Tuesday, May 6, 2025
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Oxford iGEM team goes to Royal Society’s conference

“Take a look at the items on your desk: a lamp, various iDevices and a house plant. Which of these is the most advanced piece of engineering?” asks Dr Jason Kelly, CEO of the synthetic biology company Ginkgo Bioworks. He argues the case for the house plant: a self-sustaining, self-replicating and selfrenewing system. “Imagine what a self renewing iPhone would do to Apple’s profit margins!”

Biology has evolved machines of incomparable sophisitication to manmade devices, however synthetic biology, the fusion of engineering and biology affectionally known as ‘synbio’, is providing tools for scientists to exploit the genetic machinery that organisms use to live and co-opt it for novel purposes. From bacterial perfume to computing DNA, the applications are seemingly limitless, as the Oxford 2017 iGEM (International Genetically Engineered Machine Competition) team discovered when they attended a conference at the Royal Society in London.

The first speaker, Professor Christina Smolke from Stanford University, explained how her group engineered a yeast opioid production line, allowing more efficient production of the poppy-derived pain relief molecule than traditional extraction methods from its natural source. Transplanting the poppy pathway into yeast required knowledge of the protein machinery (enzymes) and genes that encode them in every stage of the natural pathway. From here, the researchers turned to other organisms to mine for alternatives. For efficiency, different stages of the pathway were segregated to different sub-compartments of the cell, much like the specialised buildings of a production factory.

Then came Dr Jason Kelly, whose Boston based company Ginkgo Bioworks is taking advantage of the falling cost of genetic engineering to expand it to new markets in the fragrance, flavour, and food industries. Their latest venture is a microbe produced version of an extinct flower’s scent. Consult Dr Kelly and his team with a product idea and they will endeavour to find a way to make a bacterial device to meet your needs. The innovation takes place in an impressive 40,000 square-foot facility, more akin to a sci-fi film set than a science lab, endowed with the latest robotics and automation. Automation is crucial to synthetic biology’s design led approach to replace time-consuming trial and error experiments. Dr Kelly’s presentation stood out in capturing the ‘blue sky’ thinking of the field, and we were excited to discover that he was part of one of the first iGEM teams.

This same approach has applications in more conventional industries while still retaining this ‘outside the box’ thinking. Dr Jeremy Shears from Shell discussed the potential of a synbio solution to the energy problem, envisioning fuel producing microbes and novel energy carriers made by photosynthesis. Many of these applications are a long way off, yet the urgency of the growing energy crisis makes advances in this field vital.

The importance of drugs derived from natural products highlighted in Professor Smolke’s presentation was revisited by Pfizer researcher Dr Edmund Graziani, who described these chemicals as “privileged” because they have been fine-tuned by evolution. However, he explained that in the past only a subset of these chemicals were suitable to be developed into drugs because they had to be small enough to enable them to be properly processed by the body. Not only did this limit the compounds that could be developed, but also left many diseases “undruggable”. Dr Graziani argues the case for creating a microbial machine that can perform “directed evolution”: the bacteria would take existing natural products, modify them, and spew out only the most promising potential drugs. To realise this approach, however many technical hurdles must be overcome.

A recent addition to the synbio toolkit, the development of techniques to incorporate unnatural amino acid building blocks into proteins in vivo is proving useful in pharmaceuticals and beyond. Usually cells are limited to using only 20 of these building blocks, so expanding this repertoire by adding phantom amino acids could greatly enhance diversity. What’s more, the scientists can choose the precise site into which to introduce the unnatural amino acids to specifically decorate the protein with chemical labels. These are useful, for example, in making the protein visible under a microscope or in allowing it to be attached to a drug delivery vehicle.

The final speaker, Microsoft’s Dr Andrew Phillips, presented research into “bio-computing”, explaining how knowledge of how cells compute is being exploited to programme DNA and organisms. For example, the “consensus algorithm”, which causes participants to agree to do the same thing, was ‘invented’ and utilised by cells as a means of controlling cell division. There are exciting advances here, but it seems that at the moment the biology is more complicated than the computer science: biology is more unpredictable and noisy than electronics so we must be careful not to overstretch the analogy of “genes as circuits”.

