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Writer-director Andrew Haigh and his DP take Vanity Fair inside the making of their acclaimed film’s most striking scenes—from the sexiest to the saddest to, yes, the strangest.
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David Canfield
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Tag: awards
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The Heartbreaking Confessions, Hot Sex, and Sweaty Nightclubs of ‘All of Us Strangers’
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‘Barbie,’ ‘Killers of the Flower Moon,’ and ‘Society of the Snow’ Top Oscar Short Lists
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The Academy of Motion Picture Arts and Sciences released its short lists for 10 categories on Thursday, giving us a clearer picture of how some of these tight races might shape up.
As they do every year ahead of nominations voting, the Academy announced short lists for documentary and international features, as well as documentary short subject, makeup and hairstyling, original score, original song, animated short, live-action short, visual effects, and sound. There are always a few surprises and snubs, and this year was no exception.
Barbie had the most mentions of any film, with five overall. It did surprisingly miss in the makeup and hairstyling category. The category included expected favorites like Maestro, Poor Things, and Killers of the Flower Moon, along with the more unexpected inclusion of Beau Is Afraid and horror film The Last Voyage of the Demeter.
Original song remains a highly competitive category with several films getting multiple songs in. Barbie, as expected, has three songs in the running, while The Color Purple and Flora and Son landed two each. Songs from Wonka and The Super Mario Bros. Movie, however, were left off the short list despite strong reviews for its songs.
The biggest surprise of the lists might be Society of the Snow, Spain’s submission for the international-feature Oscar, which also landed on the short lists for makeup and hairstyling, original score, and visual effects. The film, a survival thriller about a rugby team whose plane crashes on a glacier in the Andes, closed the Venice Film Festival and will be released by Netflix in January. Killers of the Flower Moon also fared well by landing on four lists.
The international-feature-film list didn’t have any glaring omissions like it has in years’ past. Strong front-runners that made the list include France’s The Taste of Things, Germany’s The Teachers’ Lounge, and the UK’s Zone of Interest.
Jonathan Glazer’s The Zone of Interest, which has been in the conversation to possibly land other nominations outside of the international-feature race, fared well overall by making the lists for sound and original score.
The short lists are the final step before nominations voting begins January 11, with nominations to be announced on January 23.
See below for the full list:
DOCUMENTARY FEATURE FILM
American Symphony
Apolonia, Apolonia
Beyond Utopia
Bobi Wine: The People’s President
Desperate Souls, Dark City, and the Legend of Midnight Cowboy
The Eternal Memory
Four Daughters
Going to Mars: The Nikki Giovanni Project
In the Rearview
Stamped From the Beginning
Still: A Michael J. Fox Movie
A Still Small Voice
32 Sounds
To Kill a Tiger
20 Days in Mariupol
DOCUMENTARY SHORT FILM
The ABCs of Book Banning
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Rebecca Ford
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The Golden Globes Announce Jo Koy as Host for 2024 Ceremony
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The Golden Globes have found their host. The awards show, set to run next month on CBS for the first time (as it concurrently streams on Paramount+), announced on Thursday that Jo Koy, the comedian best known for his appearances on Chelsea Lately and toplining last year’s studio comedy Easter Sunday, will emcee what the Globes are hoping will mark a bounceback event in terms of both talent attendance and ratings—following years of scandal and a departure from the show’s longtime home at NBC.
“We are thrilled to have Jo host the 81st Annual Golden Globe Awards and bring his infectious energy and relatable humor to kick off Hollywood’s award season. We can’t wait to see what he has in store for the stars in the room and a global audience,” Helen Hoehne, Golden Globes President, said in a statement. “We know Jo is bringing his A-game.” Koy added, “I’ve stepped onto a lot of stages around the world in my career, but this one is going to be extra special. I’m so excited to be hosting the Golden Globes this year. This is that moment where I get to make my Filipino family proud. Mahal Kita (Google it)!”
The Globes, which disbanded its dysfunctional Hollywood Foreign Press Association membership body earlier this year, has undergone several changes, dramatically expanding its voter rolls and adding in categories for stand-up comedians and box-office achievement, both of which have met some scrutiny. Given the CBS platform and assortment of Oscar contenders nominated, including huge showings for Barbie and Oppenheimer, the ceremony is still expected to be a major kickoff to the onslaught of 2024 awards shows, and could give contenders an early boost in the race with the opportunity to give a nationally televised speech.
A well-regarded comedian, Koy (who appeared in The Haunted Mansion this year) marks a change of pace for the Globes, who in their pre-COVID days were known for bringing major comedians like Ricky Gervais and the duo of Tina Fey and Amy Poehler into the role. Earlier this year, Jerrod Carmichael helmed a spiky ceremony in which he confronted the HFPA’s reportedly scandalous conduct head-on. The selection of Koy follows CNN’s claim that the Globes, now owned by Dick Clark Productions and Eldridge Industries, attempted to bring a bigger name in to fill the role, with the likes of Chris Rock, Ali Wong, and the hosts of the Smartless podcast all reportedly declining.
In their press release revealing Koy as the host, the Globes highlighted the relative freshness of their pick, writing, “This marks the comedian’s first-ever hosting gig role for a major awards show.” We’ll see what kind of energy he brings to the Beverly Hilton on January 7.
Listen to Vanity Fair’s Little Gold Men podcast now.
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David Canfield
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Bluepoint Wind Awards $10,000 in Grants to New Jersey Teachers for Renewable Energy STEM Kits
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Newark, NJ – Offshore wind company Bluepoint Wind is announcing today the winners of grants to further STEM education for 10 teachers from schools across New Jersey. Each educator chosen by the Company will receive $1,000 worth of interactive STEM kits from KidWind, an international leader in renewable energy education.
“The next generation of renewable energy workers who will power New Jersey are sitting in middle school classrooms right now,” said John Dempsey, CEO of Bluepoint Wind, a partnership between Ocean Winds (OW), an international offshore wind energy company and joint-venture between EDPR and ENGIE, and New York-based Global Infrastructure Partners. “Bluepoint Wind is helping educators prepare students for a net-zero New Jersey and decarbonized world, all while supporting the state’s innovative climate change curriculum. We are proud to support New Jersey teachers who are instrumental in fostering students’ passions for STEM and its critical role in building our energy future.”
