"F1 is currently a massive outsider, at 200-1 along with The Secret Agent, which has no chance either but for very different reasons. It's not hard to see why: this is a swaggeringly mainstream film, where tech and branding dwarf the human input, with the film itself acting as a front-end battering ram for a sports organisation desperate to break into the promised land of the US auto racing circuit."
"The Oscars, as we know, have historically had a problem with so-called popular films; Oppenheimer, in 2024, was the first best picture winner in two decades to finish in the Top 10 box office of the year. Whether or not that is a reflection of Hollywood itself, which since the mid-00s has concentrated its money and marketing into increasingly elaborate FX films to the detriment of drama and performance, is a question expanded on endlessly elsewhere."
"It would make a change for something like this to get the top Oscar: a sleek, burnished motion picture artefact that's as beautifully finished visually speaking at least as the tech it is asking us to idolise. And plenty of people do: Formula One claims it has 827 million fans worldwide, with its drive into the Middle East as well as the US appearing to pay off."
F1 the Movie faces significant obstacles in winning the Academy Award for Best Picture, currently priced at 200-1 odds. The film represents mainstream cinema prioritizing technology and branding over human storytelling, functioning as marketing for Formula One's American market penetration. The Oscars historically favor prestige dramas over popular films, with Oppenheimer being the first Best Picture winner in two decades to rank in the top 10 box office. F1 ranked 14th domestically and faced additional challenges from Apple TV+ distribution, reducing theatrical impact. However, the film possesses qualities worth considering: its visual polish rivals the technology it celebrates, Formula One boasts 827 million global fans, and Brad Pitt's involvement provides mainstream appeal. The film represents a departure from typical Best Picture winners, though its commercial success and technical craftsmanship offer some merit.
Read at www.theguardian.com
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