The substance wins for the best makeup and hairstyle

The Academy Award for Best Makeup is one of the youngest Oscars. It was from the first hand in 1981, a year after the Academy took heat for not receiving a specific award that could recognize Christopher’s excellent work for “Elephant Man” David Lynch. Indeed, however, since the beginning of the 1970s, pressure on the academy was strengthened when Dick Smith helped Marlon Brand become Don Vita Corleone into the “godfather” and turned the young Linda Blair into a “exorcist”.

The first Oscar for the best makeup went to the great Rick Baker for the “American Werewolf in London” and it felt like checking for horrors worldwide. Our genre is probably never considered worthy of the basic Oscars, but here was the category it probably owned for decades because no one has been engaged in more revolutionary work in the field than geniuses like Smith and Baker.

While genre films have always performed well in this category, a branch of the Academy, which instructed to distinguish perfection in makeup effects, has always been intricate. That is why the maestro mountains, like Tom Savini and Greg Nicotter, were never nominated, and Rob Botin was nominated only once without winning. For gorehounds, the last time the Oscar understood was in 1986, when Chris Havel and Stefan Dupuy came home the best Makeup Oscar for their hard, scary, disgusting and ultimately the mental work for David Kurnenberg’s “Fly”.

It was long and long, but the 97th awards of the Academy did the right business and reminded the world that Splatter is a vital form of art, passing the best makeup and hairstyle in front of Persin, Stephanie Gilon and Marylin Sorsi, a gorgeous form of f/X for “the”

If you managed to watch the Opus Body Horror Opus in Vacuum without thinking about Oscar, you probably didn’t go out of the theater, thinking you just watched the movie that would be nominated for five awards of the academy-and this if you did not run for out before the blood and viser. Even if you are stuck for the whole mountain, you most likely did not consider it an unwavering leader for the category where it should be an unpretentious favorite from Jump.

But the Fargeth film is indisputable, and as a lifetime horror fanatics that reads Fangoria from eight years, it is difficult not to consider the victory of Persin, Gliana and Tradela as a check for so much defrosting. This is a win for George A. Romero’s films, Dario Argenta, Lucio Fulchi and so many other directors whose soaked mountains continue to give us the most sweet and noticeable nightmares. Is this a sign that the Academy overcomes its dislike for splashes? If they also highlighted the brilliant Chris Nesha “in the rigid nature”, I would respond to the full crushed so. As long as I think I think “The Substance” is an outlierBut who will say? The film industry is experiencing incredible shocks. Let’s check next year to find out if we are talking about the honorary winner of Oscar Tom Savini.