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The Academy’s 9th anniversary Governors Awards, which took abode on Saturday night at the Ray Dolby Ballroom, was a Hollywood accident that managed not to be overshadowed by Harvey Weinstein, Kevin Spacey and the added ball abstracts whose transgressions accept bedeviled the account lately.

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Instead, the focus was abundantly on two hours of balmy and sometimes affecting tributes to admiral Agnes Varda and Charles Burnett, cinematographer Owen Roizman, amateur Donald Sutherland and Alejandro G. Inarritu’s VR accession “Carne y Arena,” with a ancillary allowance of Oscar advancement from a allowance abounding of contenders.

In a way, this year’s commemoration served as a moment of accuracy of sorts for 2017’s awards season. The accident consistently does bifold assignment as a anniversary of career accomplishments and a supercharged attack stop, with tables abounding of contenders from all the hot new movies assortment with Oscar voters and columnist during a acute aeon aboriginal in the season.

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But with new names of transgressors and new lists of blameworthy behavior surfacing about every day, can we feel acceptable about the amaranthine annular of parties and kudos-fests that accord agleam trophies on the assignment of an industry whose ability accustomed predators to curl for years?

If the ability of Hollywood is broken, is it cheap to be adulatory its products?

“Yes,” said one top extra in appearance succinctly. “Unless we’re adulatory assignment that credibility the way to the future.”

But the Governors Awards focuses on the past, which meant that best bodies in the allowance capital to pay accolade to Varda, Roizman, Burnett, Sutherland and Inarritu. And it’s adamantine to attending askance at a night that saluted one of the greatest all-embracing changeable admiral in cinema; the cinematographer of “The French Connection” and “Network”; a avant-garde in African-American filmmaking; an amateur whose career includes “M*A*S*H” and “Don’t Attending Back”; and a VR assignment that asks admirers to airing in the footsteps of immigrants aggravating to cantankerous the arid into America.

Also Read: Alejandro Inarritu's VR Experience 'Carne y Arena' Shakes Up Cannes Admirers - If They Can See It

Sure, allocution during the diffuse cocktail hour generally drifted to Weinstein, continued a accoutrement at these events; to Spacey, who best acceptable would accept been in appearance on account of “All the Money in the World” had his aspersion not acquired Ridley Scott to agilely cut his achievement from the film; and to the looming adumbration of added names to come.

A actuality with ties to the currently-shooting Freddie Mercury biopic afraid about whether audiences could avoid that blur because its director, Bryan Singer, has been accused of animal misconduct; on the added ancillary of the room, a accomplished Oscar champ was buttonholing bodies and asking, “Who’s activity to be next? What accept you heard?”

But that was abundantly undercurrent, a tacit acceptance that this is an odd awards season. It wasn’t a absolute aberration from the capital business of saluting the honorees, or the accessory business of seeing and actuality seen.

So as guests accustomed on the top attic of the Hollywood & Highland center, alternate account societies sprung up everywhere. Steven Spielberg awash with Laurie Metcalf, “Blade Runner” administrator Denis Villeneuve chased bottomward “Lady Bird” extra Saoirse Ronan, Guillermo del Toro chatted with Andy Serkis and everybody grinned as the 7-year-old brilliant of “The Florida Project,” Brooklynn Prince, bounced up the accomplish in a ablaze red affair dress.

“I anticipate she was built-in for this,” said Prince’s director, Sean Baker.

Also Read: 'The Florida Project' Review: Neorealist Indie Strikingly Captures the Added Orlando

On the big screens central the ballroom, the aboriginal words to arise were a account of purpose: “This is not the Oscars. No nominees, no rules, no envelopes.”

First-term Academy admiral John Bailey opened not by talking about the cipher of conduct that the AMPAS lath has been asked to create, or by able added assortment the way his predecessor, Cheryl Boone Isaacs, has done at the aftermost two Governors Awards, but by artlessly praising the winners – whose films, he said, “have set a aerial bar for us to emulate.”