I took a lot away from the diversity of the talks, not only inspiration for iGEM but also a better understanding of the current achievements, future promises, and limitations of the field of synthetic biology. The scope of synbio applications we learnt from the conference certainly hasn’t helped us narrow down ideas for our own project, but we left excited by the fact that we may be able to contribute to this rapidly-expanding area of biology.

Cherwell is recruiting for TT17

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Cherwell is now recruiting for editorial positions for next term. This is your chance to be part of one of the longest-running independent newspapers in the United Kingdom and to follow in the footsteps of past contributors such as Graham Greene, W.H. Auden, Hadley Freeman, and Rupert Murdoch.

We are recruiting for section editors, deputy section editors, broadcasters, and contributors.

Apply to be a Cherwell section editor here or a deputy section editor here. Apply for a position on the Broadcasting team here. Copy and paste the text from the Google document into your own Google or Word document and email all application forms to [email protected].

The deadline for applications is Monday 6 March at 8pm. Please email any queries to [email protected]

Cherwell is also looking for cartoonists, illustrators, and photographers—all interested contact [email protected] with details of any relevant experience.

Candidates will have a short, informal interview with the editors. Interviews will be held during 8th Week.

Like us on Facebook or follow us on Twitter for recruitment updates and news.

Our Business team is also always looking for new recruits. Cherwell provides some of the best business experience in Oxford and provides excellent preparation for any media, consulting or banking career. We’ll train you on all relevant parts of the business and teach you to raise £10,000 independently. Email [email protected] to express interest.

Editorial job descriptions:

News:

This term, Cherwell news has reported on Oxford’s Trump protests and Iffley Open House, as well as exposing fake news. Our latest front page even resulted in the withdrawing of funding from a major political event. Our stories have been reported in the Telegraph, the Guardian, and the Independent. To apply for News Editor, fill out the Section Editor form. It’s very easy to become a News Reporter (and you can still contribute to other sections of the paper too): just send an email to [email protected], come along to our weekly meetings, and you can be at the forefront of student journalism (maybe even literally on the front page).

Comment:

The Comment section has a well-respected tradition of printing cutting-edge opinion pieces from students on a range of Oxford and national issues. Our best debates and opinion pieces are read around the University and online, frequently attracting several thousand hits.

Joining the Comment team also allows you to interview leading political figures and celebrities. In the last year, Cherwell has interviewed Michael Gove, Fiona Bruce, Mary Beard, Jeremy Paxman, Richard Dawkins and Slavoj Žižek.

If you’re passionate about a subject and want to share your views and spark debate, join us. You can be a Deputy Comment Editor even if you haven’t written for us before—Deputy Comment Editors are intended to form a permanent core of reliable writers who can called upon regularly to write for the section. If you just want to write on an ad hoc basis as a contributor there’s no need to fill out a form, just email [email protected].

Satire:

Satire is one of Cherwell‘s newest sections, but it’s already giving Private Eye a run for its money. This term, its pieces have ranged from international politics to college politics featuring the likes of Trump, May and Corbyn. Each week our Satire Editor writes and sources a number of articles and cartoons. Fancy yourself as the next Hislop? Then this is the position for you. Fill in the Section Editor form to apply for the role of Satire Editor.

Life:

The Life hosts a number of Cherwell’s most popular features, including our Letter from Abroad and the (in)famous Blind Date.

We also have a Food & Drink page, which you can additionally apply to edit, or to write for. It features a wide variety of reviews and recipes. If you want to review college meals, or Oxford’s extensive number of bars or restaurants, this is the place to look.

Deputy Life Editors are intended to form a permanent core of reliable writers which can called upon regularly to write for the section. If you just want to write on an ad hoc basis as a contributor there’s no need to fill out a form, just email [email protected].

Investigations:

We are extremely proud of our Investigations section, otherwise known as C+. This is where some of the most in-depth, investigative journalism is done, tackling some of the biggest issues in Oxford today. This term, C+ has investigated, amongst other things, the problems surrounding homelessness, race, and suspension in Oxford. If you want to test the waters of investigative life before becoming completely in charge of it, apply for Deputy Investigations Editor.

