Awards

Best PictureJane Campion’s “The Power of the Dog” seems to have taken pole position in the best picture race. Campion won a screenplay Oscar at the 1994 ceremony for “The Piano,” which was also nominated for best pic (it lost to “Schindler’s List.”). Early front-runner “Belfast” should also make the ballot. The Kenneth Branagh memoir
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Penélope Cruz is luxuriously refined in “Parallel Mothers,” a performance that has picked up critical acclaim and notable accolades since debuting at Venice. The voting bloc of the international community is a key demographic that pushed last year’s “The Father” from Florian Zeller, another Sony Pictures Classics feature, to perform exceptionally well with the Academy
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A tsunami of buzz and Oscar-telling indicators drop on Thursday, with the major guilds announcing award nominations. The Directors Guild of America (DGA), Writers Guild of America (WGA), Producers Guild of America (PGA) and American Cinema Editors (ACE Eddies) all serve as critical barometers for the Academy Awards, especially in the race for best picture.
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“Dune,”  “Belfast,” “Nightmare Alley,” “The Tragedy of Macbeth” and “The Power of the Dog” are among the films nominated by the American Society of Cinematographers in the feature film category. The ASC nominees for feature film, documentary and television cinematography represent the organization’s picks for the most compelling visual filmmaking. Last year’s ASC feature film
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The Cinema Audio Society (CAS) has announced the nominations for the 58th Annual CAS Awards for Outstanding Achievement in Sound Mixing for 2022, as well as the Outstanding Product Nominations. Among the films, TV shows and animated features nominated are “West Side Story,” “Dune,” “No Time to Die,” “Mare of Easttown,” “Succession” and “Encanto.” As previously
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Timed to coincide with the beginning of the Academy Awards Phase One voting, Variety is rolling out a digital Voters’ Guide on Jan. 24, called “Awards Circuit Down to the Wire.” Coming out on the heels of Variety’s Ultimate Awards Guide, the stand-alone publication that Variety has been sending out as a deep-dive look at
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The fight for women to be recognized for their directorial achievements stretches back for decades, but, too often, the screenwriters aren’t given that same spotlight. However, this year presents a unique situation where female filmmakers have also penned the top awards contenders for adapted screenplay. These leading contenders include Jane Campion (“The Power of the
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In April 2019, the Academy of Motion Picture Arts & Sciences board of governors decided to change the name of the foreign-language-film category, saying it was “outdated within the global film community.” So they renamed it “international film.” It’s better, but still not precise: All films are international, whether they’re in English or not. This
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Mexico’s Tatiana Huezo and Abner Benaim of Panama, whose respective dramas, “Prayers for the Stolen” and “Plaza Catedral,” made the coveted shortlist in the Oscars’ international feature category, have quite a few things in common. Both have mainly worked in documentary filmmaking, although in the case of Benaim, he made a hit comedy in 2009,
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The art of world building is pushing several international films to the forefront this awards season, and Hollywood has sweeping foreign visuals, borderless below-the-line talent and coveted tax breaks to thank for it. From setting the period in “Belfast,” “Spencer” and “House of Gucci,” to high-action romps in “No Time to Die” and “The Matrix
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When Steven Spielberg’s “West Side Story” screened for industry audiences in late November, Oscar pundits were rapturous but immediately worried: “It’s great, but could a remakewin best picture?” The answer, of course, is yes. (Pundits like to either predict the Oscar outcome five months in advance or else predict dire scenarios, nothing in between.) This
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Cate Blanchett delivers two outstanding performances that are both in the awards conversation this year: “Don’t Look Up” and “Nightmare Alley.” The star shepherds grace and a hypnotic trance that has the viewer hanging on every single word she releases. With another impressive turn in Adam McKay’s “Don’t Look Up,” Blanchett is a contender in
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