrest Gump (1994). 
Thank you to Rachel Valentine Smith for our artwork and Thomas Whitelaw for our intro music.