Features:

Appearing in the paper every other week, this term’s new Features section has included some brilliant pieces on January’s women’s march, travel and the freedom and empowerment of drag. If you’re a fan of the New York Times‘ long form articles, want to interrogate and explore subjects in more detail and fancy reading (or writing) an article longer than the standard comment piece, Features is the section for you. Fill out the Section Editor form to apply to become Features Editor.

Culture:

Culture is our largest section, with pages dedicated to Film & TV, Stage, Music, Books & Lit, and Visuals. We’re one of the first ports of call for reviews of all the student plays, as well as all the other cultural delights which Oxford offers.

If you’d like to edit the whole Culture section, please fill in the Section Editor form. If you’d like to edit any of the Film & TV, Stage, Music, Books & Lit or Visuals pages, please fill in the Section Editor form. If you would just like to contribute to Culture occasionally, there’s no need to fill in a form—please just email [email protected] expressing your interest.

Fashion:

Our Fashion section has gone from strength to strength this term. If you want to organise weekly photoshoots, or you’ve got opinions on fashion and fancy being the next Sartorialist, this is the section for you.

Deputy Fashion Editors are intended to form a permanent core of reliable writers which can called upon regularly to write for the section and to help with the weekly fashion shoots. If you just want to write on an ad hoc basis as a contributor there’s no need to fill out a form, just email [email protected].

Science & Tech:

Science has only recently found a home in our weekly paper, but the section, which started in Michaelmas 2016, now publishes regular, focused and cutting-edge articles in Cherwell. Covering Biology, Chemistry, Physics, Medical Sciences, Engineering, and everything in between, the section allows a thoughtful scientist to publish musings on any new research that has been dumbfounding them, or even interview their favourite scientist. Recent articles have included a piece investigating why quantum physics is invading biology, a discussion surrounding editing genes, and an interview with Sir Paul Nurse. This term, we’re opening out the page to include the world of technology too. Fill out the Section Editor form to apply to edit our Science & Tech section.

Sport:

We report on many major sporting occasions in Oxford—whether your interest is rugby, swimming or lacrosse, there are opportunities for objective analysis of the big games, or not-so-objective match reports from those involved in college matches. Get involved with the Sport section to continue this trend and expand high quality coverage to other sporting fields.

Apply to be a Deputy Sport Editor if you would like to be part of a permanent team of reliable writers which can called upon regularly to write for the section. If you just want to write on an ad hoc basis as a contributor you don’t need to fill out a form, just email [email protected].

Broadcasting:

Our Broadcasting section has produced fantastic content over the last term, from our weekly news round up to covering TedxTalks Oxford and various sporting events. If you have experience in production and editing, or are just keen to learn about being either behind or in front of the camera, then apply to join the broadcasting team.

Squatters leave Iffley Open House for University building

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The Iffley Open House (IOH) occupiers claim to now be squatting in a University-owned building, following their eviction from the Volkswagen garage owned by Wadham College in which they had been living.

Today the group secured the power station at Osney Island, an unoccupied space owned by Oxford University, which they claim has been left “unutilised” for several years.

The building was used as a physics faculty by Oxford in the 1970s, but has stood empty now for seven years. The space had reportedly been considered for use by the University’s Said Business School.  

In a press release IOH said that they “hope to stay for two months, and work with local residents to create a safe space which is just as successful as the original Iffley Open House”.

Oxford University said in a statement to Cherwell: “30 people moved into the Old Power Station building owned by the University of Oxford. Around 20 of them are homeless and are using it as a squat after vacating a former car showroom from which they had been given notice to quit.

“Ten volunteers working with the homeless are thought to have joined them. The University sympathises with the plight of these homeless people who need somewhere safe to live and has been speaking with their representatives about how to resolve the situation.

IOH squatters were given notice from Wadham two weeks ago that they would have to leave the old VW garage owned by the college by yesterday.

This notice came despite tthe group’s claim that in January the leaseholders of the ground floor of the building, the Mid-Counties Co-Operative, had negotiated a lease to allow the squatters to stay until 10 April.

Since New Year’s Eve the group had being using the building to house up to 20 homeless people. They had been providing cooked meals and washing facilities, as well as skills to help the residents find new work.

Oxford University students, including the ‘Hertford for the Homeless’ campaign, have worked alongside local volunteers to aid IOH’s homeless residents. Students today assembled in Radcliffe Square to take photos to express their solidarity with the project.