Each of the 10 teachers will receive a $1,000 mini-grant funded by Bluepoint Wind and applied toward the purchase of interactive wind energy STEM kits from KidWind. KidWind will also provide the winners with training on how to incorporate the STEM kits into in-school and/or out-of-school learning environments.
In addition to partnering with KidWind on this educator mini-grant initiative, Bluepoint Wind sits on their Career Pathways Ad Hoc Committee on Offshore Wind Energy Education to provide industry support around youth workforce development.
“Offshore wind energy will be an important part of New Jersey’s decarbonization strategy,” said Michael Arquin, founder of KidWind. “While this technology is just starting to be installed in the U.S. it is important to help future scientists and engineers understand and get excited about this timely subject. We congratulate all of the educators who are receiving Bluepoint Wind mini-grants which bring wind energy education and resources to schools in New Jersey, and we look forward to supporting them as they implement KidWind curriculum and materials in their classrooms.”
The winning educators are:
- Vicki Cornell, Boonton High School
- Emily Williams, East Side High School (Newark)
- Allison Wiesel, Shrewsbury Boro School
- Maura Simister, Manchester Township Schools
- Oscar Acebo Macias, Union City High School
- Jeannine Lanphear, Mid-Jersey Green STREAM Learning Ecosystem (serving the North Brunswick Schools)
- Joseph Costello, Atlantic City High School
- Kathleen Kalena, Dover Public Schools
- Gerald Bruman, Millville High School
- Michelle Albritton, Paterson Public Schools
Teachers were selected from northern, central, and southern New Jersey, with consideration given to those working in schools in overburdened communities. The application was launched at the New Jersey Education Association’s Convention in November and applications were due on December 1st. All New Jersey educators who entered the competition but did not win the mini-grants will still receive a comprehensive guide on teaching wind energy to students in grades 6-12, filled with lessons and activities.
“We were thrilled to have KidWind and Bluepoint Wind at the NJEA Convention this year,” said Sean M. Spiller, NJEA President. “There are few issues more important to our students’ future than our climate, so we applaud KidWind and Bluepoint Wind for both leading on that issue and providing our members with resources that help them prepare the next generation of energy and climate innovators.”
“As a proud partner of Bluepoint Wind and KidWind on the advancement of wind energy education in the state, we congratulate the recipients of these grants,” said Dan Barnett, Chief Development Officer for Students 2 Science, Inc. “This initiative is a great step in ensuring that all students have access to the necessary tools to prepare them for future industries and careers in the state.”
“As the first U.S. state to introduce K-12 standards addressing climate change, it is important to encourage and support school districts to use these standards to develop interdisciplinary climate change learning experiences that integrate an understanding of climate threats and implement community derived solutions for a sustainable future,” said Janice McDonnell, STEM Agent, Department of 4-H Youth Development at Rutgers University.
About Bluepoint Wind:Bluepoint Wind is a partnership between Ocean Winds (OW), an international offshore wind energy company, and New York-based Global Infrastructure Partners. Together, these companies have a successful track record of over 50 years of experience in development, financing, construction and operation of renewables projects, including more than 15 years on offshore wind projects. Bluepoint Wind plans to build an offshore wind farm within its ocean lease area located 38 nautical miles (nm) off the coast of New York and 53 nm off the coast of New Jersey. At full capacity, this wind farm will be able to generate 1.7 gigawatts (GW) of clean wind energy – powering up to 900,000 homes and helping NY and NJ meet their ambitious carbon emissions reduction goals.
About the KidWind Project:
The KidWind Project, an international leader in renewable energy education, has been working with educators and students to integrate renewable energy into classrooms for over 15 years. Since 2004, KidWind has held more than 800 training events for more than 50,000 teachers all over the world. For more information about our trainings, challenges and curricular materials, visit www.kidwind.org.
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ESchool News Staff
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Palm Springs Film Fest: ‘The Holdovers’ Star Paul Giamatti Set for Icon Award (Exclusive)
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Paul Giamatti, the revered character actor who has elevated projects on screens big and small, will receive the Palm Springs International Film Festival’s Icon Award, The Hollywood Reporter has learned.
The 56-year-old, who is receiving rave reviews and Oscar buzz for his lead performance in Alexander Payne’s The Holdovers, will — along with a host of this award season’s other standouts who are lined up for honors — be feted during a dinner at the Palm Springs Convention Center on Jan. 4.
An Oscar nominee and winner of Emmy, Spirit and Critics Choice Awards, two Golden Globes and three SAG Awards, his past credits include 2003’s American Splendor, 2004’s Sideways, 2005’s Cinderella Man, 2006’s The Illusionist, the 2008 limited series John Adams, 2012’s Win Win, 2013’s 12 Years a Slave and the drama series Billions, which ran from 2016 through earlier this year.
“In The Holdovers, Paul Giamatti inhabits a complex character who is both challenging and rewarding, and ultimately reminds us of what it means to be connected as human beings,” PSIFF chairman Nachhattar Singh Chandi said in a statement. “For his storied career of quintessential cinematic roles, it is our honor to present him with the Icon Award for this career-best performance.”
Past winners of the Icon Award include Glenn Close, Willem Dafoe, Michael Douglas, Robert Duvall, Lady Gaga, Tom Hanks and Meryl Streep.
Others who will be honored at this year’s PSIFF Awards Gala include Danielle Brooks (Spotlight Award, Actress), Colman Domingo (Spotlight Award, Actor), Billie Eilish and Finneas O’Connell (Chairman’s Award), Greta Gerwig (Director of the Year), Carey Mulligan (International Star Award, Actress), Cillian Murphy (Desert Palm Achievement Award, Actor), Da’Vine Joy Randolph (Breakthrough Performance Award), Emma Stone (Desert Palm Achievement Award, Actress), Jeffrey Wright (Career Achievement Award) and Killers of the Flower Moon (Vanguard Award).
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Scott Feinberg
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From Punk to Posh: Tracking Josephine’s Wild Hair Days in ‘Napoleon’
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Hair designer Francesco Pegoretti and makeup designer Jana Carboni worked as a team to focus on the two leads of Ridley Scott’s historical epic Napoleon, about the eponymous French general and emperor (Joaquin Phoenix) and his free-spirited first wife, Josephine (Vanessa Kirby). In the scene pictured above, Napoleon meets Josephine for the first time at a candlelit party, days after she’s escaped beheading during the French Revolution.
