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  1. #1
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    OSCARS 2022 Nominations and Winners



    The 2022 Oscar Nominations

    Announced today, Feb. 8, 2022. The 94th Oscars will be announced March 27, 2022.

    BEST PICTURE
    “Belfast,” Laura Berwick, Kenneth Branagh, Becca Kovacik and Tamar Thomas, producers

    “CODA,” Philippe Rousselet, Fabrice Gianfermi and Patrick Wachsberger, producers

    “Don’t Look Up,” Adam McKay and Kevin Messick, producers

    “Drive My Car,” Teruhisa Yamamoto, producer

    “Dune,” Mary Parent, Denis Villeneuve and Cale Boyter, producers

    “King Richard,” Tim White, Trevor White and Will Smith, producers

    “Licorice Pizza,” Sara Murphy, Adam Somner and Paul Thomas Anderson, producers

    “Nightmare Alley,” Guillermo del Toro, J. Miles Dale and Bradley Cooper, producers

    “The Power of the Dog,” Jane Campion, Tanya Seghatchian, Emile Sherman, Iain Canning and Roger Frappier, producers

    “West Side Story,” Steven Spielberg and Kristie Macosko Krieger, producers
    BEST DIRECTOR

    Kenneth Branagh (“Belfast”)

    Ryűsuke Hamaguchi (“Drive My Car”)

    Paul Thomas Anderson (“Licorice Pizza”)

    Jane Campion (“The Power of the Dog”)

    Steven Spielberg (“West Side Story”)
    BEST LEAD ACTOR

    Javier Bardem (“Being the Ricardos”)

    Benedict Cumberbatch (“The Power of the Dog”)

    Andrew Garfield (“Tick, Tick … Boom!”)

    Will Smith (“King Richard”)

    Denzel Washington (“The Tragedy of Macbeth”)
    BEST LEAD ACTRESS


    Jessica Chastain (“The Eyes of Tammy Faye”)

    Olivia Colman (“The Lost Daughter”)

    Penélope Cruz (“Parallel Mothers”)

    Nicole Kidman (“Being the Ricardos”)

    Kristen Stewart (“Spencer”)
    BEST SUPPPORTING ACTDOR

    Ciarán Hinds (“Belfast”)

    Troy Kotsur (“CODA”)

    Jesse Plemons (“The Power of the Dog”)

    J.K. Simmons (“Being the Ricardos”)

    Kodi Smit-McPhee (“The Power of the Dog”)
    BEST SUPPORTING ACTRESS

    Jessie Buckley (“The Lost Daughter”)

    Ariana DeBose (“West Side Story”)

    Judi Dench (“Belfast”

    Kirsten Dunst (“The Power of the Dog”)

    Aunjanue Ellis (“King Richard”)
    BEST ADAPTED SCREENPLAY
    “CODA,” screenplay by Siân Heder

    “Drive My Car,” screenplay by Ryusuke Hamaguchi, Takamasa Oe

    “Dune,” screenplay by Jon Spaihts and Denis Villeneuve and Eric Roth

    “The Lost Daughter,” written by Maggie Gyllenhaal

    “The Power of the Dog,” written by Jane Campion
    BEST ORIGINAL SCREENPLAY

    “Belfast,” written by Kenneth Branagh

    “Don’t Look Up,” screenplay by Adam McKay; story by Adam McKay and David Sirota

    “King Richard,” written by Zach Baylin

    “Licorice Pizza,” written by Paul Thomas Anderson

    “The Worst Person in the World,” written by Eskil Vogt, Joachim Trier
    BEST CINEMATOGRAPHY

    “Dune,” Greig Fraser

    “Nightmare Alley,” Dan Laustsen

    “The Power of the Dog,” Ari Wegner

    “The Tragedy of Macbeth,” Bruno Delbonnel

    “West Side Story,” Janusz Kaminski
    BEST ANIMATED FEATURE FILM
    “Encanto,” Jared Bush, Byron Howard, Yvett Merino and Clark Spencer

    “Flee,” Jonas Poher Rasmussen, Monica Hellström, Signe Byrge Sřrensen and Charlotte De La Gournerie

    “Luca,” Enrico Casarosa and Andrea Warren

    “The Mitchells vs. the Machines,” Mike Rianda, Phil Lord, Christopher Miller and Kurt Albrecht

    “Raya and the Last Dragon,” Don Hall, Carlos López Estrada, Osnat Shurer and Peter Del Vecho
    BEST ANIMATED SHORT FILM