IOH say that since opening the shelter, two residents have been rehoused, one has been accepted into University, a further two have started new jobs, and several others are awaiting responses from job applications.

Sandra Phillips, an IOH voluntee, said: “We fully intend to respect the Power Station and the surrounding community for as long as we stay here, we hope match the level of understanding and support that we’ve received at Iffley Road

“Ultimately, this is about providing housing for those who need it most – and we truly believe that the residents of Oxford believe in this cause as much as we do”

Cocktail of the week: Lemon drop

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Who didn’t love sherbet drops as a kid? Those hard lemon sweets filled with sherbet that you would always find at your grandparent’s house. This cocktail is the adult equivalent of that childhood favourite. It combines citrus, orange liqueur and vodka for the perfect blend of tart and sweet. It’s also incredibly cheap, with vodka and triple sec being two of the cheapest spirits you can buy. Thanks to the small measurement sizes, you can also make quite a few of these from your litre bottle of vodka, saving even more money in the long-term.

Ingredients:

50 ml Vodka
15 ml Triple sec
25 ml Fresh lemon juice
Lemonade
1 tbsp sugar
Ice cubes
1 fresh lemon

Method:

1. Wet the rim of the glass with some lemon juice and then dip this in some sugar to rim the glass. Do this a few minutes ahead of time so the sugar can dry and adhere well to the glass.

2. Place Vodka, Triple Sec, and lemon juice into a cocktail shaker with four-five ice cubes. Sugar can be added to your taste, although 1 tbsp should be about right.

3. Shake this vigorously for about 30 seconds and then strain into your glass.

4. Top up with lemonade to help stretch the alcohol and provide you with a bigger drink.

5. Garnish the drink with a lemon twist by cutting a circular slice of lemon, and then detaching the peel from the pulp. Cut the peel into a single strip and then twist it into a spiral and place it in the glass.

Underground and boxed inside

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The London Overground ploughs through Shoreditch, and beneath the railway arches lies Village Underground. It’s a fascinating venue. The tight tunnels and narrow passageways give way to a monolithic brick wall which towers over the side of the stage—a stage where Boxed In stand.

This concert is the band’s largest to date, although given frontman Oli Bayston’s nack for a nifty melody and tight production, it would not be surprising if they went onto much bigger things from here. Their sound, somewhere between dance and alt rock, fills the cavern.

Everything the band do has a real sense of urgency tonight—cymbals are smashed, bass strings are plucked, strobes flash, all with a ferocious intensity which invigorates some of the more plodding songs from latest LP, Melt.

The final minutes of ‘London Lights’ are transformed from a pretty dull breakdown into a frenzy—synths soar like organs around the venue, while Bayston yells “Take you back for love!” The added pace doesn’t always come off as well as the band might like. On their more reflective tracks, not that there are many, it’s all a bit too much. The power of Bayston’s most restrained and beautiful song to date, ‘Open Ended’, is lost: the climactic bridge—during which he sings of Icarus—flies too close to a beat-driven sun, has its wings melted, and dies.

Boxed In choose not to look back to their first, eponymous LP, and it’s a move that pays off —in retrospect their earlier songs quite understandably don’t demonstrate the same nuance as their later tracks. Despite this, it’s one from Boxed In which is the standout track of the night—’All Your Love is Gone’. Perhaps it’s just that the song’s venue is appropriate—after all, the line about “rusty railroad tracks” and the stabbing train-like piano chords remind the crowd of what’s going on above the gloomy shadows in the rafters of the venue.

Still, as the song reaches its finale, the crowd are really moving, and Boxed In leave the stage, their big gig a success. But before they go, Bayston informs the audience that he and the rest of the band will come and meet everyone at the exit. It’s a nice touch—but trains have to be caught, so it was a transfer from Underground back to Overground before Boxed In had a chance to say goodbye.

Pembroke appoints first-ever meme reps

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Pembroke College has passed a motion to add the role of meme rep to the JCR committee.

The meme rep will create and run a Facebook page called ‘Memebroke’, posting weekly memes and providing memes for bops and other college events. The motion, proposed by Freshers Rebeccah Williams and Hazel Ellender, noted: “College spirit and memes are both highly important, and particularly difficult to promote.

