With the notable exception of the rise of platforms and small but real advances in the recognition of the work of women behind the camera, this year's Oscars ended in a fairly predictable crop of awards in a context still uncertain for a Hollywood in full revolution.The event, as expected as it was feared, has finally arrived: a work distributed exclusively on a streaming platform has won the Oscar for best film.Not The Power of the Dog, a favorite production distributed by Netflix, but CODA, an American remake of The Aries Family, more discreetly distributed by Apple+ TV.The victory, certainly modest, of this film (three Oscars for three nominations) shows the upheavals which agitate Hollywood today.The rise (irresistible?), therefore, of platforms, while the world does not seem to have emerged from two years of pandemic.But also the will of the members of the Academy of Oscars to give a fairer place to women, too long ignored in their roles in key positions.Because CODA is directed by a woman, Sian Heder (who received the Oscar for best adapted screenplay), and Jane Campion left with the Oscar for directing (the only one received by The Power of the Dog, twelve times nominated) .Undeniable success during its presentation at the Sundance Festival, CODA is also a remake, like four of the ten films nominated for the Supreme Oscar this year, a symptom of an industry that seems to be looking for itself more than ever.But this research looks like a dangerous standstill when you look at the rewards package.Dune, undeniable technical performance, left winning the evening, with six statuettes, rewarding, precisely, only technical positions.Encanto, the fantastic family Madrigal, the annual Disney, walked away with the Oscar for best animated film.Jessica Chastain and Will Smith, respectively best actress and best actor, were rewarded for their highly anticipated performances in two ultra-calibrated biographies: The Tears of Tammy Faye and The Williams Method.Best Supporting Actor and Female Actor went to CODA's Troy Kotsur and Ariana DeBose (West Side Story's only accolade, which had seven nominations), giving the impression that Hollywood is desperately trying good behavior by rewarding people from representative minorities.This search for inclusivity now extends to cinema as a whole.If the Mecca of cinema has always attracted talents from all over the world, from Victor Sjöström to Guillermo del Toro via Jacques Tourneur and John Woo, its desire for cinematographic hegemony now includes the selection of works from all over the world. .From Z by Costa-Gavras to Parasite by Bong-joon Ho, via Pan's Labyrinth by Guillermo del Toro, foreign language films have occasionally been selected for the Oscars (apart from the best foreign language film category, of course). ).But this year's selection gave the impression that films from elsewhere could, even more than usual, participate in the same way as Hollywood productions.Three nominations (including best film) for Drive My Car, two for Madres parallelas, one for Julie (in 12 chapters) and two for Flee, which competed in both the documentary and animation category.Even if they all left empty-handed (with the exception, precisely, of the Oscar for best foreign language film for Drive My Car), this exhibition also gives the impression that the Academy, which hosts more and more films and voters from the rest of the world, seeks at all costs to signify the renewal of an industry in full uncertainty.Photographic rights: CODA: copyright Apple TV+ / Drive My Car: copyright 2021 Culture Entertainment/Bitters End/Nekojarashi/Quaras/NIPPON SHUPPAN HANBAI/Bungeishunju/LESPACE VISION/C&I/The Asahi Shimbun Company.