    “Affairs of the Art,” Joanna Quinn and Les Mills

    “Bestia,” Hugo Covarrubias and Tevo Díaz

    “Boxballet,” Anton Dyakov

    “Robin Robin,” Dan Ojari and Mikey Please

    “The Windshield Wiper,” Alberto Mielgo and Leo Sanchez
    BEST COSTUME DESIGN

    “Cruella,” Jenny Beavan

    “Cyrano,” Massimo Cantini Parrini and Jacqueline Durran

    “Dune,” Jacqueline West and Robert Morgan

    “Nightmare Alley,” Luis Sequeira

    “West Side Story,” Paul Tazewell
    BEST ORIGINAL SCORE
    “Don’t Look Up,” Nicholas Britell

    “Dune,” Hans Zimmer

    “Encanto,” Germaine Franco

    “Parallel Mothers,” Alberto Iglesias

    “The Power of the Dog,” Jonny Greenwood
    BEST SOUND
    “Belfast,” Denise Yarde, Simon Chase, James Mather and Niv Adiri

    “Dune,” Mac Ruth, Mark Mangini, Theo Green, Doug Hemphill and Ron Bartlett

    “No Time to Die,” Simon Hayes, Oliver Tarney, James Harrison, Paul Massey and Mark Taylor

    “The Power of the Dog,” Richard Flynn, Robert Mackenzie and Tara Webb

    “West Side Story,” Tod A. Maitland, Gary Rydstrom, Brian Chumney, Andy Nelson and Shawn Murphy
    BEST ORIGINAL SONG

    “Be Alive” from “King Richard,” music and lyric by Dixson and Beyoncé Knowles-Carter

    “Dos Oruguitas” from “Encanto,” music and lyric by Lin-Manuel Miranda

    “Down To Joy” from “Belfast,” music and lyric by Van Morrison

    “No Time To Die” from “No Time to Die,” music and lyric by Billie Eilish and Finneas O’Connell

    “Somehow You Do” from “Four Good Days,” music and lyric by Diane Warren
    BEST DOCUMENTARY FEATURE

    “Ascension,” Jessica Kingdon, Kira Simon-Kennedy and Nathan Truesdell

    “Attica,” Stanley Nelson and Traci A. Curry

    “Flee,” Jonas Poher Rasmussen, Monica Hellström, Signe Byrge Sřrensen and Charlotte De La Gournerie

    “Summer of Soul (…Or, When the Revolution Could Not Be Televised),” Ahmir “Questlove” Thompson, Joseph Patel, Robert Fyvolent and David Dinerstein

    “Writing With Fire,” Rintu Thomas and Sushmit Ghosh
    BEST DOCUMENTARY SHORT SUBJECT

    “Audible,” Matt Ogens and Geoff McLean

    “Lead Me Home,” Pedro Kos and Jon Shenk

    “The Queen of Basketball,” Ben Proudfoot

    “Three Songs for Benazir,” Elizabeth Mirzaei and Gulistan Mirzaei

    “When We Were Bullies,” Jay Rosenblatt
    BEST FILM EDITING
    “Don’t Look Up,” Hank Corwin

    “Dune,” Joe Walker

    “King Richard”, Pamela Martin

    “The Power of the Dog,” Peter Sciberras

    “Tick, Tick…Boom!” Myron Kerstein and Andrew Weisblum
    BEST INTERNATINAL FEATURE FILM

    “Drive My Car” (Japan)

    “Flee” (Denmark)

    “The Hand of God” (Italy)

    “Lunana: A Yak in the Classroom” (Bhutan)

    “The Worst Person in the World” (Norway)
    BEST MAKEUP AND HAIRSTYLING

    “Coming 2 America,” Mike Marino, Stacey Morris and Carla Farmer

    “Cruella,” Nadia Stacey, Naomi Donne and Julia Vernon

    “Dune,” Donald Mowat, Love Larson and Eva von Bahr

    “The Eyes of Tammy Faye,” Linda Dowds, Stephanie Ingram and Justin Raleigh

    “House of Gucci,” Göran Lundström, Anna Carin Lock and Frederic Aspiras
    BEST PRODUCTION DESIGN

    “Dune,” production design: Patrice Vermette; set decoration: Zsuzsanna Sipos

    “Nightmare Alley,” production design: Tamara Deverell; set decoration: Shane Vieau