“For the first part of the movie, she has to have short hair because she was in the prison waiting for the guillotine,” explains Pegoretti. In the real story of Josephine’s life, she was saved from beheading by only one day and had cut her hair off herself to prevent it from getting caught by the blade. “In the longer version [of the film, the director’s cut to be released on Apple TV+], we are going to see the scene when she’s cutting her hair off, hopefully,” Pegoretti adds.
To achieve the right cut on the wig, Pegoretti balanced historical accuracy and modern flair. “Ridley asked me [not] to be academic, to find something more natural and messy, to follow the character,” he says. “It’s like [she’s] going to a Cure concert,” adds Carboni: “The concept was to go with something edgy and decadent, kind of pixie punk. Josephine was so wild. Even when she becomes empress, she’s never going to be like the other [aristocrats].”
Josephine’s hair grows out later in the film, requiring another wig. “She created a new style for the hair,” explains Pegoretti. “She was very fancy, very fashion. [I needed something reminiscent of] the beginning of the 19th century but also more natural, sometimes messy, to follow the character.”
Josephine was raised outside the aristocracy in Martinique, infiltrating her way into the French elite as an adult. As such, “we decided to keep her eyebrow quite strong because that’s part of the wildness she’s always been and she’s always going to be,” says Carboni.
Kirby is a natural blond, so hair designer Francesco Pegoretti had to work on the dark tones of the wig: “Dark, but not too solid,” he says.
Courtesy of Apple
Josephine wore her makeup heavy, almost as a coat of armor. “She has a very ‘lady of the night’ look. In a way, it’s almost to hide behind that makeup,” says Carboni. “She’s just coming out from prison. She uses beauty and sex appeal to survive.” She adds: “I didn’t want to do anything clownish because she still had to look sexy, but I wanted the heaviness of the makeup.”
When she first meets Napoleon, Josephine glistens as she crosses the room. For her body, Carboni confesses: “Vanessa has the most beautiful skin ever. That was a big help. But still, I put translucent [product] on her skin because the ambient lighting was very dark candlelight. I still wanted her skin to catch the light.”
For the smudgy black eye, Carboni applied shadow mostly with her finger “because it had to look like she did it so she didn’t have to be perfect.” She used a crimson red on Kirby’s cheeks and lip to flush Josephine with sensuality.
Pegoretti and Carboni say Scott films with as many as 11 cameras shooting at once, with very few takes. “You really have to know what you’re doing, and you cannot be sloppy,” Carboni notes. “He only does one or two takes, so you don’t have the chance to say, ‘Oops, sorry.’ You have to be 100 percent right on the first take.”
This story first appeared in a December standalone issue of The Hollywood Reporter magazine. Click here to subscribe.
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Kimberly Nordyke
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‘Silver Dollar Road’ Director Raoul Peck on Doc’s Interrogation of Systemic Racism: “When Was America Great, and For Whom?”
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Our ancestors left this here for us,” a member of the North Carolina-based Reels family says in the documentary Silver Dollar Road, referring to the 65-acre waterfront property that had long been their financial and spiritual haven. In the late 1970s, a relative of the Reelses cited a legal loophole to claim that he was the land’s rightful owner, after which an investment group called Adams Creek Associates purchased it, presumably intending to build golf courses and luxury homes there. Refusing to let white businessmen displace them, the Reelses ignited a long battle to retain their ancestors’ tract — one that resulted in the eight-year imprisonment of two family members whom courts deemed trespassers because they wouldn’t vacate.
Raoul Peck, the Oscar-nominated filmmaker behind I Am Not Your Negro and Exterminate All the Brutes, chronicles the Reelses’ story in the Amazon documentary. The movie’s foundation is a 2019 ProPublica article written by Lizzie Presser, who introduced Peck to the family. Throughout, he uses interstitial text to contextualize the Reelses’ struggle, at one point stating that Black Americans lost about 90 percent of their farmland during the 20th century.
Although it shares topical parallels with his previous work, the film is more stylistically forthright. Peck tells THR that’s for good reason.
Your last couple of documentaries were much more sprawling than Silver Dollar Road. They were sort of operatic.
They were much more conceptual.
Silver Dollar Road is straightforward, even if the legal story is quite thorny. For you, was part of the appeal being able to zero in on one family instead of making something more open-ended?
Yes. Indeed, it’s a different way of approaching a subject for me. I thought about that before I accepted it. American documentary filmmaking is about going into a private story and having a good guy and a bad guy — basically staying in the three-act approach of Hollywood cinema, usually with some sort of climax. I’ve never done that in my whole life as a filmmaker. It’s really key to me to not be a prisoner of a story. The family’s story is compelling and emotional and strong, but I didn’t feel that I was stuck in that little bubble. I had ways to feel the complexity and the bigger picture of the land history.
I connect it as a triangle between Exterminate All the Brutes, I Am Not Your Negro and Silver Dollar Road. It’s almost part of a trilogy for me. Everything comes back to the core story of this country: land that was stolen from the get-go. Even the idea of owning land is an important European concept that developed in the 16th century. Indigenous people never say, “We own that land.” They say, “We are the caretakers of the land.” Now, land becomes a commodity, the same way that European concept was used to enslave people. The connection is the DNA of America. If it was not tragic, I would smile at the irony of saying, “Pull yourself up from your bootstraps.” There were programs, like the Homestead Act of 1862, that allowed the population to have access to land. But you could only have access to land if you were a citizen, which the Black population was not until the 14th Amendment. So, wherever you turn, we come back to that core story.
You use historical context to illuminate the family’s story instead of using the family’s story to illuminate history. There are no talking-head experts, for example. Was that structure immediately clear to you?
The model of the talking heads, I found out, is not the proper tool for a lot of the things I want to do. In my early documentaries, I did use talking heads, sometimes for sheer credibility reasons. Today, I feel that I’m allowed to speak in my own voice. I have my strong opinions, always based on very strict and comprehensive research — so I can indulge in my own subjectivity, but my homework is done. In this particular story, I found the perfect characters to tell the story. The Reelses are extraordinary characters. I gave them the stage because those kinds of people never have the stage. There’s always someone speaking for them, which puts them in the role of victims. I don’t want to make the comparison with Martin Scorsese’s film [Killers of the Flower Moon], but some of the criticism about that is, well, the point of view is key. As filmmakers, we are big manipulators. Who’s speaking, and for whom? Film after film, I learned to ask, “Who has the power to tell the story?”
