Oscar nominations have now been announced, below. Shockingly, “The Woman King” has been left out. First the Golden Globes snubbed the outstanding film, and now the Academy.
“The Woman King” is a powerful, great film with an all female, all black cast, a 99% black production team, and is a film that tells a powerful story of patriarchy, imperialism, slavery, freedom, love, and faith. It is shameful that this great film has been ignored–basically cancelled–not even nominated for one single award! We want to know–why?!
Hollywood Sentinel film reviews, are here as follows. The Oscar nominated films–minus “The Woman King” which should have been on this list–appear here below.
Avatar: The Way of Water
James Cameron is nothing short of a master and a genius of filmmaking. Part engineer, part scientist, part storyteller, director, and filmmaker, contemplating what he has achieved with this film will itself simply blow your mind. One of the most dazzling, awe-inspiring, beautiful films ever made, Avatar: The Way of Water is a must see in 3D. As much as a partly immersive experience as it is a film, it has to be seen in a large theatre and in 3D to be best appreciated. Story wise, the script hits all of the standard plot points and character arcs, building some strong emotional development. The live action acting, supplemented with computer graphics, is solid. A must see! –Bruce Edwin
Babylon
Damien Chazelle’s Babylon (released in theatres just before Christmas) stars Margot Robbie as up-and-coming starlet Nellie LaRoy (“You either are [a star] or you ain’t. I am.”) Diego Calva as Manny Torres, a waiter who stumbles his way up the ladder of Hollywood success to become a studio executive, and Brad Pitt in a supporting role, washed up actor and wanna-be sophisticate, Jack Conrad.
I didn’t love it. I didn’t hate it. It had a lot of great scenes, lacked historical fidelity while seemingly lecturing us about history, reimagined the 1920’s in ways that were flattering to the mores’ of the 2020’s (Blackface is bad! Lesbians are good!) and in the end looked like someone just did a bunch of drugs and threw spaghetti at the wall because they were exhausted and didn’t know how it was supposed to end.
I liked it. On a scene-by-scene basis. All the bodily fluids were represented (blood, saliva, vomit, poop, pee). All the Hollywood clichés were exhumed (Gosh, movies are forever!). Toby McGuire got really into his bit part as a drug lord in a sequence that felt more like an alternate dimension where the Great Gatsby meets Mad Max.
In the end, there was too much tent and not enough tent poles to hold together a narrative about characters we should care about. But it was entertaining, nonetheless. Grade: B –Moira Cue
La Dolce Vita, Children of Paradise, Black and Tan Fantasy, Mean Streets, and Intolerance are five films that reportedly influenced La La Land director Damien Chazelle to create his new Paramount release of the three hour plus new film, Babylon. Some recent viewers are calling it similar to The Wolf of Wall Street for its excess of drug use and sex. (source: The Academy A Frame)
Babylon
The opening sequence of Babylon with the elephant, as well as the vomit and pee scenes, are more akin to an immature student filmmaker attempting to gross people out like a young John Waters. The ending of Babylon is like what you would see if you watched a student filmmaker who just discovered Stan Brakhage and thought, “hey!” I should do that too! It makes no sense, audiences won’t get it, and many will hate it, but who cares!” Aside from these problems, as well as the fact that the story itself lacks any consistent emotional character development that we deeply feel for, I still really liked this film.
With some outstanding directing, editing, and cinematography that is nothing short of greatness and at times otherworldly brilliant; Babylon is a feat of revelry and delight, and debauchery and depravity for the eyes. With some shots so transformational, one’s object of perception literally falls and follows into the characters point of view with hallucinatory realism. And yet, the film is around one tenth of a flop in terms of visual continuity and characterization; yet is cinematically, a masterpiece.
Babylon will stand the test of time as a film like none other. Brad Pitt makes it an enjoyable, exciting story to watch, but Margot Robbie gives it–when it truly is–its sheer magnificence. She is truly a great talent, and incredibly brave on screen. Her talent shines.