“The addition of recognised meme reps will encourage both of these simultaneously. Meme reps will be a valuable and cherished extension to the Pembroke community.” Williams told Cherwell, “Hazel and I decided to introduce the position of meme reps as we thought it would help boost morale around college especially around fifth and sixth week.

“We think it’s important for the college to stay current and that it would help Pembroke preserve its friendly and fun atmosphere. We intend to use the memes to help promote Pembroke events such as bops and also sporting events in which Pembroke are competing such as Torpids.”

An amendment to the motion requires second-year student Francesco Pozzetti to post one of his memes weekly on the JCR Facebook page following the failure of his motion “To officially consider Juventus an immoral and an illegal organisation, and to therefore discourage any member of this college from supporting them”.

Pozzetti told Cherwell: “After an intense thirty minutes debate my motion regarding Juventus mafia in Italian football narrowly failed. My attention turned to the meme motion, and I managed to include an amendment that allows me to inform people about the Juventus mafia by posting a meme once a week on our JCR official Facebook page. Luckily, students still believe in memes as a way to get relief at 2am in the middle of an essay crisis, and so the meme motion passed: Pembroke is proud to be the first college to include a meme rep in its committee.”

OxFolk reviews: ‘March Glas’ by Elfen

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It isn’t often that a folk music album seems to resonate with joy and life—when the ending of each track seems to reverberate on long after the final note has died away. Elfen’s debut release March Glas has this quality in buckets, seeming to simply emanate from this trio. With each track leading effortlessly into the next, it is a finely constructed piece of art that spirits the listener away into a world of laughter and song—and almost forces you on your feet to dance along. The group’s embracing of their Welsh language and tradition serves to root this music in a strong sense of place and belonging, with each new tune soaked in a celebration of ‘Welshness’.

Like all good folk music, this album is infused with stories and history, making each individual listening a journey into the depths of Wales. Each tune represents a different route into the music: the slow instrumental track ‘Adar man y mynydd’ (small birds of the mountain) is a beautifully slow, ambling old tune that gradually glides into a rich, full sound, helped by the addition of low and high whistles. Elsewhere on the album, the title track is a gloriously foot-tapping, rollicking song with a driving fiddle from Helina Rees. Stacey Blythe’s rolling accordion line underlies each track and carries the music forward, whilst Jordan Price Williams’ fantastic performance on bass and whistles gives each track its own distinctive feel. Indeed, the sheer breadth of style and emotion this trio manage to evoke is quite astounding—a set of jigs are given a jazz twist that manages to pleasantly surprise the listener again and again, whilst the slow, nostalgic singing of ‘Chwarae’, a poem by one of Wales’s great poets Waldo Williams, evokes lazy summer evenings as the listener is washed away on waves of gorgeous harp playing (Stacey Blythe).

Named fittingly after the Welsh word for ‘element’, Elfen’s music is not only carefully built out of ancient Welsh stories and poems and is beautiful to study—it is also simply a joy to listen to. It’s so much fun. Hearing it, you can’t help but smile. It’s the kind of music that would be even better, if that is possible, when heard live (head to those tour dates!) March Glas is a wonderful album, injecting colour and life into the world of Welsh folk music—a veritable musical ‘cwtch’ you can return to again and again.

Shark Tales Episode 4 [Season 6]

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Ever wondered what your friends are up to during their time in Oxford? Not to worry, they’ve been caught on camera. This is Shark Tales.

89th Academy Awards: Predictions

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Well what an incredible film year it’s been. We’ve seen Marvel smash box office records, the DCEU continue to struggle in its quest for superhero domination and a massive increase in popularity for independent films across the UK and the World. However, once more, it is that time of the year when our focus turns to the Oscars, that one incredible night when the entire entertainment world is watching. Funnily enough, if anyone needed any proof as to how important the night is to Hollywood, when I was having lunch one day in the Hard Rock Café in Los Angeles, I was told that instead of Christmas Day, the one day off work the waitresses had all year was the day of the Oscars. Anyway, without further ado, here are my Oscar predictions for the awards on Sunday 26th February. Will La La Land dance its way to glory, or will Moonlight’s luck shine upon its chances? Only time will tell, but until then, here are my predictions:

Best Film Editing—La La Land

As is traditional, the Best Editing Oscar is a key precursor to the Best Picture victor. Although not the same result that year, Tom Cross walked away with the Oscar for Whiplash, and will most likely do so again for his terrific work on making a painstakingly-shot musical feel like a fleeting glimpse at Seb and Mia’s life. Expect him to become a winner once more.