Was your initial involvement with the family after the ProPublica article was published?
Pretty much. The article was bought by JuVee Productions, Viola Davis and Julius Tennon’s production company. Together with Amazon, they offered me the project as an executive producer. I thought it was a key story where I could give it more layers, because it’s so tragic and so emotional — and, at the same time, I don’t see those two men [who went to prison] as victims. I feel they are heroes. It’s not a happy end because there is no end in that story. For me, it aligned itself in that long trail of mismanagement, misappropriation, bias, a retelling of history and the whole nonsense of the American dream. It’s the whole absurdity of Make America Great Again. When was it great, and for whom? If you don’t understand the land problem, you don’t understand why there are so many Black people in prison or why the wealth gap is so huge, because there are not many ways to acquire wealth.
How receptive was the family to having cameras observe them, and to sharing their story that way?
That’s my job, to make sure I’m accepted, that they trust me. I want them to be able to continue their life without feeling the camera all the time. But that part was already done by Lizzie Presser and her team. ProPublica had sent different camera crews over many months, especially in special moments, like when the two brothers came out of prison. Those images existed. That’s one of the things that authorized me to say, “Well, that can be an incredible film.” I’ve worked all my life with archives. When I was introduced to the family, I went with Lizzie the first time, and I could see how Lizzie was totally accepted and was considered part of the family. And don’t forget, the family has been struggling for at least three decades. They were very conscious that as long as they could not tell the story beyond Carteret County [in North Carolina], they were trapped.
They saw what you were doing as a tool.
Yeah. I could feel in the first conversation there was doubt: Are you really going to make this film? Most people think a reporter coming in means there will be something on the TV the next evening. The context of documentary filmmaking is much more difficult to grasp, and they would see these DPs coming and filming. They’d open their doors, they’d open their hearts. So when I came, there was also a feeling of “Oh, yes, it’s really going to be a film.”
The Reels family, the subjects of Amazon’s ‘Silver Dollar Road.’
Courtesy of Prime Video
By DPs, do you mean the ProPublica videographers? Or had other people attempted to make this documentary previously?
Those were people hired by ProPublica. They documented the family over more than two years. There were at least 90 hours of footage. That’s a lot. Even before I went to shoot myself, I made sure that I had a first edit of 40 minutes because I wanted to know: What is the story that those archives tell me? Finding my own story with what existed already was a comfortable, or less complicated, matter. Then I knew exactly what was missing. I had to make the story more current. After all the interviews were made, I could say, “I don’t want any talking heads.” The only ones I kept were the family, the lawyer and Anita Earls, who is a very well-known Supreme Court judge in North Carolina. She represents one of the rare clear voices in the whole mess, from the justice side.
At the end, we see a kind of denial or obfuscation from the Adams Creek investment group via text. Did you attempt to get somebody from there on camera?
I refused to go into that because it’s not part of the film. I didn’t want to identify anyone specific because in reality it’s the system — the laws, the history of this country. It’s a more complex response. That’s what we do a lot of the time in filmmaking. It’s easy to find the bad guys and then say, “OK, it’s done.” The concept of showing both sides — all my life, my side was never on the screen. For me, it’s a political decision to say, “No, I want my side to have the full one hour and 30 minutes.” Those are precious minutes. I have, for once, the authorization to tell that story. Why would I waste any minutes to deal with that other side of the story? For what? I wanted to make a film where the Black audience would feel at ease watching, the same way the Reelses felt at ease and safe on their beach. People are angry watching it, but it’s a different type of anger.
It’s not the same anger that might be conjured up in the true-crime version of this, the four-part series on Netflix that plays into all the tropes we’ve come to expect of that mostly hollow genre.
Exactly. It was also a key decision not to start with the crime. I started by entering the family compound, being with them, and creating empathy for them and seeing them as real human beings before the drama occurs. If you do the contrary, you are basically pushing them as victims from the get-go, especially for a white, or let’s say dominant, audience. That’s where that anger comes from, because you are with them, whether you are Black or white. You feel it could be your grandmother, it could be your uncle. It was important to establish that, and when injustice comes, that breaks your heart because they’re not just people at a distance.
What was it like to show the family the completed film for the first time?
I showed them in a special screening I did in Raleigh for them before picture lock, because that’s what I do. For me, it’s a testimony of our mutual trust.
It gives them the opportunity to let you know how they feel about it before you’ve decided it’s completely finished.
Of course, because all these decisions we’ve talked about are really personal, political decisions. I have to feel that they are on board with that. It was an incredible moment because they were crying, laughing, reacting. And [central family member] Mamie said something that she repeated in Toronto at the Q&A. For her, she felt much lighter because she didn’t feel she still had the weight of the story on her shoulder. The film was going to tell the story for her.
This story first appeared in a December standalone issue of The Hollywood Reporter magazine. Click here to subscribe.
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Kimberly Nordyke
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How the 'Poor Things’ Intimacy Coordinator Made All Those Sex Scenes Possible
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When Elle McAlpine first met with director Yorgos Lanthimos, he wasn’t 100% sure he needed an intimacy coordinator on his upcoming film Poor Things. He’d never used one on any of his films, which often include bold sex scenes like in The Favourite, The Killing of a Sacred Deer, and Dogtooth. “I think he had the mindset that it would hinder the process,” McAlpine tells Vanity Fair.
It likely wasn’t the first time McAlpine had heard that. The role of intimacy coordinator is relatively new to the industry, but has become more common in a post–#MeToo era when there’s more demand for protection on set. Intimacy coordinators like McAlpine, who is the cofounder of the UK-based company EK Intimacy, function like stunt coordinators for sex scenes. They work with the actors on character, choreography, and movement, and ensure that intimate or sexual scenes are filmed with consent and comfort for those involved.
McAlpine got the job by sitting down with Lanthimos to explain her role on set. “At the beginning, this profession felt a little threatening to most filmmakers,” Lanthimos said at the press conference at the Venice Film Festival, “but I think it’s like everything: If you’re with a good person, it’s great and you realize you actually need them. She made everything much easier for everyone.”
Her initial pitch was that she would work with the actors who would be coming in and out of Emma Stone’s orbit in Poor Things. Stone plays Bella Baxter, a young woman who leaves her sheltered life in London to travel around Europe with a new boyfriend, Duncan (Mark Ruffalo). Along with learning about the world, she also embarks on a sexual awakening, first with Duncan and then later as an employee of a brothel in Paris.