As much as I hated parts of this film, I loved many other parts of it even more. Like a love affair that will make your spirit soar, than spit it out and crap on it, Babylon is an experience to behold. As much as I hated some of it (that gross parts), it’s one of the few films that would almost see again. –Bruce Edwin
The Fabelmans
Many trailers do not do a film justice. When I saw the trailer for The Fablemans, I had no interest in seeing it. It came off to me as a cheesy, boring film about a director paying homage to himself in film in a movie about his life. Yet if any living director is justified in doing just that however, it’s one man-Steven Spielberg. And The Fablemans is certainly not boring. Cheesy? Well, there is that singing scene, but still-it’s a highly likeable, expertly crafted, beautiful executed, nearly perfect film filled with some very enjoyable moments that will make you laugh and smile.
One thing noteworthy that Christians will find, is that The Fablemans features a character that sexualizes Christ, making a joke out of prayer. Some Christians may find this funny, but others will find it insulting, and too much. Aside from this, The Fablemans is tame compared to many Hollywood films out there.
“A great film,” my acting Coach to the stars Corral Gayle used to say, “will make you laugh, or make you cry–or both.” The Fablemans can certainly make you laugh, and just might make you cry as well. Ultimately, a film review of a Steven Spielberg movie is kind of pointless. Spielberg is the gold standard of cinema. An institution of quality as a filmmaker. He simply doesn’t make a bad picture. An uncle of mine who used to be a boxer told me that last line once. And he’s right. No one doesn’t love Speilbergs’ work. They just might forget they do. The Fablemans is a reminder that we do, and we just might also like the man himself.
The outstanding film Top Gun: Maverick is now available for home streaming on Paramount+. There are also talks of making a sequel to the massively successful film starring Tom Cruise, who also does his own stunts in the film.
Crazily, The Woman King has gotten shunned from nominated for best picture from both the Golden Globes and the Oscars. According to star Viola Davis, reportedly every studio she approached to make the film turned her down, except finally–Sony Tristar.
The Woman King
If The Woman King doesn’t win Best Picture (and, as I write this, nominations haven’t been released) I will sulk. This is a movie made for, by, and about Black women, starring Viola Davis as General Nanisca and directed by Gina Prince-Bythewood. Prince-Bythewood hired women to lead most departments in the film, creating a feeling on set that the actors raved about. That feeling of female empowerment radiates throughout every frame.
Set in 1823, the story follows the Agojie, a group of female warriors that protected the West African kingdom of Dahomey. A young girl, Nawi, rejects the suitor her father has selected for her and is dumped at the palace where she is given the choice of training to join the Agojie. The rebellious Nawi immediately challenges General Nanisca, who warns Nawi about her headstrong ways.
When General Nanisca has a nightmare, Amenza consults the Ikin (a form of divination using the kola nuts in the African Traditional Religion of Ifa), and warns her of an old enemy gathering forces against her. When Nawi disappears during battle, General Nanisca risks everything to bring her back to the tribe.
The battle scenes in this film show women as physically powerful fighters. The themes of justice and the love between mother and daughter are explored from a woman’s perspective, with great passion and sensitivity. Grade A+ –Moira Cue
Women Talking; the film (written by Sarah Polley) is loosely based on a book by and about a female who grew up in a Mennonite community. The book itself is based on reported horrifying real instances of a colony in Bolivia, South America.
WOMEN TALKING is more of a filmed play in one single location than a standard film you may be used to seeing. Secondly, Francis McDormand is barely in it, which we could not tell from the advertising. Thirdly, it’s overt moralizing. The only male character in the film who is not abusive, is an effeminate young man who is weak in every regard.
