The thing is, Madhu, at some point one begins to catch on to the fact that a Best so-and-so Oscar isn't exactly given to the best so-and-so. My moment of realisation came when Inglourious Basterds didn't win the Best Original Screenplay Oscar (I personally feel that stuff can have a couple of PhD theses made on it). Or when The Shawshank Redemption didn't win the Best Film.
The trouble isn't that the good work is losing but that people covet this award so much that they start working outside their zone. I've been a fan of Innaritu right from the time I saw Amores Perros. Babel, and Birdman were both amazing, too. The complexity and sensitivity this man is capable of is marvellous.
Yet, he makes this black-and-white, hero-villain revenge story which doesn't really demand his skills. What's more, he fabricates it himself from a much different real incident. I attribute this to a want of external glory as opposed to internal satisfaction and the Oscars embody this glory.
I understand we weren't talking about Innaritu or the Oscars but I suspect you may glean a point or two from my comment which are relevant to the prevailing discussion.
It is the hunting season again. Many films out there are keenly angling for the prey – the Oscars. Which film will successfully hunt them down is yet to be seen, but we could engage in the fun game of seeing what strategies each film is adopting. Some films do it by being great cinema, and some others bait. Often the baiting is so obvious, we may as well call it the baiting season. And this year's most accomplished baiting is perhaps achieved in The Revenant.
The Revenant is simultaneously baiting for two big Oscars. The Best Film, of course, but also The Best Actor. At this p....