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  • Here Are All the 2024 Oscar Winners

    Here Are All the 2024 Oscar Winners

    Poor Things
    Image: Searchlight

    After enduring the pandemic and a pair of industry-stopping strikes, Hollywood seemed extra jazzed about celebrating itself at this year’s Oscars. While there weren’t a ton of genre movies on the ballot—truly, last year’s Everything Everywhere All at Once sweep still feels rather validating—a few did find their way to the podium.

    What Should Fans Take Away from Imaginary?

    Most notably it was Poor Things leading the charge for genre, including a Best Lead Actress win for Emma Stone for her portrayal of Bella Baxter—arguably only rivalled by Oppenheimer, which took home the trio of big wins in Best Lead Actor, Best Director, and Best Picture. Barbie, amid a sea of discourse after nominees were initially announced earlier this year about perceived snubs, home only one win for original song out of its slate of nominations. Here are all the winners (plus their fellow nominees) from the 2024 Academy Awards. And may we just say, if Best Visual Effects winner Godzilla Minus One does get a sequel, we hope it makes it into more categories than its Best Picture-worthy predecessor.

    Best Supporting Actor

    • Sterling K. Brown (American Fiction)
    • Robert De Niro (Killers of the Flower Moon)
    • Winner: Robert Downey Jr. (Oppenheimer)
    • Ryan Gosling (Barbie)
    • Mark Ruffalo (Poor Things)

    Best Supporting Actress

    • Emily Blunt (Oppenheimer)
    • Danielle Brooks (The Color Purple)
    • America Ferrera (Barbie)
    • Jodie Foster (Nyad)
    • Winner: Da’vine Joy Randolph (The Holdovers)

    Best Animated Feature Film

    • Winner: The Boy and the Heron
    • Elemental
    • Nimona
    • Robot Dreams
    • Spider-Man: Across the Spider-Verse

    Best Animated Short Film

    • “Letter to a Pig”
    • “Ninety-Five Senses”
    • “Our Uniform”
    • “Pachyderme”
    • Winner: “War Is Over! Inspired by the Music of John and Yoko”

    Best Costume Design

    • Barbie (Jacqueline Durran)
    • Killers of the Flower Moon (Jacqueline West)
    • Napoleon (David Crossman & Janty Yates)
    • Oppenheimer (Ellen Mirojnick)
    • Winner: Poor Things (Holly Waddington)

    Best Live-Action Short

    • “The After”
    • “Invincible”
    • “Knight of Fortune”
    • “Red, White and Blue”
    • Winner: “The Wonderful Story of Henry Sugar”

    Best Makeup and Hairstyling

    • Golda
    • Maestro
    • Oppenheimer
    • Winner: Poor Things
    • Society of the Snow

    Best Original Score

    • American Fiction (Laura Karpman)
    • Indiana Jones and the Dial of Destiny (John Williams)
    • Killers of the Flower Moon (Robbie Robertson)
    • Winner: Oppenheimer (Ludwig Göransson)
    • Poor Things (Jerskin Fendrix)

    Best Sound

    • The Creator
    • Maestro
    • Mission Impossible: Dead Reckoning
    • Oppenheimer
    • Winner: The Zone of Interest

    Best Adapted Screenplay

    • Winner: American Fiction (Cord Jefferson)
    • Barbie (Noah Baumbach & Greta Gerwig)
    • Oppenheimer (Christopher Nolan)
    • Poor Things (Tony McNamara)
    • The Zone of Interest (Jonathan Glazer)

    Best Original Screenplay

    • Winner: Anatomy of a Fall (Arthur Harari & Justine Triet)
    • The Holdovers (David Hemingson)
    • Maestro (Bradley Cooper & Josh Singer)
    • May December (Samy Burch & Alex Mechanik)
    • Past Lives (Celine Song)

    Best Cinematography

    • El Conde (Edward Lachman)
    • Killers of the Flower Moon (Rodrigo Prieto)
    • Maestro (Matthew Libatique)
    • Winner: Oppenheimer (Hoyte van Hoytema)
    • Poor Things (Robbie Ryan)

    Best Documentary Feature Film

    • Bobi Wine: The People’s President
    • The Eternal Memory
    • Four Daughters
    • To Kill a Tiger
    • Winner: 20 Days in Mariupol

    Best Documentary Short Film

    • The ABCs of Book Banning
    • The Barber of Little Rock
    • Island in Between
    • Winner: The Last Repair Shop
    • Nai Nai & Wài Pó

    Best Film Editing

    • Anatomy of a Fall
    • The Holdovers
    • Killers of the Flower Moon
    • Winner: Oppenheimer
    • Poor Things

    Best International Feature Film

    • Io Capitano
    • Perfect Days
    • Society of the Snow
    • The Teacher’s Lounge
    • Winner: The Zone of Interest

    Best Original Song

    • “The Fire Inside” (Flamin’ Hot)
    • “I’m Just Ken” (Barbie)
    • “It Never Went Away” (American Symphony)
    • “Wahzhazhe (A Song For My People)” (Killers of the Flower Moon)
    • Winner: “What Was I Made For” (Barbie)