Despite all this, we do recommend this film. Sarah Polley, who is a fine actor, did a great job of directing here. She also makes some powerful statements and thought provoking ideas in the film such as; forgiveness versus fighting back, etc. Further, the female ensemble did an excellent job. Claire Foy, Jessie Buckley, and Rooney Mara are all outstanding. Judith Ivey and Sheila McCarthy did fine work too. Warning: this film may be a trigger for women who were raped or otherwise abused. It’s also painful to watch in many instances, not due to graphical content, but due to the ongoing subject matter of the dialogue. And it’s basically ALL dialogue. Despite all this, some art films, as this is–are not meant to bring joy to an audience, they are made to preach, or at best–teach. This one does both, and a filmmaker has that right, which we will always defend, especially when it’s from a female director–who have for far too long been lacking enough presence in Hollywood. Sarah Polley has made a powerful work of art here, and one that people should be talking about for years to follow. –Bruce Edwin
Pinocchio (Netflix) is a masterful stop-motion animation film that adults will love as much as children. Be warned for younger children however, the horror that the masterful director Guillermo del Toro stated he felt while watching Disney’s Pinocchio (a story he has always loved and wanted to remake) is far more prevalent for audiences in his own version! Guillermo stated to Hollywood Reporter that stop-motion animation is more of the slower pace he prefers to work at now, and given the reception the film has had, he will definitely be doing more. Although the film is filled with some truly beautiful moments, del Toro seems to have a very bleak view of the world. This one is definitely not one we would let really young kids watch, lest they may be traumatized. –Bruce Edwin
DOCUMENTARY FEATURE FILM
Fifteen films will advance in the Documentary Feature Film category for the 95th Academy Awards. One hundred forty-four films were eligible in the category. Members of the Documentary Branch vote to determine the shortlist and the nominees. The films, listed in alphabetical order by title, are:
“All That Breathes”
“All the Beauty and the Bloodshed”
“Bad Axe”
“Children of the Mist”
“Descendant”
“Fire of Love”
“Hallelujah: Leonard Cohen, a Journey, a Song”
“Hidden Letters”
“A House Made of Splinters”
“The Janes”
“Last Flight Home”
“Moonage Daydream”
“Navalny”
“Retrograde”
“The Territory”
The Hollywood Foreign Press Association presented the landmark 80th anniversary Golden Globe Awards on Tuesday, January 10, 2023, in a ceremony televised live from the Beverly Hilton Hotel, on NBC and Peacock, in a one-year deal. The awards show was recently cancelled by Hollywood, for reportedly having at that time, no black voters. The Globes answer to this was to reportedly pay half a million dollars to a relatively unknown black comic to basically say that the Globes are still racist, and to offend Tom Cruise. Meanwhile, where was the nomination for best picture for “The Woman King?”!
INTERNATIONAL FEATURE FILM
Fifteen films will advance to the next round of voting in the International Feature Film category for the 95th Academy Awards. Films from 92 countries and regions were eligible in the category. Academy members from all branches were invited to participate in the preliminary round of voting and must have met a minimum viewing requirement to be eligible to vote in the category. In the nominations round, Academy members from all branches are invited to opt in to participate and must view all 15 shortlisted films to vote. The films, listed in alphabetical order by country, are:
Argentina, “Argentina, 1985”
Austria, “Corsage”
Belgium, “Close”
Cambodia, “Return to Seoul”
Denmark, “Holy Spider”
France, “Saint Omer”
Germany, “All Quiet on the Western Front”
India, “Last Film Show”
Ireland, “The Quiet Girl”
Mexico, “Bardo, False Chronicle of a Handful of Truths”
Morocco, “The Blue Caftan”
Pakistan, “Joyland”
Poland, “EO”
South Korea, “Decision to Leave”
Sweden, “Cairo Conspiracy”
Streaming
As artists, with a lot of power to influence the thoughts, words, and deeds of mass audiences, we have a responsibility to lift up culture and make it better–not help destroy it. The show “Euphoria” does both.
Euphoria (HBO Max), was reportedly based on the Israeli TV series of the same name on channel Hot 3 by Ron Lesham. It was recreated by U.S. producer Sam Levinson (son of Barry), with Ron Lesham serving as Executive Producer. The currently two season show has been a major hit for the streamer, and for good reason. Well directed, beautifully shot, exquisitely lit, and masterfully acted with an outstanding ensemble, the cast and cinematography are what makes Euphoria so addictive, and often–great.
