Article
Culture
Film & TV
5 min read

The Oscars celebrate a basic human trait - telling stories

A ‘seemingly absurd ritual’ reveals a little of who we are.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

Mikey Madison, wearing a ball gown, clutches a golden Oscar statue.
Mikey Madison, star of Anora.
ABC.

I’m becoming more and more resolute in my belief that nothing is ever trivial.  

Not really.  

Not when you look at it for long enough, not when you offer it the gift of your curiosity, not when you’re convinced that culture is made up of a myriad of restless hearts.  

This resolute belief is the reason I tend to give the Oscars my attention. My full, non-judgmental, attention.  

The Academy Awards may seem trivial, especially this year. Especially this week, even. I mean, are we really going to talk about Timothée Chalamet’s yellow suit or Demi Moore’s gracious-loser-face when pockets of our world are being torn to shreds? I get it. Even the people in the eye of the showbiz-storm (mostly) get it. In his opening monologue, this year’s host, Conan O’Brien, called the ceremony a ‘seemingly absurd ritual’. 

And it is.  

But we are story-telling creatures. We are, to quote Charles Taylor, ‘Storied Selves’. Story is how we wrestle with what has been, what is, and what we think/fear/hope may be. And so, I want to know what stories we’re telling: what stories have we deemed worthy of excavation? What stories are drawing us in and sending us out again with slightly tweaked perspectives? What are we celebrating? What are we lamenting? What are we trying to change? What are we trying to hold on to?  

Plus, I’m religious – who am I to assume there’s no meaning behind ‘seemingly absurd ritual’, aye?  

The Oscars is an event dedicated to just a handful of the stories that have been told over the past year – the ones that are being told the loudest, I guess. That makes it a sample pool of our collective heart-cries, the tip of our meaning-making iceberg, the headline that sits atop our cultural moment.  

Is it somewhat superficial? In part. 

Is it a little sanctimonious? Oh, heck yes.  

Is it opulent to the point of discomfort? Most definitely.  

Is it meaningless? Absolutely not. Storytelling never is.  

So, in that vein – what are the stories that were celebrated at last night’s 97th Academy Awards? And what do they teach us about... well… us? I noticed a couple of interesting themes.  

In so many ways, movies are humans telling humans what it means to be human. 

Firstly, the ceremony opened with a tribute to The City of Angels, herself. The most sparkly city there is, the home of Hollywood – Los Angeles. Terrifyingly large swathes of which were, of course, razed to the ground by historic wildfires earlier this year. Borrowing a line from The Wizard of Oz, ‘there’s no place like home’ was spoken over a montage of the city acting as a backdrop for so many iconic movie scenes.  

It made me think of the role that ‘home’ plays in many of the movies that were platformed last night – and I realised, it plays a leading role. ‘Home’, in itself, is a character. There’s the omnipresence of Brighton Beach, New York, in Anora (by far, the big winner of the night), Mexico in Emilia Perez and, of course, ‘Oz’ in Wicked. These films aren’t just set in these locations, they’re utterly dependant on them.  

Then there’s the more complicated stories of ‘home’ – stories of home being both here and there. The Brutalist, for example (for which Adrien Brody won the ‘best actor in a leading role’ award), tells the story of a Hungarian-Jewish Holocaust survivor trying to make a new home for himself in the United States. Or A Real Pain, in which Jesse Eisenberg (who also wrote and directed the film) and Kieran Culkin (winner of ‘best supporting actor’) travel to Poland to honour their late grandmother, and therefore, their own lineage. In both movies, ‘home’ is a stranger that the characters must introduce themselves to and befriend.   

It's fascinating.  

In art, as in life, home provides identity. It’s the geography that we’re made of, the history that runs through our blood, the place where our circumstances become our meaning. At least, that’s what these movies tell us.  

Another, more obvious, theme I noticed was that so many of the movies on display were telling notably complex stories of a female experience. 

The Substance, one of the most interesting films of this year, tackles the theme of aging. Age-a-phobia, you could say. The experience that countless women have of becoming less valuable as they move through life – the feeling that you’re vanishing from society’s sight with every change of your body. Or there’s the afore-mentioned Anora. I’ll be honest, this one took me by surprise, racking up the most awards of the night, including ‘best picture’. Its story centres upon ‘Ani’, a young Russian American sex worker who weaves in and out of powerful ranks. Wicked, the story of a drastically misunderstood, commonly marginalised and terribly manipulated woman (who just so happens to be a witch). And winner of ‘best international picture’, I’m Still Here, tells the true story of Eunice Paiva. Her husband, Rubens Paiva, is abducted by military operatives in 1971 and never returned. Eunice is left to care for their five children as she seeks justice for her husband as well as indigenous people in the Amazon. 

Female experiences – in all their complexity, nuance, grit, strength, and truth – truly took centre stage.  

Movies are humans telling humans what it means to be human. And I just love that we do that. I’m never not fascinated by how much we all share – how the particular can tap into the universal. We have so much to learn about each other, and movies are a way we seek to do that, but one of the things that we constantly have to learn, re-learn, and learn again is how much we have in common.  

And I know that a sentence like that sounds face-palmingly glib. But if it weren’t true, if we weren’t – at some deep and true level – made by the same stuff and for the same stuff, I’m not sure movies would exist. I’m not sure that they could exist.  

And so, all of this to say that there’s more to the Oscars than meets the eye – even when what meets the eye makes it roll. Give it the gift of your curiosity, it’s worthy of it. I promise.  

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Explainer
Culture
Gaza
Israel
Politics
5 min read

Politics is the only way to solve the tragedy of Gaza

Trump is not the first person to want to create a Riviera by the Mediterranean.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A sign projected on to the Houses of Parliament reads: how many is too many.
A projection protest sign, London.
Christian Aid.