    “The Power of the Dog,” production design: Grant Major; set decoration: Amber Richards

    “The Tragedy of Macbeth,” production design: Stefan Dechant; set decoration: Nancy Haigh

    “West Side Story,” production design: Adam Stockhausen; set decoration: Rena DeAngelo
    BEST VISUAL EFFECTS

    “Dune,” Paul Lambert, Tristan Myles, Brian Connor and Gerd Nefzer

    “Free Guy,” Swen Gillberg, Bryan Grill, Nikos Kalaitzidis and Dan Sudick

    “No Time to Die,” Charlie Noble, Joel Green, Jonathan Fawkner and Chris Corbould

    “Shang-Chi and the Legend of the Ten Rings,” Christopher Townsend, Joe Farrell, Sean Noel Walker and Dan Oliver

    “Spider-Man: No Way Home,” Kelly Port, Chris Waegner, Scott Edelstein and Dan Sudick
    BEST LIVE ACTION SHORT FILM

    “Ala Kachuu – Take and Run,” Maria Brendle and Nadine Lüchinger

    “The Dress,” Tadeusz Łysiak and Maciej Ślesicki

    “The Long Goodbye,” Aneil Karia and Riz Ahmed

    “On My Mind,” Martin Strange-Hansen and Kim Magnusson

    “Please Hold,” K.D. Dávila and Levin Menekse
    Last edited by Chris Knipp; 02-12-2022 at 11:37 PM.

  2. #2
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    Obviously I needed to watch Flee with three best-film nominations in three different categories, foreign, documentarey, and animated, and I did watch it and you'll find my review here. I had some quibbles and don't rate it as high as some do, but it is effective in its way.

    A Tweet I saw about the snub of Nic Cage makes me think I should watch Pig - another one-syllable film I've missed. Metacritic 82%.
    Last edited by Chris Knipp; 03-18-2022 at 02:21 PM.

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    Jane Campion has survived her gaffes, it appears, and people are not deserting The Power of the Dog, which has won Best Picture at BAFTA and CCA.

    Scorsese, Ang Lee, Sofia Coppola heap praise on the movie in pull quotes provided in the latest promotion from Screen Slate. See Martin Scorsese's detailed comments when presenting the New York Critic's Circle Award for Best Director to Jane Campion.

    Will Smith is winning Best Actor, which pleases me because I loved the performances in King Richard.

    As for Joanna Scanlan's winning Best Actress for After Love, I have not seen and have barely heard of this film. Its Metascore (though based on only 6 reviews) is high - 82%. It seems to rely on the same kind of tricky, thriller-like structure as I've just experienced in the upcoming Mothering Sunday (French director Eva Husson).

    British critic Mark Kermode has one of his excellent short spoken reviews of After Love HERE.
    Last edited by Chris Knipp; 03-18-2022 at 02:39 PM.

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    BAFTA Winners
    Joanna Scanlan
    Best Actress ˇ After Love

    Will Smith
    Best Actor ˇ King Richard

    The Power of the Dog
    Best Film ˇ Jane Campion, Roger Frappier, Emile Sherman, ...

    Belfast

    Best British Film ˇ Kenneth Branagh, Tamar Thomas, Laura Berwick, ...

    Jane Campion
    Best Direction ˇ The Power of the Dog

    Lashana Lynch
    Rising Star Award

    Drive My Car
    Film Not in the English Language ˇ Ryusuke Hamaguchi, Teruhisa Yamamoto

    Dune
    Special Visual Effects ˇ Gerd Nefzer, Tristan Myles, Brian Connor, ...

    Licorice Pizza
    Best Original Screenplay ˇ Paul Thomas Anderson

    Do Not Feed the Pigeons
    British Short Animation ˇ Antonin Niclass,
    They found palliative awards, best British for Belfast, best non in Englilsh, Drive My Car, Best Screenplay, Liconrice Pizza, but Dune gets fobbed off with just "Special Visual Effects." Not what Villeneuve was dreaming of, I reckon.