Zendaya, who won a Golden Globe for the show for best actress, does brilliant work here as the star Rue. Hunter Schafer is equally stunning and unmissable, as Rue’s best friends and love interest–Jewels. Jacob Elordi, as antagonist Nate Jacobs does an excellent job, and the rest of entire cast are all just incredibly powerful, talented actors.
Story wise, the screenplays per episode here range from powerful and expertly done to convoluted abstractions that drift off in daydreams, flashbacks, and scenes that are sometimes a challenge to tell what order happened first. But really, does it matter? This is after all, a drug movie. A drug episodic to be precise, and even moreso, a sex, drugs and rock n’ roll episodic, except it ain’t rock n’roll, it’s mostly rap and hip hop.
The show totally jumps the shark in Season 2, particularly in Episode 3: Ruminations: “Big and Little Bully’s,” in which Rue starts telling us (literally talking to the audience) how this show is not going give us any positive role model or hope. Ya’ Think? I had to double check and make sure I wasn’t watching some behind the scenes clip instead. I wasn’t. A play is then supposedly being produced by a character, that instead is depicted as a pro looking film or TV set with some of the same characters in the film appearing in the play / TV show within the show. Is someone back on drugs in real life? Seriously?
The biggest problem with Euphoria, is that despite its many moments of brilliance and greatness overall, it’s just filthy. I had to skip past many parts of the show, fast forwarding past many parts that are just revolting. For one, Sam Levinson, despite appearing to have lovely wife in real life, clearly likes to depict a lot of male genitals in his show–a LOT. Why? It’s just completely unnecessary and at times becomes more like softcore gay porn mixed in with a serious show than anything else.
Columnist Carlotte Wilkinson writes in the Daily Targum that the show over-sexualizes underage teenagers (aka children), and is written by men who portray them through the male gaze. While the whole point of the show is to portray the lives of teenagers–including their sex lives, she does have a point. Granted, many teens do have sex, however, are filmmakers really helping kids by depicting their sex lives on screen? The cast members are all 18 or over, but the message is the same. Wilkinson’s criticism that the show normalizes reckless, dangerous and degrading behavior, particularly to girls–would be hard to disprove.
The biggest problem with this show, and it’s a big one, is that Euphoria essentially normalizes adult men getting and being naked in front of underage teenage girls.
One 19 year old female singer I met during shutdown was incredibly excited about Euphoria, urged me to watch it, and told me that finally a show was created about her generation that was “real.” To some degree, unfortunately, she’s right. But in many regards, no it’s not. How many instances of drug use here do we see that actually shows the hell of addiction or overdosing, versus glamorizing it? If I were a kid watching Euphoria, I certainly would not get the idea to NOT do drugs, or to NOT be a drug dealer–like main character Rue here attempts to do.
The “mild violence” warning on each episode here is actually brutal, prolonged, graphic violence, which is horrible. Absurdly, we are supposed to believe that when a man gets his head bashed in with closed fists over and over at close range, he’s going to be just fine. Or when a man gets his head bashed in over and over at close range with the butt of a sawed of shotgun–he won’t even pass out and will be perfectly fine to walk to his car and drive to the gay club after some bandages magically appear on his head.
In real life, the psychotic school shooter at Ulvade, Texas sent a Facebook text to a girl in Germany who told her he was going to do shootings at school, and had already shot his grandmother. “Cool.” She texted back. She was charged for failing to report in crime. In Euphoria, character Maddy Perez states how she is “literally” thinking about murdering her former bff Cassie Howard, with such violence that it will “shock the nation.” “Cool.” Maddy’s friends Kat Hernandez replies. Uh–no.