Whichever side you take in the Israel-Gaza conflict, the stories can't help bring a sense of desperation. Images of starving children, the fate of Jewish hostages still held in darkness - either way, this remains a place of unimaginable suffering. And meanwhile, the bombs keep dropping, people die, and Hamas retains its hold. 

Among Israel’s friends, voices have been murmuring a radical solution to the problem of Gaza. Donald Trump’s plan was to raze the territory to the ground, shift 50 million tonnes of debris and displace its people to neighbouring countries to build the ‘Riviera of the Middle East’ in what had until now, been Gaza. The plan might have been met with some amusement when it was aired, but it gave permission for many within Israel to think similar thoughts.  

Bezalel Smotrich, the Israeli finance minister, recently claimed that after the Israeli operation, “Gaza will be entirely destroyed” and its Palestinian population will “leave in great numbers to third countries.” Many within Israel seem to think the stubborn, Hamas-ridden enemy living next door needs to be eradicated. To a population weary of decades of conflict, fearing that there will never be peace while Hamas remains in Gaza, and aware of how difficult it is to winkle out the Islamic terrorist group while the Palestinian population remains there, you can understand the attraction of this radical solution. 

However, the Israelis might have good reason to be cautious. And that is not a counsel from their opponents - but from their own history.  

In the early 130s AD, the boot was on the other foot. It was the mighty Gentile Roman Empire that ruled over the same patch of land, which they were soon to call Palestina. Jews were a minority, but they still harked back to their long roots in the land, the days of Joshua and King David, and even more recently to the Jewish Hasmonean kingdom 200 years before - the last time before the modern state of Israel that Jews were in control of the land. 

The emperor at the time, Hadrian, passed through Jerusalem in 130 AD, along with his entourage and his lover, the young slave boy Antinous. He started to paganise the city, erecting statues of gods and emperors, even of his young favourite, all of them offensive to Jewish sensibilities. The smouldering resentment soon erupted with a revolt led by a fierce and determined Jewish fighter, Bar Kokhba. This was the second Jewish uprising after the earlier one in the 60s that had led to the destruction of the great Jewish Temple in Jerusalem by Titus, under the reign of the emperor Vespasian in 70 AD. For the Romans, one revolt might just be tolerated, two was too much.  

Hadrian came to the same conclusion as Bezalel Smotrich – a rebellious territory had to be erased from the map, although this time, it was Jerusalem that was to be eliminated, not Gaza. Its Jewish population was to be scattered, its name deleted, and memories of past glories buried for good.  

And so, in 135 AD, the bulldozers moved in. Jerusalem was effectively flattened, and a Roman city built on its ruins. Aelia Capitolina was its new name, a smaller city, yet decadently built around the worship of Greek and Roman gods, with splendid gates, pagan Temples, a classic Roman Forum, expansive columned streets – not quite the Riviera of the middle east, but maybe the Las Vegas. ‘Jerusalem’ was scrubbed from the map. 

At the centre of the sacred Jewish Temple Mount, Hadrian erected a statue of himself. He deliberately planted a statue of Aphrodite over the very spot where the early Christians insisted that the death and resurrection of Jesus had taken place – where the Church of the Holy Sepulchre stands today. Circumcision was outlawed, many Jews were killed, and those remaining were banned from the city, dispersed anywhere where they could find shelter. In fact, the map of the Old City of Jerusalem today is still marked by this design, with the two main Hadrianic streets diverging south from the Damascus Gate, with archaeological remains of the Roman city still visible for visitors. 

Yet of course it didn’t work. No-one calls it Aelia today. People's attachment to land goes deep. The Jews could not forget their roots in this patch of the earth's surface. As Simon Sebag Montefiore put it: “the Jewish longing for Jerusalem never faltered”, praying three times a day throughout the following centuries: “may it be your will that the temple be rebuilt soon in our days.” 

Palestinian attachment to land is similarly strong. Nearly 80 years after the creation of the state of Israel in 1948, families still cling on to the keys to homes that were taken from them during that traumatic period. Like the Jewish yearning for Jerusalem, they too, like people across the world, have a deep attachment to ancestral lands, which go back to the ‘Arabs’ mentioned in the book of Acts, to whom St Peter preached in the early days of the Christian church.  

Executive decisions by distant rulers such as the emperor Hadrian or President Trump might seem like neat solutions to intractable problems. But they seldom work in the long term.  

The famous biblical injunction ‘an eye for an eye, a tooth for a tooth’ was meant not as an encouragement to violence but the exact reverse. It was mean to set a limit to the development of blood feuds, which could, out of anger and trauma, so easily lead to disproportionate reaction and never-ending vendettas. When St Paul wrote “Beloved, never avenge yourselves, but leave room for the wrath of God; for it is written, ‘Vengeance is mine, I will repay, says the Lord’”, he was recalling an ancient piece of Jewish wisdom that set limits on human capacity to sort out intractable problems by violence. He knew a better way: “Do not be overcome by evil, but overcome evil with good.” 

Luke Bretherton, Regius Professor of Moral Theology at Oxford and a Seen & Unseen writer, argues that there are really only four ways you can deal with neighbours who prove difficult: you can try to control them, cause them to flee, you can kill them, or you can do politics – in other words, try to negotiate some form of common life, as ultimately happened in Northern Ireland, South Africa, and so many places of long-standing conflict. 

Politics, the business of learning how to live together across difference, is messy, complicated and hard work. Especially so when there are deep hurts from the past. Yet, as the failure of Hadrian’s radical solution shows, there is no real alternative in the long term. 

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