Apparently unable to keep a homeostasis for very long, the Academy of Motion Picture Arts and Sciences has yet again changed its rules of eligibility, effective for the 90th Academy Awards next February.
Numerous categories were affected as the changes were announced on Friday, yet most notably changed was the Best Documentary Feature category. Despite O.J.: Made in America winning Best Documentary in February as a film and also serving as a TV documentary mini-series, the Academy has now ruled that documentary series are now longer eligible for the award. Although O.J. was not mentioned in the press release announcing the rule change, this alteration feels, to me, like a direct response to a film which met Academy qualifications last year by premiering in theaters before it aired on television. This rule seems to make it unnecessarily difficult for worthy films to be nominated for Oscars, and the Academy seems to be limiting their own goal of finding the year’s best films (O.J. topped my best-of film list for 2016, as well as numerous critics). Traditional, theatrically released docs are not the only way to make an exceptional film, although the Academy seems to be preserving some sense of superiority by limited the category in such a way. ESPN’s latest documentary We the Fans, which premieres on April 11th as the first part of an eight-part series is now no longer eligible for the Academy Awards, yet may be eligible for the Primetime Emmy Awards comes September.
Of course the Academy is not shy about changing its rules in one way, sometimes directly after changing them in another way. The best example of this in my lifetime is the recent rule changes for the Best Picture category. In 2009, before the 82nd Awards, the Best Picture category was expanded from five nominated films to ten, although it only stayed that way for two years. A response to populous films like The Dark Knight (Nolan, 2008) not being nominated, many now think the rule change was a failure mainly due to films such as The Blind Side (Hancock, 2009) and Extremely Loud and Incredibly Close (Daldry, 2010) receiving nominations. The category now hovers between five and ten, and very few films with mass appeal, like Star Wars: The Force Awakens (Abrams, 2015) make the cut despite original intentions from the Academy.
I’m on the fence about the rules myself. I thoroughly believe the Oscars should do their best to honor the best films possible, yet their near-constant dismissal of films that received critical and commercial acclaim is baffling to me. Yes, some films that meet both qualifications have received nominations–Toy Story 3 (Unkrich, 2010), Inception (Nolan, 2010), Django Unchained (Tarantino, 2012), and others. Still, the middle ground is irritating. There are far more than ten films released every year that deserve Best Picture nominations, and I see no harm in giving the Academy a minimum/maximum of ten to nominate. I do see the dilemma when films like The Blind Side and Extremely Loud get nominated, though. For the record I enjoy those films, yet calling them Best Picture-worthy feels odd to me. Perhaps the Academy is better being exclusive, live it was for decades upon decades, and only nominated five, often incredibly-worthy, films.