Best Original Song- ‘City of Stars’—La La Land

It is extremely unlikely that anything other than La La Land will walk away with both (or even either of) the awards for the music on the big night itself, and rightly so. Hurwitz’s music is magical, inspiring, and tremendously catching, and ‘City of Stars’ is the emotional centre of the film. If I were a betting man, this would be my most sure-fire category; it’s basically already won.

 Best Original Score—La La Land

See above for an explanation as to why La La Land will win this awards: once more, it’s almost a guarantee.

Best Animated Feature—Kubo and the Two Strings

This is a very interesting category once more this year. Until one month ago, it seemed that Zootropolis would calmly stroll away with this award, but then came the Oscar Nominations, and the BAFTA awards. Kubo was nominated for special effects at the Oscars (almost unheard-of for an animated film) and won the BAFTA, signifying that there is a lot of love for the film. Expect it to pull off an upset on Oscar night and win the prize.

Best Foreign Language Film—The Salesman

Although Toni Erdmann has all of the critical praise imaginable for a foregin film (and perhaps should have made it onto the Best Picture list), the director of The Salesman has had very public troubles in attending the ceremony due to President Trump’s border controls, so expect the political force behind the Academy to push The Salesman to victory. This will be the evening’s ‘Protest Vote’.

Best Adapted Screenplay—Moonlight

Although Arrival won the WGA award in this category(a usual precursor to this category), expect the Academy to lavish some praise on Moonlight here, a film that will not find much love in the major categories except for Supporting Actor. This will be their chance to reward the film with a big-ish trophy, so expect this one to be a major victory for Barry Jenkins’ sophomore outing.

Best Original Screenplay: Kenneth Longergan—Manchester by the Sea

This is one of the most difficult awards to predict. La La Land won many of the precursor awards for his category, but in all honest Kenneth Lonergan’s screenplay for Manchester by the Sea exudes such raw, emotional power it would be a true shame if it weren’t to win. Even though you have to be a brave man to bet against La La Land in almost any category this year, I expect Kenneth Lonergan to win his first Oscar here.

Best Supporting Actress: Viola Davis—Fences

It is extremely unlikely that anyone other than Viola Davis will walk away with the Best Supporting Actress Oscar this Sunday night. Don’t get me wrong, she is terrific. But in no way is it a supporting performance: she is in well-over half of the film, and dominates almost every screen she appears in. Without Davis, Michelle Williams would surely win for her emotionally-devastating turn in Manchester by the Sea, which is a true supporting performance. However, expect Viola Davis to walk away an Oscar winner on Sunday night.

Best Supporting Actor: Mahershala Ali—Moonlight

As I suggested earlier, it is very likely that the Academy will look to give Moonlight some serious awards love here. Mahershala Ali is terrific in the film, fulfilling a true supporting-role and becoming such an emotional crux of the narrative it’s impossible for the audience to forget him during every frame in which he does not appear. Although it is a shame that Jeff Bridges will miss-out for the brilliant Hell or High Water, Ali is a deserving winner this year.

Best Actress: Emma Stone—La La Land

Discarding Meryl Streep’s guaranteed nomination for the poor Florence Foster Jenkins, it is a very strong field for Best Actress once more this year. Although it seemed that Natalie Portman had the early momentum, and that Isabelle Huppert has the support of the foreign critics, expect Emma Stone to dance her way to the stage to finally collect a well-deserved Oscar this year for her brilliant work in La La Land.

Best Actor: Casey Affleck—Manchester by the Sea

This is, in a welcome change of events, the most unpredictable category this year. The race has been terrifically well-fought, with both Casey Affleck and Denzel Washington holding first place for significant periods of time. Although Washington has much of the current goodwill after a SAG win (a good precursor for the Oscar), I still expect Affleck to win for his magnificently-understated performance in Manchester by the Sea, a film the Academy clearly loves (it received six nominations this year). Especially if La La Land were to take Original Screenplay from under MBTS’s nose, expect Affleck to emerge victorious.