    Best Production Design

    • Barbie
    • Killers of the Flower Moon
    • Napoleon
    • Oppenheimer
    • Winner: Poor Things

    Best Visual Effects

    • The Creator
    • Winner: Godzilla Minus One
    • Guardians of the Galaxy Vol. 3
    • Mission: Impossible — Dead Reckoning, Part One
    • Napoleon

    Best Lead Actor

    • Bradley Cooper (Maestro)
    • Colman Domingo (Rustin)
    • Paul Giamatti (The Holdovers)
    • Winner: Cillian Murphy (Oppenheimer)
    • Jeffrey Wright (American Fiction)

    Best Lead Actress

    • Annette Bening (Nyad)
    • Lily Gladstone (Killers of the Flower Moon)
    • Sandra Hüller (Anatomy of a Fall)
    • Carey Mulligan (Maestro)
    • Emma Stone (Poor Things)

    Best Director

    • Justine Triet (Anatomy of a Fall)
    • Martin Scorcese (Killers of the Flower Moon)
    • Winner: Christopher Nolan (Oppenheimer)
    • Yorgos Lanthimos (Poor Things)
    • Johanathan Glazer (Zone of Interest)

    Best Picture

    • American Fiction
    • Anatomy of a Fall
    • Barbie
    • The Holdovers
    • Killers of the Flower Moon
    • Maestro
    • Winner: Oppenheimer
    • Past Lives
    • Poor Things
    • The Zone of Interest

    What did you think of this year’s winners? Any favorite moments from the ceremony? Share in the comments below!

    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

    Cheryl Eddy

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  • ‘Nyad’ Is a Love Story

    ‘Nyad’ Is a Love Story

    “I don’t think I need to say all of this,” Jodie Foster reportedly said while rehearsing a scene on the set of Nyad. The film stars Foster as Bonnie Stoll, best friend and coach to Annette Bening’s Diana Nyad. Stoll provided crucial support to Nyad on her mission to swim from Cuba to Florida at the age of 64. “Jodie was very good about policing my wordiness,” the film’s screenwriter, Julia Cox, tells Vanity Fair now. When Cox expressed worries about making the proposed cuts, she says Foster replied, “I won’t say it, but I will think it.”

    The scene ultimately didn’t make the final cut of the film, directed by Academy Award–winning documentarians Elizabeth Chai Vasarhelyi and Jimmy Chin. But another of Foster’s suggestions did: a climactic moment when Bonnie dives into the water alongside Diana during her fifth and final attempt at the record-breaking swim. It took the marathon swimmer nearly four decades to fulfill her long-held dream. Cox knows how that feels: She’s spent almost a decade herself thinking about Nyad’s story. “I heard about Diana Nyad’s story when she finally made it to the Florida shore—spoiler alert,” she says. “There was a beautiful profile of her in The New Yorker. And I remember thinking, This would be a great movie.”

    Ahead, Cox dives into her feature film debut—from spending time with the real-life Diana and Bonnie to addressing controversy surrounding Nyad’s swim.

    Vanity Fair: What was it about Diana’s story that most fascinated you?

    Julia Cox: It is this incredible adventure full of thrills and details that were so strange you couldn’t make them up, from the jellyfish to the particulars of how she completes this swim to what the mind goes through on these long swims. But what really spoke to me as a writer was the potential to do a really interesting character portrait of a woman who is ferociously self-confident, who is complicated, who is charismatic and larger than life and almost has a life force that’s outsized for this world. Who pulls us out of bed and onto an adventure and pushes us forward in life.

    And then also this relationship between Diana and her best friend and coach Bonnie. They’re so interesting because they’re opposites, and yet peas in a pod. They share this drive as athletes. Being able to tell a story about a lived-in, grownup friendship among two women that has its ins and outs, has its points of conflict, but is also built on this unconditional love and this deep knowing of the other person in your bones—that felt as exciting as any of the thrilling elements of the story.

    The film toes this line between being a classic sports biopic and feeling really fresh, given who our hero is and the singularity of what she accomplished. Were there any sports biopics that you looked to for inspiration, or tropes that you wanted to avoid in writing your own?

    I watched everything from Chariots of Fire to The Wrestler, from conventional to highly unconventional. And the way that I was able to crack it in my mind was to focus on the relationship, almost the way you would structure a love story.

    Jodie Foster as Bonnie Stoll and Annette Bening as Diana Nyad in ‘Nyad.’Kimberley French/Netflix

    Savannah Walsh

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  • Annette Bening and Jodie Foster Are Major Oscar Contenders for ‘Nyad’

    Annette Bening and Jodie Foster Are Major Oscar Contenders for ‘Nyad’

    Over the past few years, Netflix’s strongest Oscar contenders—handsomely mounted dramas like The Power of the Dog and All Quiet on the Western Front—have earned Hollywood’s admiration through their unimpeachable craft and singular directorial visions. It’s been harder for Academy members to fall in love with them, though; they end up playing second banana to movies like CODA and Everything Everywhere All at Once that wear their hearts on their sleeves, unafraid of going a little sentimental. But I suspect the streamer may finally have a movie that both checks those accessible boxes and will find widespread respect around town, and it’s Nyad.