One character is supported by her mother to get an abortion, because having the baby would be inconvenient for her and the kid who got her pregnant. The doctor tells her it will just be a little “pinch,” and after it’s over when asked how she feels, she says she feels “fine.” I know models that didn’t want to get out of bed for days and wanted to kill themselves after having abortions. Sure–it’s a woman’s choice, but let’s be real, abortion should be avoided whenever possible.
Back to that play thing. It gets worse, disrupting the entire structure of the narrative up to the point of the play. The play scenario ends with a Grammy’s style softcore porn like gay musical, with presumed teenaged boys doing things that here are not fit to print.
The two bonus episodes, although random, are perhaps some of the best of Euphoria yet. In one, it’s basically one long anti-drug commercial, with moralizing about why Rue should have faith in the Creator (the Muslim god, not the Christian one), and not do drugs. They get a dig in at Christianity, but at least they promote faith and for once, give a strong argument to not to drugs. It’s powerful, and shows the great talent of Zendaya (which we already saw and knew), as well as Colman Domingo (Ali) who is a solid actor, and enjoyable to watch on screen.
Another big question we need to ask here is, how much is Hollywood influenced by youth culture, versus how much is youth culture influenced by what Hollywood puts on the screen? I don’t know the percentage of each, but I do know, its a vicious circle. Both influence each other. And in this case, they are “both” a BAD influence. So bad; like that car wreck people stop to stare at–many will keep on watching. People in Hollywood however, are supposed to be the grown-up’s in this situation. And today more than ever, they are being a bad babysitter. Entertaining and talented–yes. But still, we can do better. Until then, I can’t wait for Season 3.
OSCAR NOMINATIONS 2023 BY CATEGORY – 95th AWARDS
Best Picture
ALL QUIET ON THE WESTERN FRONT
Malte Grunert, Producer
AVATAR: THE WAY OF WATER
James Cameron and Jon Landau, Producers
THE BANSHEES OF INISHERIN
Graham Broadbent, Pete Czernin and Martin McDonagh, Producers
ELVIS
Baz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick and Schuyler Weiss, Producers
EVERYTHING EVERYWHERE ALL AT ONCE
Daniel Kwan, Daniel Scheinert and Jonathan Wang, Producers
THE FABELMANS
Kristie Macosko Krieger, Steven Spielberg and Tony Kushner, Producers
TÁR
Todd Field, Alexandra Milchan and Scott Lambert, Producers
TOP GUN: MAVERICK
Tom Cruise, Christopher McQuarrie, David Ellison and Jerry Bruckheimer, Producers
TRIANGLE OF SADNESS
Erik Hemmendorff and Philippe Bober, Producers
WOMEN TALKING
Dede Gardner, Jeremy Kleiner and Frances McDormand, Producers
Where is the WOMAN KING?!
Actor in a Leading Role
Austin Butler in ELVIS
Colin Farrell in THE BANSHEES OF INISHERIN
Brendan Fraser in THE WHALE
Paul Mescal in AFTERSUN
Bill Nighy in LIVING
Actor in a Supporting Role
Brendan Gleeson in THE BANSHEES OF INISHERIN
Brian Tyree Henry in CAUSEWAY
Judd Hirsch in THE FABELMANS