Best Director: Damien Chazelle—La La Land

Once more, expect La La Land to dance away with another well-deserved trophy. It is so brilliantly directed, choreographed, shot and edited, there is no way all of that could not come together without an incredible director. Now don’t get me wrong: although only thirty-two years old, Damien Chazelle is an incredible director with a long career ahead of him. He fully deserves this prize, and will definitely be leaving the Dolby Theatre an Oscar winner on Sunday night.

Best Picture: La La Land

So here we are: the biggest award of the night. As anyone who has been following my earlier predictions will realise, there is a clear favourite: the awards juggernaut that is La La Land. It will win Best Picture on Sunday night, and rightly-so. It is truly joyous: an ever-shining light in the current world that is so-often characterised by darkness and despair. La La Land is one of those rare films that manages to be released at just the perfect time: if one were to watch it at any point over the next four years (or however long Trump lasts), they can expect to be transported from the current times to ‘Another Day of Sun’, a ‘City of Stars’ or even an ‘Epilogue’ of Twenties movie-sets, complete with tap-dancing extras, stunning hand-painted backgrounds and perhaps a different future entirely. Without sounding too fawning of its brilliance, it is one of the best films of the decade, and will walk away a multiple Oscar winner on Sunday night, with Best Director in one hand and Best Picture in the other. – Oliver Barlow

 

As any of my friends will tell you, my attempts to see all of this year’s Oscar contenders have been nothing less than exhaustive (or exhausting, depending on who you ask). Having seen every film nominated in three or more categories, including every Best Picture nominee, now comes my chance to show off and wildly speculate about who I think is most likely to win and, more subjectively, who I think ought to win in each major category.

Let’s kick off with the biggest prize of all: Best Picture. My prediction is that La La Land will win, but, really, Moonlight should win. We’ve all heard the extraordinary hype for La La Land by now (I even gave it a 5-star review), but it’s also one of the safest, most “Oscar-friendly” nominees in years. It’s my favourite of the BP nominees, but it’s hard to argue it’s the best. It’s likely to sweep many of the technical categories (Costume Design, Cinematography, Original Song/Score) anyway, so it would be nice to see the Academy give the top prize to a bolder, more interesting, and arguably more accomplished film like Moonlight.

The category for Best Director is a little closer than the two-horse race for Best Picture—after all, it’s also extremely plausible that Damien Chazelle will win for La La Land, since these nominations tend to go hand-in-hand. Nevertheless, Jenkins displays such a command of the material in Moonlight, and such a unique and compelling vision, he really should (and probably will) win this category.

The competition for Best Actor has generated lots of talk about Casey Affleck, so there’s an outside chance he’ll take this one, but Gosling put the prep in for his role and it shows, so he will probably take the Oscar. Nevertheless, Garfield’s stoic, empathic performance as Desmond Doss in Hacksaw Ridge really deserves more attention than it’s getting—so Garfield deserves the trophy in my opinion.

We all know that Emma Stone will win Best Actress for La La Land, but my vote would go to Amy Adams for Arrival. Before you argue with me: yes, I’m well aware that Adams wasn’t nominated. But I’m also aware this is one of the biggest Oscar snubs in years; her performance in Arrival is incredible and to be honest, this category is a hot mess this year—actresses like Adams and Taraji P. Henson have gone un-nominated for truly sterling work.

Mahershala Ali deserves Best Supporting Actor, because his incredible performance is the bedrock of what makes Moonlight great. That said, Dev Patel’s work in Lion is an incredible combination of preparation and performance. Lion is one of my favourite Best Picture nominees, and if it deserves any award, it’s this one.

Though I didn’t care much for Fences, Viola Davis’ performance was nothing short of masterful. If anyone else wins Best Supporting Actress, it’ll be a real upset.

Finally, to cartoons: Zootropolis is a brilliant film, and because it was released by Disney and grossed a billion dollars it’s almost a lock that it’ll win the Best Animated Feature category. However, Kubo and the Two Strings is one of the most beautiful and engrossing animated films ever made, jaw-dropping both technically and emotionally. Watch it now if you haven’t yet, so you have something intelligent-sounding to say if it becomes an underdog champion on the night.