    The biopic directed by Oscar winners Elizabeth Chai Vasarhelyi and Jimmy Chin (Free Solo), which premiered tonight in Telluride, may not be the toast of critics as the subtly brilliant Power was, or demand a ton of below-the-line love like those battlefield sequences in All Quiet. But it’s got a stirring story to tell in the journey of Diana Nyad, who at 64 years old swam over 100 miles in a single run from Cuba to Florida, an extraordinary feat of willpower and perseverance that the film rightly milks for all of its emotional impact. It’s a hard movie not to like and an easy one to love, cleanly hitting familiar beats that still strike a chord.

    This goes especially when you’ve got Annette Bening and Jodie Foster in the main roles, delivering true star turns that come together as their richest and most notable performances in years. It is too early to game out a quickly intensifying best-actress race—later this weekend out of Venice, we’ll get our first read on Emma Stone in Poor Things and Carey Mulligan in Maestro, both of whom are already generating deafening buzz—but Bening’s warts-and-all portrait will be a compelling, undeniably central part of that conversation. Her noted history of many Oscar nods without a win rather neatly matches the film’s theme of never giving up, and Bening’s intensive preparation—and resulting physical transformation—only adds to that resonance.

    Foster, meanwhile, is a huge part of Nyad as Diana’s best friend and eventual coach, Bonnie Stoll, emerging as the movie’s heart once their complex bond takes center stage. It’s been nearly 30 years since Foster was Oscar-nominated, for Nell, and the two-time winner stands an excellent shot of making this year’s final five for best supporting actress. She’s got the screen time, the wry banter, the emotional weight, and the sheer presence. For a movie very much about two women in their 60s, both out lesbians and both brashly outspoken, seeing Bening and Foster so fiercely embody those characters feels like a persuasive campaign narrative just waiting to take shape.

    How far can Nyad go otherwise? With the Academy of 2023, a certain threshold of critical embrace is important, and this movie—which, again, doesn’t exactly fear its genre’s well-worn conventions—will need to clear it for consideration in the best picture and directing races. There is some controversy in the air regarding the movie’s subject, which, knowing how awards season tends to devolve, could make way for some kind of backlash. As of now, though, I’m seeing a very strong contender for Netflix. If things keep picking up for the movie—with Bening and Foster starting to get out there, following a SAG-AFTRA strike resolution, being a key factor—we’ll also be talking about Claudio Miranda’s immersive cinematography out of the Caribbean shoot, Rhys Ifans’s lovely work as Diana’s boat captain, and Julia Cox’s witty adaptation of Nyad’s memoir.

    The cathartic final act is rousing enough to make me wonder just how far the movie can go if it indeed finds that kind of across-the-board momentum. Academy voters increasingly prefer wrapping their arms around a movie that gives them the warm fuzzies, a tale of social import that doesn’t let the storm clouds take over. When you watch Bening reach the Key West shore as the music swells, with the theater audience cheering right along with her, it’s clear that the sun is shining.

    Listen to Vanity Fair’s Little Gold Men podcast now.

    David Canfield

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  • Exclusive: Annette Bening Swims Toward the Role of a Lifetime in ‘Nyad’

    Exclusive: Annette Bening Swims Toward the Role of a Lifetime in ‘Nyad’

    Vasarhelyi helmed Nyad alongside her husband and creative partner, Jimmy Chin, in what marks their narrative directorial debut. Oscar winners for 2018’s Free Solo, the documentarians had been looking to try their hand at fiction filmmaking and were presented with a story rather neatly matching their established cinematic interests. “We love telling these stories where somebody’s pushing the edge of the human experience,” says Chin, a professional mountain athlete. “We hope when audiences leave the theater, they feel like they’ve gotten an expanded perspective of the human experience.” Vasarhelyi says that Nyad’s story “defies the frontiers of what you can imagine”—a solid one-line descriptor for this duo’s filmography as a whole.

    Nyad has been a noted athlete since the 1970s, when her swims around Manhattan, New York, and in the Caribbean brought her national attention. At the age of 28, she attempted to swim from Havana to Key West, in the aftermath of the Kennedy-era travel restrictions being lifted, but, in part due to inclement weather, could not complete the task. She went on to write books and launch motivational speaking tours, but her athletic career faded as she got into her 30s and 40s. Then in 2010, at age 60, she firmly decided to finish what she’d started decades ago—and though she didn’t make it to Florida over several more attempts, eventually she did. “This film asks: What do we give ourselves permission to do in our lives?” Bening says. “Diana said, ‘I’m actually going to ignore all of these norms about what women in their 60s do.’”

    Yet Nyad is no glossy tale of heroism and triumph. The film embraces its eponymous character’s complexity, presenting her as determined if abrasive, as caustic as she is relentless, and of a bracing intelligence matched only by her ego. That’s evident both in Julia Cox’s screenplay, adapted from Nyad’s 2015 memoir Find a Way, and Bening’s bold portrayal. And it comes alive through the beating heart of the film—the tricky, rich, hard-earned bond between Diana and her best friend and eventual coach, Bonnie Stoll.

    David Canfield

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