At first, Stone, who worked with Lanthimos on The Favourite and has a trusting relationship with the filmmaker, wasn’t sure she would need help from McAlpine, so McAlpine offered to work with the other actors in those scenes, many of whom would only be coming in for a day or so of work as part of a montage of sex scenes. “My job would be in helping them in creating a space where the power dynamic is neutralized because I’m there—that they can talk with me as much as they want before getting to set and that I can hopefully work with them so that when they come to set, they’re not nervous or they feel that they’re able to do their job to the best of their abilities,” she says.
In the end, McAlpine would end up working closely with Stone. After performing in numerous sex scenes for the film, she told Vanity Fair that she felt “completely in a safe space and I had so much agency within it.” McAlpine’s secret recipe for getting to that point with filmmakers and talent that are apprehensive at first? “This role demands that,” she says, before correcting herself. “Well, we don’t demand because that’s not the energy that we bring—but effectively we’re asking people to trust us pretty quickly.”
There’s a lot of sex in Poor Things, but Lanthimos emphasized to McAlpine from the beginning that none of it is frivolous. As a woman whose brain has been replaced with a baby’s, she’s rapidly growing up and aging, and her interest in sex is an essential part of her coming of age. McAlpine began her work by studying the script, written by Tony McNamara, and also reading Alasdair Gray’s novel of the same name that it’s adapted from. “I felt that the sexual expression of her character and even of the men that were coming in, and that kind of grotesqueness of them mixed with this woman who just embraced it all and had no judgment for anything, was something so profound and so exciting,” she says.
Stone and Lanthimos already had a comfortable working relationship, but McAlpine knew it could be taxing to film so many sex scenes day after day. “It can make you feel quite vulnerable,” McAlpine says. “Your body is an incredibly smart vehicle, but it sometimes doesn’t register what’s fantasy and what’s not. So by default, you can sometimes come away from doing sex scenes feeling quite vulnerable.”
McAlpine would offer little exercises and techniques to Stone to “wash the day off” and says she would “bookend my days on that set with cold showers. We hold a lot of emotions and we hold a lot of space for people and you can take on energy that’s not yours.” They also discussed the female orgasm because, as such an empowered character, Bella navigates sexuality in a unique way in the film, with female pleasure at the center of the story. McAlpine found that aspect of Poor Things to be particularly exciting. “I think a lot of content that is made—it’s changing—shies away from female pleasure. You’ve got the kind of woman on her back having an orgasm, arching her back—it’s so unimaginative, it’s so glamorized,” says McAlpine. “This story was about that liberation and about that sexual freedom and about that experimentation.”
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Rebecca Ford
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‘Poor Things’ Screenwriter Tony McNamara Breaks Down One of Its Most Complex Scenes
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When director Yorgos Lanthimos mentioned to Tony McNamara on the set of The Favourite that he was considering adapting Alasdair Gray’s 1992 book Poor Things for his next film, McNamara knew it wouldn’t be an easy task. “It’s quite a massive book and it’s about a lot of different things,” he tells Vanity Fair.
Not only would it be McNamara’s first adaptation—he previously wrote the script for Lanthimos’s The Favourite, would later cowrite 2021’s Cruella, and is the creator of Hulu’s popular series The Great—but he quickly noticed that the story was told from the perspective of the men who come into and out of the main character’s life, not from Bella Baxter herself. And to both Lanthimos and McNamara, Bella was the key to making this film work. “That was sort of the biggest challenge, but it was also kind of a freedom,” he says. “Her internal experience of what was happening was kind of the big invention of the script, as well as the language.”
In the film, Bella (played by Emma Stone) starts out with the brain of a baby that has been put into her adult body by an eccentric surgeon whom she now views as her father (Willem DaFoe), named Godwin but literally called “God.” As she grows, the sheltered Bella decides to go on an adventure across Europe with her new boyfriend, Duncan (Mark Ruffalo), where she explores new sights, has a whole lot of sex, and learns about how the world works in many ways.
McNamara’s script is a rich, wild adventure with unique characters and colorful, playful scenes that always keep Bella at the center of this coming-of-age tale. The Australian writer and Oscar nominee for The Favourite spoke to Vanity Fair about creating Bella’s world, taking inspiration from Fellini, and why he writes so well about women. Plus, McNamara annotated two pages of his incredible script for a deeper dive into Bella’s wild night out in Portugal.
Vanity Fair: Poor Things, The Great, and The Favourite all have this invented style of language that seemingly combines classic style and a modern sensibility. How do you do that?
Tony McNamara: I love language and I love dialogue. It’s one of the most exciting things about writing a script for me. We knew it was a big world and I knew Yorgos had a vision for a big world that was also a fantasy. But I was also aware because it’s period, and we were telling this young woman’s story, that I wanted you to be able to access it as a modern audience. So the idea was, yes, the language had to nod that it was a period thing, but it also had to allow the audience to enter her experience. It had to be period enough that you bought the world, but contemporary enough that the audience could access her emotionally. And then this third part of it was her particular way of speaking was a constant evolution, which is not, I guess, normal in a film. You don’t normally have a character who changes the way they speak every 15 minutes.
What was your approach to the way Bella’s language develops?
In the end I mapped out how old she was at certain points, and so I mapped out when we start, she’s three. By the time she leaves for Lisbon she’s like 16, 17. And by the time she leaves Lisbon and goes to the boat, she’s like 21. And that was her college years where she discovers books and politics. And then Paris was like mid-20s of making a lot of bad decisions and thinking they’re good decisions. And then you kind of feel like you have to go home and metabolize your past.
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Rebecca Ford
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Before Cara Jade Myers Was Killers of the Flower Moon’s Secret Weapon, She Nearly Quit Acting
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Beyond the many big names of Killers of the Flower Moon, beyond the Oscar-front-running revelation that is Lily Gladstone, one performance sticks out in Martin Scorsese’s 1920s epic from an actor most of us had never seen before: Cara Jade Myers. That’s not for lack of trying. Myers is one of many Native talents in Hollywood who have been waiting a very long time to be able to show what they can do. In her decade-plus of trying to make it as a screen actor, she’d booked a handful of background roles, a pair of small TV guest spots on This Is Us and Rutherford Falls. But by and large, the roles were not there. The auditions were not there. She felt ready to call it quits and transition to writing when, out of the blue, she received the chance to try out for a breakout on a scale that anyone would dream for.
