The Agony and the Ecstasy of the Academy Awards

By Michael Jacobsohn

As March arrives, the Academy of Motion Picture Arts and Sciences rolls out the crimson carpet for nominees competing for the golden statuette. This winter, I viewed several films that survived the gauntlet to reach the final round. It is a season where artistic merit meets the brutal reality of campaigning.

In the documentary feature category, nominated filmmakers surely feel conflicted about battling for a singular victory. Each documentary I viewed tackled urgent social justice issues. In a just world, all would win the Oscar and the recognition that leads to wider audiences. While the competition is fierce, three films that I viewed deserve your support.

Global Struggles for Justice

Mr. Nobody Against Putin examines dissent in modern Russia. The film follows Pavel “Pasha” Talankin, a primary school teacher who secretly chronicles the militarization and propaganda infiltrating his classrooms following the 2022 invasion of Ukraine. Pasha’s journey is a testament to the resolve of a single person risking their life for truth. For me, it was reminiscent of the anti-Vietnam War movement in our country.

Another standout, Cutting Through Rocks, directed by Sara Khaki and Mohammadreza Eyn, offers an intimate look at resistance within Iran. It follows Sara Shahverdi, a motorcycle-riding midwife who becomes the first woman elected to her local council in a remote, patriarchal village. Over eight years, the film captures her radical efforts to empower women by teaching them to ride motorcycles and advocating against child marriage.

A Deep Dive into Systemic Failure

The third documentary, The Alabama Solution, directed by Andrew Jarecki and Charlotte Kaufman, hits closer to home. Drawing from a six-year investigation, the film uses clandestine footage from contraband cellphones to document inhumane conditions, forced labor, and the suspicious killing of inmate Steven Davis.

I had a chance to learn more from Alex Duran and Beth Shelburne, co-producers of The Alabama Solution. Shelburne, an independent journalist, emphasized the film’s rejection of “sanctioned” access, describing official tours as curated “dog and pony shows.” Instead, filmmakers relied on incarcerated whistleblowers. This unfiltered access allowed them to bypass censorship and document a “corrupt, failed system” defined by lawlessness and a high mortality rate. The team tracked 1,377 deaths during production, creating a database to honor those lives.

Duran, who served 12 years in New York prisons, highlighted the use of humanizing language, replacing terms like “inmate” with “incarcerated worker.” He noted society often operates on unexamined assumptions: referencing a scene where a neighbor blames a murder victim’s “alcohol or dope” use rather than the system.

A major focus was the “prison industrial complex.” Shelburne detailed how the state extracts $450 million annually in labor and goods from prisoners. The system monetizes mass incarceration through wages as low as $2 a day. Refusal to work results in punishment. Furthermore, they exposed the “prison building scam,” where new mega-prisons are sold as fixes for overcrowding, while costs balloon to $1.3 billion, expanding a lucrative prison empire.

Ultimately, the filmmakers view their Oscar nomination as a vital shield. Duran and Shelburne stated recognition helps “keep the men safe” by increasing visibility. Their “impact campaign” aims to move the needle toward oversight and accountability. The film is now available for viewing on HBO Max.

Satire and Period Pieces

I also attended the Tribeca Festival screening of Academy Award-nominated short films. Shifting gears from heavy documentaries, Jane Austen’s Period Drama offered a satirical respite.

Co-written and directed by Julia Aks and Steve Pinder, this comedic short is set in 1813 England. It follows Miss Estrogenia Talbot, whose marriage proposal is interrupted by her period. Her suitor, Mr. Dickley, mistakes the blood for a mortal injury, sparking chaotic events satirizing ignorance of female anatomy.

I spoke with Aks and Pinder, whose banter reminded me of Mike Nichols and Elaine May. Aks, an opera singer, and Pinder, a director with an English literature background, described their collaboration as a “match made in heaven,” marrying classical aesthetics with modern humor.

Despite a limited budget, they prioritized authentic period aesthetics. Using production design and costumes, they mimicked the look of classic 35mm Austen adaptations. They cast dramatic theater actors rather than comedians to play the high-stakes situation “earnestly,” grounding the absurdity.

The duo emphasized the communal movie-going experience. They focused their campaign on theatrical screenings, noting that laughter is infectious. For Aks and Pinder, the nomination validates their unique voice and ensures independent shorts are viewed as standalone art. The film is now available for viewing on YouTube.

Whether exposing the penal system or satirizing Regency England, these filmmakers share a singular drive ─ the courage to tell stories that matter. As the Oscars approach, they remind us of cinema’s power to witness, warn, and entertain.

To find out more about the films

Mr. Nobody Against Putin:
kinolorber.com

Cutting Through Rocks:
roxie.com/film/cutting-through-rocks/

The Alabama Solution:
Available on HBO Max

Jane Austen’s Period Drama:
Available for viewing on YouTube

---

Michael Jacobsohn is an independent New York City filmmaker. Last year he completed The Cornelia Street Café in Exile, a full-length documentary. He curates and hosts a bi-monthly screening of short films at New Plaza Cinema. On Friday, March 27 at 7 p.m., the series celebrates its third year.