Barry Keoghan in THE BANSHEES OF INISHERIN
Ke Huy Quan in EVERYTHING EVERYWHERE ALL AT ONCE
Actress in a Leading Role
Cate Blanchett in TÁR
Ana de Armas in BLONDE
Andrea Riseborough in TO LESLIE
Michelle Williams in THE FABELMANS
Michelle Yeoh in EVERYTHING EVERYWHERE ALL AT ONCE
Actress in a Supporting Role
Angela Bassett in BLACK PANTHER: WAKANDA FOREVER
Hong Chau in THE WHALE
Kerry Condon in THE BANSHEES OF INISHERIN
Jamie Lee Curtis in EVERYTHING EVERYWHERE ALL AT ONCE
Stephanie Hsu in EVERYTHING EVERYWHERE ALL AT ONCE
Animated Feature Film
GUILLERMO DEL TORO’S PINOCCHIO
Guillermo del Toro, Mark Gustafson, Gary Ungar and Alex Bulkley
MARCEL THE SHELL WITH SHOES ON
Dean Fleischer Camp, Elisabeth Holm, Andrew Goldman, Caroline Kaplan and Paul Mezey
PUSS IN BOOTS: THE LAST WISH
Joel Crawford and Mark Swift
THE SEA BEAST
Chris Williams and Jed Schlanger
TURNING RED
Domee Shi and Lindsey Collins
Cinematography
ALL QUIET ON THE WESTERN FRONT
James Friend
BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS
Darius Khondji
ELVIS
Mandy Walker
EMPIRE OF LIGHT
Roger Deakins
TÁR
Florian Hoffmeister
Costume Design
BABYLON
Mary Zophres
BLACK PANTHER: WAKANDA FOREVER
Ruth Carter
ELVIS
Catherine Martin
EVERYTHING EVERYWHERE ALL AT ONCE
Shirley Kurata
MRS. HARRIS GOES TO PARIS
Jenny Beavan
Directing
THE BANSHEES OF INISHERIN
Martin McDonagh
EVERYTHING EVERYWHERE ALL AT ONCE
Daniel Kwan and Daniel Scheinert
THE FABELMANS
Steven Spielberg
TÁR
Todd Field
TRIANGLE OF SADNESS
Ruben Östlund
Documentary Feature Film
ALL THAT BREATHES
Shaunak Sen, Aman Mann and Teddy Leifer
ALL THE BEAUTY AND THE BLOODSHED
Laura Poitras, Howard Gertler, John Lyons, Nan Goldin and Yoni Golijov
FIRE OF LOVE
Sara Dosa, Shane Boris and Ina Fichman
A HOUSE MADE OF SPLINTERS
Simon Lereng Wilmont and Monica Hellström
NAVALNY
Daniel Roher, Odessa Rae, Diane Becker, Melanie Miller and Shane Boris
Documentary Short Film
THE ELEPHANT WHISPERERS
Kartiki Gonsalves and Guneet Monga
HAULOUT
Evgenia Arbugaeva and Maxim Arbugaev
HOW DO YOU MEASURE A YEAR?
Jay Rosenblatt
THE MARTHA MITCHELL EFFECT
Anne Alvergue and Beth Levison
STRANGER AT THE GATE
Joshua Seftel and Conall Jones
Film Editing
THE BANSHEES OF INISHERIN
Mikkel E.G. Nielsen
ELVIS
Matt Villa and Jonathan Redmond
EVERYTHING EVERYWHERE ALL AT ONCE
Paul Rogers
TÁR
Monika Willi
TOP GUN: MAVERICK
Eddie Hamilton
International Feature Film
ALL QUIET ON THE WESTERN FRONT
Germany
ARGENTINA, 1985
Argentina
CLOSE
Belgium
EO
Poland
THE QUIET GIRL
Ireland
Makeup and Hairstyling
ALL QUIET ON THE WESTERN FRONT
Heike Merker and Linda Eisenhamerová
THE BATMAN
Naomi Donne, Mike Marino and Mike Fontaine
BLACK PANTHER: WAKANDA FOREVER
Camille Friend and Joel Harlow
ELVIS
Mark Coulier, Jason Baird and Aldo Signoretti
THE WHALE
Adrien Morot, Judy Chin and Anne Marie Bradley
Music (Original Score)
ALL QUIET ON THE WESTERN FRONT
Volker Bertelmann
BABYLON
Justin Hurwitz
THE BANSHEES OF INISHERIN
Carter Burwell
EVERYTHING EVERYWHERE ALL AT ONCE
Son Lux
THE FABELMANS
John Williams
Music (Original Song)
“Applause” from TELL IT LIKE A WOMAN
Music and Lyric by Diane Warren