So there you have it: possibly the most subjective guide to an Oscar’s ceremony that’s ever been written, and one I hope you’ll have fun rereading once the results come in and proven heinously wrong. Jonnie Barrow

 

Reinvention: a love affair with language

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I recently read Jhumpa Lahiri’s In Other Words and Elena Lappin’s What Language Do I Dream In?: A Memoir one after the other, a happy coincidence.  Lahiri’s In Other Words, a collection of essays, is a type of memoir recounting her relationship with the Italian language. After years trying to learn Italian in America by using ‘teach yourself’ books, Lahiri made the bold decision to move to Italy and the even bolder decision to write only in Italian. She describes her relationship with the Italian language as a love affair— the language is Beatrice to her Dante, “the poets inspiration, forever unattainable” and “marked by distance, silence”.

Elena Lappin speaks five languages, Russian, Czech, German, French and English, a result of her peripatetic childhood—”five languages in search of an author’. Born in Soviet Moscow, her family moved first to Prague and then Hamburg. The author then studied in Israel, moved to Canada and then America and finally Britain, where she has lived the longest. Her work begins with a revelation, the discovery of a biological father she was unaware of, which in turn triggers her mediation on the languages she has lived in, languages which she has made her own and the language she has chosen above all others: English. She writes, “as a writer, I died when my parents decided to emigrate and I knew it. And then came the miracle of being reborn in English.” Both writers realise that language can represent a choice, an opportunity to be reborn.

For Lahiri, Italian allows her a creative freedom as the writer she has never found before, because she elects to use it. It is not forced upon her by anyone, as the Bengali of her parents or the English of the culture she grew up in—but never felt she belonged within—were forced upon her. Lahiri is used to linguistic exile but her exile in In Other Words is self-imposed. For Lahiri, the authors can be reborn with each new language chosen. Her exile is a kind of test, a hope flung wide, that the creative impulse is something innate unleashed by the language of her choice rather than dependent on her ‘mother tongue’; the creative impulse precedes language and Italian allows her to know this as a certainty.

Lahiri’s essays were all written in Italian, translated by Ann Goldstein to English and produced in a bilingual tradition. I have not read Lahiri’s previous work, written in English, so I can’t judge whether her voice carries across, but there is a striking simplicity to the translated English—and from the sections I can read, to the Italian as well. Lahiri’s Italian, the writer herself acknowledges, will always be imperfect, but this allows her a freedom, a bravery; “from the creative point of view there is nothing so dangerous as security”.

Critics have patronisingly applauded Lahiri’s return to the US and what they presume will be a return to her use of English. But the book with all its imperfections makes something perfect, beautiful, sincere and brave, one that I think writers will return to again and again. So many writers, such as Lappin, recreate themselves in different languages. Just as Lahiri writes “a translation is a wonderful, dynamic encounter between two languages, two texts, two writers. It entails a doubling, a renewal” this book is a renewal for all involved.

Lahiri’s experience as the daughter of immigrants, caught between two languages, parallels Lappin’s on many levels. Lappin’s work is full of warmth, wise, full of comic anecdotes. It’s a history of her family as much as her own memoir, going back multiple generations and projecting forward into the future, to her children who must also make their linguistic choice, having each “arrived in a different linguistic constellation”. She finds her identity not just in language, but ulimately in her Jewishness, an identity which drives her to leave Germany, to find her linguistic home elsewhere. Moving so much gives her a fearlessness and reinventing herself becomes easier and easier.

Yet loss also pervades her work. Lappin has not lost her history—she instead possesses a collective cultural memory due to her Jewish identity—but she has lost home after home. In English she finds a home for her voice, but she still feels a deeply personal loss. Lahiri writes of speaking Italian in Rome and a shop assistant assuming she had learnt the language from her husband—because of the colour of Lahiri’s skin. Her voice is not enough in the speaking world, a loss she feels everyday that she tries to write in Italian, but also when she uses English.

Both writers still find different kinds of displacement greet them wherever they go, but they use this displacement to empower them, to recreate themselves and their work, to create daring, unforgettable work.