Watching Killers, it’s no surprise Myers booked the part—her time in the film is relatively brief but searingly memorable. She plays Anna Brown, whose murder prods the Osage tribe to gather and try to fight back, as their community faces an insidious genocide perpetrated by their white neighbors. Myers’s heartbreaking portrayal of Anna, sister to Gladstone’s Mollie, resonates in its humanity: She imbues her with a big personality, a profound depth of feeling, and a tragic sense of loss, her alcoholism worsening as her family dies off, one by one. This does not feel like the performance of an actor in her first true movie role. She holds her own against the likes of Leonardo DiCaprio and Robert De Niro and makes the most of every minute onscreen.
Now, Myers is on the awards trail with the top awards contender, itself a very new experience. I caught her during a rare break over Zoom in New York, the morning after the film received a rousing tribute at the Gotham Awards.
Vanity Fair: I understand that the process of booking this role was very emotional for you. Can you talk a little bit about that to start?
Cara Jade Myers: I auditioned for this first in 2019, and I hadn’t really booked anything. I had done This Is Us and Rutherford Falls, which were both costar [credits]. I hadn’t really done much on anything, and I was like, Well, I’ve been doing this since I was 22. That’s 15 years. I was like, Obviously acting just isn’t for me. I thought I’d just focus on writing because I’d been in a few writing workshops by then. Then, this audition came in November 2019, and I remember not thinking I would get it at all. When I did finally book it, it was December of 2020. It was just emotional because it’s something that I’ve been working toward for so long. I love it, and I was ready to give up on it. It just felt like all the hard work that I’d done, all the meetings and all the stress and struggle that I put my family through trying to pay for acting—at that moment, it felt like it was all worth it.
How did you experience the industry before that point, particularly as a Native actor? Given that level of difficulty you’re describing, what kinds of things specifically were you running into in terms of not being able to book things?
The only auditions I was getting was Native American roles. Which is fine, but also, Native American roles come by so rarely. It seemed like they would always book the same three people. You felt just typecast. You couldn’t do anything else but be a Native American, which I’m like—that’s not a role! That’s just a part of an identity. And also, it was just roles for women. I remember reading a casting notice that said, “The woman doesn’t need any acting experience. She’s a prop to the man.” That’s literally what the casting said, and that was one of the reasons I wanted to start writing. I was like, We can do better.
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David Canfield
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Inside the Golden Globes’ New “Box Office Achievement” Category
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It’s been five years since the Academy announced — and then quickly retracted — their idea for a new award category that would honor the year’s most popular films. But that hasn’t deterred the Golden Globes, who are moving full steam ahead with their new award for cinematic and box office achievement in motion pictures. The inaugural list of nominees, announced Monday, includes a Nintendo hit, several sequels, and one very famous globe-trotting pop star.
“The idea behind it was to give popular films a place in this award season because those are the films that people have actually gone to see,” Helen Hoehne, president of the Golden Globes, tells Vanity Fair in an exclusive interview. “This is how movie theaters are kept alive—by the fans who go to see films on the big screen—and we felt there was a need to recognize those movies as well.”
The irony is that the organization chose to make this change in the year of Barbie and Oppenheimer, which earned a slew of Golden Globes nominations in addition to spots in this new box office–centric category. Hoehne thinks that Barbenheimer dominance is “just perfect. We thought this was a wonderful example to have. I think we’re very lucky.”
The category also notably has eight nominees, while all others are capped at six. The list is rounded out by Guardians of the Galaxy Vol. 3, John Wick: Chapter 4, Mission: Impossible – Dead Reckoning Part One, Spider-Man: Across the Spider-Verse, The Super Mario Bros. Movie and Taylor Swift: The Eras Tour. Hoehne says that decision to include eight was because “we realized there are so many films out there, and we wanted to recognize the breadth of the quality that is also out there, and just have more people be able to recognize films that were so excellent.”
The nominees were not just picked for their box office numbers, but also for the quality of the films, Hoehne says. All of the nominees are theatrical releases, though, when the category was first announced, there was language in the release that implied that a streaming film could be considered, using “commensurate digital streaming viewership according to recognized trusted industry sources.” Hoehne says the organization had a “secret sauce” procedure that would have tabulated those streaming numbers using both internal and external reporting. However, Vanity Fair has learned that the streamers did not in the end submit their projects in this category.
There’s another, Eras Tour–sized perk to the new category this year, of course. The Globes specifically ban concert film and documentaries from their main best-picture categories, which means this new award was the only way to invite the world’s biggest pop star to the party—and hopefully, boost some ratings in the process. After being off the air in 2022, and with 2023’s ratings down 26% from the 2021 show, there’s pressure for next year’s Globes to succeed with viewers. “The hope is that fans will get excited about watching because—when they’re finally watching films that they have gone to see in the theater…I mean, we know how many people have gone to see Taylor Swift in concert,” Hoehne says. “I think all those fans out there…we hope that they will tune in and will watch their favorite stars on TV to see them being recognized and awarded.”
Will a giant star like Swift show up on January 7? That remains to be seen. But Hoehne is promising that the show—returning to air with a new broadcast partner after several years of turmoil and reinvention—will remain, as she calls it, “the most fun award show…. We don’t take ourselves too seriously. We have a lot of fun in the room.”
Listen to Vanity Fair’s Little Gold Men podcast now.
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Rebecca Ford
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At Last, Some Awards Season Front-Runners Emerge
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It’s still another month before the televised awards shows will start putting this year’s contenders in a national spotlight, but now we at least know who will be there in the room. This week’s announcement of the Golden Globes nominations as well as the Critics Choice Awards nominations created early January plans for a wide range of contenders—if you had any part to play in Barbie, you probably ought to go ahead and figure out what to wear.
On this week’s Little Gold Men podcast, David Canfield, Rebecca Ford, Richard Lawson, and Katey Rich take a comprehensive look at the many, many developments in the world of awards over the past week. Both the Golden Globes and Critics Choice went big for Barbie and Oppenheimer, as expected, while also providing boosts to a range of other critical favorites like Killers of the Flower Moon and May December. Given that both organizations award (at least) six nominations in the acting categories, though, there’s plenty of uncertainty about who might make the Oscar cut. Sure, it’s easy enough to guess that Jennifer Lawrence’s No Hard Feelings Golden Globes nomination won’t translate at the Oscars—but if you can look at the Golden Globes supporting-actor category and figure out how to winnow it down to five, you’re doing better than we are!