“Hold My Hand” from TOP GUN: MAVERICK
Music and Lyric by Lady Gaga and BloodPop
“Lift Me Up” from BLACK PANTHER: WAKANDA FOREVER
Music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; Lyric by Tems and Ryan Coogler
“Naatu Naatu” from RRR
Music by M.M. Keeravaani; Lyric by Chandrabose
“This Is A Life” from EVERYTHING EVERYWHERE ALL AT ONCE
Music by Ryan Lott, David Byrne and Mitski; Lyric by Ryan Lott and David Byrne
Production Design
ALL QUIET ON THE WESTERN FRONT
Production Design: Christian M. Goldbeck; Set Decoration: Ernestine Hipper
AVATAR: THE WAY OF WATER
Production Design: Dylan Cole and Ben Procter; Set Decoration: Vanessa Cole
BABYLON
Production Design: Florencia Martin; Set Decoration: Anthony Carlino
ELVIS
Production Design: Catherine Martin and Karen Murphy; Set Decoration: Bev Dunn
THE FABELMANS
Production Design: Rick Carter; Set Decoration: Karen O’Hara
Short Film (Animated)
THE BOY, THE MOLE, THE FOX AND THE HORSE
Charlie Mackesy and Matthew Freud
THE FLYING SAILOR
Amanda Forbis and Wendy Tilby
ICE MERCHANTS
João Gonzalez and Bruno Caetano
MY YEAR OF DICKS
Sara Gunnarsdóttir and Pamela Ribon
AN OSTRICH TOLD ME THE WORLD IS FAKE AND I THINK I BELIEVE IT
Lachlan Pendragon
Short Film (Live Action)
AN IRISH GOODBYE
Tom Berkeley and Ross White
IVALU
Anders Walter and Rebecca Pruzan
LE PUPILLE
Alice Rohrwacher and Alfonso Cuarón
NIGHT RIDE
Eirik Tveiten and Gaute Lid Larssen
THE RED SUITCASE
Cyrus Neshvad
Sound
ALL QUIET ON THE WESTERN FRONT
Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel and Stefan Korte
AVATAR: THE WAY OF WATER
Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers and Michael Hedges
THE BATMAN
Stuart Wilson, William Files, Douglas Murray and Andy Nelson
ELVIS
David Lee, Wayne Pashley, Andy Nelson and Michael Keller
TOP GUN: MAVERICK
Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon and Mark Taylor
Visual Effects
ALL QUIET ON THE WESTERN FRONT
Frank Petzold, Viktor Müller, Markus Frank and Kamil Jafar
AVATAR: THE WAY OF WATER
Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett
THE BATMAN
Dan Lemmon, Russell Earl, Anders Langlands and Dominic Tuohy
BLACK PANTHER: WAKANDA FOREVER
Geoffrey Baumann, Craig Hammack, R. Christopher White and Dan Sudick
TOP GUN: MAVERICK
Ryan Tudhope, Seth Hill, Bryan Litson and Scott R. Fisher
Writing (Adapted Screenplay)
ALL QUIET ON THE WESTERN FRONT
Screenplay – Edward Berger, Lesley Paterson & Ian Stokell
GLASS ONION: A KNIVES OUT MYSTERY
Written by Rian Johnson
LIVING
Written by Kazuo Ishiguro
TOP GUN: MAVERICK
Screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie; Story by Peter Craig and Justin Marks
WOMEN TALKING
Screenplay by Sarah Polley
Writing (Original Screenplay)
THE BANSHEES OF INISHERIN
Written by Martin McDonagh
EVERYTHING EVERYWHERE ALL AT ONCE
Written by Daniel Kwan & Daniel Scheinert
THE FABELMANS
Written by Steven Spielberg & Tony Kushner
TÁR
Written by Todd Field
TRIANGLE OF SADNESS
Written by Ruben Östlund
The 95th Oscars will be held on Sunday, March 12, 2023, at the Dolby® Theatre at Ovation Hollywood and will be televised live on ABC and in more than 200 territories worldwide.