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    A llisting from Entertainment two days ago:
    Contenders for Best Picture
    1. CODA
    Best Picture (or equivalent) wins: Sundance Grand Jury Prize, AFI Top 10, SAG ensemble, PGA
    Best Picture (or equivalent) nominations: Golden Globes (Drama), Critics Choice, WGA (Adapted), Oscars

    2. THE POWER OF THE DOG
    Best Picture (or equivalent) wins: VIFF Silver Lion, AFI Top 10, Golden Globes (Drama), Critics Choice, BAFTA
    Best Picture (or equivalent) nominations: TIFF People's Choice Award runner-up, PGA, ACE, Oscars

    3. KING RICHARD
    Best Picture (or equivalent) wins: AFI Top 10, ACE
    Best Picture (or equivalent) nominations: NBR Top 10, Golden Globes (Drama), Critics Choice, SAG ensemble, PGA, WGA (Original), Oscars

    4. BELFAST
    Best Picture (or equivalent) wins: TIFF People's Choice Award, PSIFF Vanguard Award, AFI Special Award
    Best Picture (or equivalent) nominations: NBR Top 10, Golden Globes (Drama), Critics Choice, SAG ensemble, PGA, ACE, BAFTA, Oscars

    5. DON'T LOOK UP
    Best Picture (or equivalent) wins: AFI Top 10
    Best Picture (or equivalent) nominations: NBR Top 10, Golden Globes (Musical/Comedy), Critics Choice, SAG ensemble, PGA, WGA (Original), ACE, BAFTA, Oscars

    6. DUNE
    Best Picture (or equivalent) wins: AFI Top 10
    Best Picture (or equivalent) nominations: NBR Top 10, Golden Globes (Drama), Critics Choice, PGA, WGA (Adapted), ACE, BAFTA, Oscars

    7. LICORICE PIZZA
    Best Picture (or equivalent) wins: NBR, AFI Top 10
    Best Picture (or equivalent) nominations: Golden Globes (Musical/Comedy), Critics Choice, PGA, WGA (Original), ACE, BAFTA, Oscars

    8. WEST SIDE STORY
    Best Picture (or equivalent) wins: AFI Top 10, Golden Globes (Musical/Comedy)
    Best Picture (or equivalent) nominations: NBR Top 10, Critics Choice, PGA, WGA (Adapted), Oscars

    9. NIGHTMARE ALLEY
    Best Picture (or equivalent) wins: AFI Top 10
    Best Picture (or equivalent) nominations: NBR Top 10, Critics Choice, WGA (Adapted), Oscars

    10. DRIVE MY CAR
    Best Picture (or equivalent) wins: NYFCC, LAFCA
    Best Picture (or equivalent) nominations: Cannes Palme d'Or, Oscars
    Contrast this with the critical ratings, as reflected in the Metacritic scores:
    Drive My Car 91
    Licorice Pizza 90
    The Power of the Dog 89
    West Side Story 85
    King Richard 76
    Belfast 75
    Dune 74
    CODA 74
    Nightmare Alley 70
    Don't Look Up 49
    I can see how DRIVE MY CAR could be a critics' darling but low in popularity among voters, but CODA is really not worthy of outranking THE POWER OF THE DOG as an example of cinematic art. If it wins the Best Picture Oscar, that will be a disappointment almost on a scale of CRASH beating BROKEBACK MOUNTAIN, only BROKEBACK MOUNTAIN had a range of human meaning that TPOTD rather lacks, in my opinion. Is this turnabout due to Jane Campion's verbal gaffes?
    Last edited by Chris Knipp; 03-21-2022 at 11:27 PM.

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    Two Oscar notes on Oscar awards day

    The NYTimes today has another article, credited to two people, about how movies aren't movies anymore because they're not primarily shown in movie theaters.

    And it points out CODA is a "streaming" film (AppleTV) and TPOTD is also (Netflix).

    I get confused about this because I watch a movie however I can, but it still looks like a movie to me whether I see it on my laptop or in a cinema.

    I initially saw Compartment No. 6 on my laptop, then weeks later went to see it in a theater. The theater experience was a richer, more memorable one, both visually and emotionally; but it was quite a good movie both times.

    The radical, smart, conservative, Catholic, gay, black critic Armond Wbite has published a defense of Sam Elliott and his attack on The Power of the Dog for violating the true traditions of the Western. (Didn't Clint Eastwood do that with Unforgiven in 1992?)

    White refers us to Elliott's "definitive role as The Stranger, a Western archetype, in the cult classic ˆThe Big Lebowski."

    But what also struck me about White's piece was his argument that The Power of the Dog is covertly homophobic for representing a gay boy who is evil and "murderous" and, he says, "fascist. (I still don't fully fathom what Kodi Smit-McPhee's character is all about.)
    Last edited by Chris Knipp; 03-27-2022 at 11:04 AM.

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