Listen below to the episode, which also includes a discussion of Sean Durkin’s film The Iron Claw, which opens wide on December 22. You can email the team at littlegoldmen@vf.com, and subscribe at Apple Podcasts or anywhere else you get your podcasts.
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Katey Rich
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Jeff Probst on a ‘Survivor’ Season of Triumphs, Breakthroughs, and Quits: “I Was Shocked”
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It’s not every show that, 45 seasons in, finds itself bigger than ever before. I mean that literally: For the first time in its run, Survivor has been airing 90-minute-long weekly episodes, a format devised and produced after CBS gave host Jeff Probst and his fellow producers the green light to bump up their programming from an hour (including commercial breaks). The move made some sense: The iconic reality series has maintained unprecedented stability in the ratings, including a successful shift to streaming on Paramount+, and its recent Emmy nomination for best competition program—the first for the show in 17 years, a record gap for the category—suggests a resurgence in critical and industry support. (There was also the matter of the WGA and SAG-AFTRA strikes thinning out CBS’s scripted schedule.) If anything, the expansion felt like a flex. How many series in Survivor’s wake have come, popped with big debuts, and gone? Virtually as long as it’s been on the air, Survivor has appeared in charge of its own future.
Then, in the first episode of season 45, a contestant quit. A few weeks later, another contestant quit. Fans expressed outrage on social media, both at the players and Survivor itself: With so many people applying and wanting to play, to compete for the famed $1 million prize, how could casting have missed the fact that multiple people simply couldn’t crack life out in the jungle? Since the show’s airing, Probst has promised to be harder on contestants who quit going forward—denying them the ritualistic torch-snuffing farewell that both of this season’s departees were granted. Now in conversation with Vanity Fair, Probst admits the quits rattled him.
“I was shocked—I honestly thought the days of somebody quitting were over, and I don’t know why. That conclusion that I came to had nothing to support it,” Probst says. “I started hearing the audience, the fans, and their unhappiness, and I was jolted back into reality, which is: This is really offensive to somebody who watches Survivor or dreams about being on Survivor. It made me realize I have to adjust.” But he pushes back on criticisms of his casting department: “I don’t think there’s any issue with our casting process. I totally see why you would assume that, but if you dove deep into our process, you would realize we know these people very well—and occasionally, somebody just gets overwhelmed.”
The anecdote is instructive for Probst, who’s been with Survivor since the very beginning (that is, more than two decades), and who’s evolved as the face of the franchise as the times have changed. He’s been open about his personal transformation informing Survivor’s growth following its COVID-induced hiatus, which ushered in a “New Era,” now on its fifth season, that more directly speaks to social issues and cultural divides. “Survivor really took on an even deeper meaning to me, which is a chance to remind ourselves what we’re capable of in a grand way, maybe the biggest adventure you could ever get for the vast majority of Americans,” he says. “My personality was shifting into much more uplifting, positive, encouraging.” This is still very much the case for Probst, post-quitting drama, though he sees room for nuance: “You can have a change of heart personally in how you see the world, but you still have to run this show in a way that holds players accountable.”
Even as Survivor throws in new types of immunity idols, competition advantages, and team configurations (called tribes) with every new season, its core premise has remained the same from its inception: A group of strangers gathers on an island, sources their own food and shelter, and votes each other out until one person remains. The combination of that simplicity, and all of the social complexity contained within it—which is to say, the building and fracturing of alliances and bonds and rivalries—has kept it around, beyond imitators and through dramatic changes in the television landscape. On streaming, Survivor is posting Paramount+ viewing gains of more than 30 percent, year over year, and the show regularly trends on X with the airing of a new Wednesday night episode.
“I’ve felt an even more enthusiastic response this season, and I think it’s directly related to 90-minute episodes because 90 minutes allows us to spend more time with the players—you get to know them on a much deeper level, and not just their backstories, but also smaller moments that often reveal so much character,” Probst says. He’s right that the expansion has made room for both the twist-heavy structure that became especially evident in the “New Era,” an inevitable development for a game show trying to stay fresh, as well as the humanistic depictions of camp life that helped make Survivor such a phenomenon in the first place. “That’s the way I see it,” Probst says. “With 90 minutes, we get both.”
CBS has confirmed that season 46, airing in the spring, will also broadcast 90-minute-long episodes. As to what’s coming after that? Probst says he’ll be pushing to know soon. “Speaking candidly, I’ve been asking for [longer episodes] for years. I think we delivered on it, and I think we’ll deliver on it again in 46—and, yeah, I’ll be walking back into the offices at CBS and saying, ‘Let’s go again,’” Probst says. “It would be hard to go back, but if we had to, we certainly can. We’ve done it for 23 years.”
But there’s also something to be said for the show’s many, many recent innovations—some of which viewers found to be detracting from Survivor’s core strengths—finally paying off. The show had instituted a “Shot in the Dark” maneuver for season 41, in which players who feel in danger of being voted out could play for a one-in-six shot at safety from a vote—while sacrificing their own vote at the same time. For years, nothing came of it; this season, Kaleb Gebrewold, isolated without enough allies, played it correctly while his entire tribe had voted against him, leading to what Probst calls “one of the greatest moments in the history” of the show. “If you’re patient, sooner or later the stars are going to align…but one of the complaints I hear often from fans is, ‘There’s too many twists. You should really try a season with no twists,’” Probst says. “Without that uncertainty, Survivor would not still be on the air. If it was simple as, ‘Hey, whoever has five people can vote out the group that has four,’ this game would’ve died 15 years ago.”
This year’s Emmy race for outstanding competition program, voted on by Probst’s industry peers, features shows nominated for, respectively, season 23 (The Voice), 20 (Top Chef), 15 (RuPaul’s Drag Race), 34 (The Amazing Race), and of course, Survivor’s 44. It’s rare for new shows to break in here, in other words, and when they do they usually stick around until they don’t. Survivor fell off in 2006 and never returned until now. “There was a point along the way where we just let it go, and we were bummed that our peers didn’t feel we belonged in the Emmy conversation, but we also know there are lots of great unscripted shows and there’s only so many spots,” Probst says. “I have no idea why we were nominated again.”