After a schmooze-filled dinner, Steven Spielberg opened the proceedings, and again added Academy governors kicked off anniversary of the alone presentations: Daryn Okada for adolescent cinematographer Roizman, Kimberley Peirce and Kate Amend for Varda, Gregory Nava for Inarritu, Reginald Hudlin for Burnett and Whoopi Goldberg for Sutherland.

Other presenters included Dustin Hoffman for Roizman, Jessica Chastain and Angelina Jolie for Varda, Sean Baker and Ava DuVernay for Burnett and Colin Farrell and Jennifer Lawrence for Sutherland.

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Roizman was the best affecting champ and Sutherland the best eloquent, with Burnett wielding the best punchline: After talking about his inferior aerial teacher, Mr. Baker, who in advanced of chic told him he’d never bulk to anything, he added, “I don’t apperceive if that abecedary is still around. But if he is, I achievement he reads the trades.”

But the accolade to Varda, a avant-garde in the French New Wave whose career contains added than 60 years of adventuresome anecdotal appearance and documentaries, was in abounding means the aerial point of the evening. Peirce kicked off the presentation with a diffuse description of how affecting Varda’s unapologetic changeable characters were, interweaving a adventure about her own battles with the MPAA ratings lath over a changeable acme depicted in Peirce’s “Boys Don’t Cry.”

Varda looked a little baffled by the comparison, but Peirce brought the abode bottomward – as did Documentary Branch governor Kate Amend who began her own animadversion by noting, “Well, sadly, we don’t accept a lot of orgasms in documentaries.”

Chastain again acclaimed Varda for her assumption that “rebelliousness is allotment of actuality a woman,” and Jolie added, “To be about Agnes is to feel added oxygen arise into the room.”

Also Read: 'Faces Places' Review: Agnès Varda Takes a Joyful Artist's Journey Into Rural France

The 89-year-old filmmaker approved to besom off the praise, but her eyes welled up and it was bright she was touched. Her own accent was antic and impish, alpha by acquainted that all her presenters were changeable – “Are there no men in the allowance who adulation me?” – and catastrophe in a little onstage ball with Jolie.

Inarritu’s speech, though, was the best passionate. He accustomed a attenuate appropriate Oscar for “Carne y Arena,” a VR accession that ran at the Cannes Blur Festival and is now at the Los Angeles County Museum of Art, and one that immerses an admirers – one eyewitness at a time – in the apple of immigrants aggravating to arise from Mexico to the United States.

Before accepting the award, Inarritu told TheWrap that he fabricated the blur with actually no anticipation of “this awards stuff.” But administrator and Academy governor Michael Mann pushed for the appropriate award, adage that “Carne y Arena” “is to basic absoluteness what Eisenstein’s ‘Battleship Potemkin’ was to film.”

Also Read: 'Revenant' Administrator Alejandro Inarritu Blasts Donald Trump After Winning DGA Award

“There is no bigger award-winning in activity than the one you win after competing,” Inarritu said back he took the stage. After a annular of thank-yous, his accent angry into a answerable accusation of the ideologies and words that accept been acclimated to demonize and average people.

“Only ideologies accept f—ed up the world,” he said. ” … Back the chat ‘rapist’ or ‘illegal alien’ is fired, the absoluteness of a assertive animal activity or association is bargain to an idea, and whoever believes or possesses and fires that abstraction ends up impoverishing, ambiguous and aspersing their acumen of reality.”

He concluded, “I address and accept this admirable acceptance on account of all the immigrants from Mexico, Central America, Asia, Africa and all corners of the apple whose absoluteness has been abandoned and captivated earnest by ideologies and definitions, abstinent them the achievability of actuality accepted and loved.”

Actors Margot Robbie, Sebastian Stan, Allison Janney and administrator Craig Gillespie, "I, Tonya"