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Saoirse Ronan came on strong at the 2017 Toronto International Film Festival with two films that had the opposite experience: the immediately beloved\u00a0Lady Bird<\/i>\u00a0and the misfire\u00a0On Chesil Beach<\/i>, which cratered after world premiering on the first day of the festival. The film reunited Ronan with Ian McEwan, the author of her Oscar-nominated breakthrough performan in\u00a0Atonement<\/i>, and cast her as a young woman in the mid-century who experiences a disastrous honeymoon with decades worth of emotional consequences. Also starring Billy Howle (who she would quickly reunite with for\u00a0The Seagull<\/i>) as her hot-tempered husband, the film received a very tepid response at the festival despite its pedigree and received a very quiet release the next spring.<\/p>\n
This episode, we\u2019re talking about Ronan\u2019s increasingly prolific career and the performances that brought her Oscar nominations, including\u00a0Atonement<\/i>, which we will defend to the death. We also discuss the history of Bleecker Street films, their difficulty in securing Oscar nominations, and our favorites of their lineup.<\/p>\n
Topics also include that one cello piece used in all of cinema, frustrations over the term\u00a0\u201cOscar bait\u201d, and Bebe Zahara Benet\u2019s Jungle Kitty.<\/p>\n
Follow Us on Twitter!
\n@Had_Oscar_Buzz<\/a>
\nJoe: @joereid<\/a>
\nChris: @chrisvfeil<\/a><\/p>\n