As Survivor’s 45th season airs its penultimate episode tonight, after another run proving the show’s ability to stir both passionate enthusiasm and occasional controversy, some clear factors surely made a difference. Probst cites his “long-term view” of growing the show with the times, and we see it working out; on the other side of that coin, the show has deftly infused old-fashioned elements back into the machinery of an episode, even if that’s as simple as spending a few more minutes on quiet camplife. (The show also brought back the “Survivor Auction,” which—if you know, you know.) There’s the freshly diverse, distinctive, ambitious cast, which even after a few unfortunate quits stands out for their hunger and their savvy. And of course, there’s Probst—as close to a constant as American primetime television has had this century.
“Just to be nominated by the people who are in our orbit and do the same kind of shows we do is all you really need,” Probst reflects as we wrap up. “It’s just somebody saying, ‘I see you. I see what you’re doing.’”
Listen to Vanity Fair’s Little Gold Men podcast now.
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David Canfield
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Feinberg Forecast: Oscar Race Standings Post-Globe and Critics Choice Noms
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PLEASE NOTE: This forecast, assembled by Scott Feinberg, The Hollywood Reporter’s executive editor of awards coverage, reflects Scott’s best attempt to predict the behavior of the Academy of Motion Picture Arts and Sciences, not his personal preferences. He arrives at these projections by drawing upon conversations with voters and other industry insiders, analysis of marketing and awards campaigns, results of awards ceremonies that precede the Oscars and the history of the Oscars itself. There will be regular updates to reflect new developments.
* * *
Best Picture
Frontrunners
1. Oppenheimer (Universal)
2. Barbie (Warner Bros.)
3. Killers of the Flower Moon (Apple)
4. Poor Things (Searchlight)
5. American Fiction (Amazon/MGM)
6. Maestro (Netflix)
7. Past Lives (A24)
8. The Holdovers (Focus)
9. Anatomy of a Fall (Neon)
10. The Zone of Interest (A24)Major Threats
11. The Color Purple (Warner Bros.)
12. Saltburn (Amazon/MGM)
13. May December (Netflix)
14. Air (Amazon/MGM)
15. All of Us Strangers (Searchlight)
16. Spider-Man: Across the Spider-Verse (Sony)Possibilities
17. Rustin (Netflix)
18. The Iron Claw (A24)
19. Are You There God? It’s Me, Margaret (Lionsgate)
20. Origin (Neon)
21. Ferrari (Neon)
22. Priscilla (A24)Best Director
Frontrunners
1. Christopher Nolan (Oppenheimer)
2. Greta Gerwig (Barbie) — podcast
3. Martin Scorsese (Killers of the Flower Moon)
4. Yorgos Lanthimos (Poor Things)
5. Jonathan Glazer (The Zone of Interest)Major Threats
6. Bradley Cooper (Maestro)
7. Celine Song (Past Lives)
8. Alexander Payne (The Holdovers)
9. Cord Jefferson (American Fiction)
10. Todd Haynes (May December) — podcast
11. Justine Triet (Anatomy of a Fall)Possibilities
12. Emerald Fennell (Saltburn)
13. Blitz Bazawule (The Color Purple)
14. Andrew Haigh (All of Us Strangers)
15. Ava DuVernay (Origin)
16. Michael Mann (Ferrari)
17. Hayao Miyazaki (The Boy and the Heron)Best Actor
Frontrunners
1. Bradley Cooper (Maestro)
2. Cillian Murphy (Oppenheimer)
3. Jeffrey Wright (American Fiction)
4. Paul Giamatti (The Holdovers)
5. Colman Domingo (Rustin)Major Threats
6. Leonardo DiCaprio (Killers of the Flower Moon)
7. Andrew Scott (All of Us Strangers)
9. Barry Keoghan (Saltburn)
10. Matt Damon (Air)
11. Nicolas Cage (Dream Scenario) — podcastPossibilities
12. Franz Rogowski (Passages)
13. Christian Friedel (The Zone of Interest)
14. Adam Driver (Ferrari) — podcast
15. Gael García Bernal (Cassandro)
16. Michael Fassbender (The Killer)
17. Kôji Yakusho (Perfect Days)Best Actress
Frontrunners
1. Emma Stone (Poor Things) — podcast
2. Lily Gladstone (Killers of the Flower Moon)
3. Margot Robbie (Barbie) — podcast
4. Carey Mulligan (Maestro) — podcast
5. Sandra Hüller (Anatomy of a Fall)Major Threats
6. Greta Lee (Past Lives)
7. Annette Bening (Nyad)
8. Natalie Portman (May December) — podcast
9. Fantasia Barrino (The Color Purple)
10. Cailee Spaeny (Priscilla)
11. Helen Mirren (Golda) — podcastPossibilities
12. Alma Pöysti (Fallen Leaves)
13. Aunjanue Ellis-Taylor (Origin) — podcast
14. Eve Hewson (Flora and Son)
15. Leonie Benesch (The Teacher’s Lounge)
16. Trace Lysette (Monica)
17. Thomasin McKenzie (Eileen) — podcastBest Supporting Actor
Frontrunners
1. Ryan Gosling (Barbie)
2. Robert Downey Jr. (Oppenheimer)
3. Mark Ruffalo (Poor Things)
4. Willem Dafoe (Poor Things) — podcast
5. Charles Melton (May December)Major Threats
6. Robert De Niro (Killers of the Flower Moon) — podcast
7. Sterling K. Brown (American Fiction) — podcast
8. Jesse Plemons (Killers of the Flower Moon) — podcast
9. Paul Mescal (All of Us Strangers)
10. Chris Messina (Air)Possibilities
11. Glenn Howerton (BlackBerry)
12. Dominic Sessa (The Holdovers)
13. Ben Whishaw (Passages)
14. John Magaro (Past Lives)
15. Peter Sarsgaard (Memory)Best Supporting Actress
Frontrunners
1. Da’Vine Joy Randolph (The Holdovers)
2. Danielle Brooks (The Color Purple)
3. Jodie Foster (Nyad) — podcast
4. Julianne Moore (May December)
5. Emily Blunt (Oppenheimer) — podcastMajor Threats
6. America Ferrera (Barbie)
7. Rosamund Pike (Saltburn) — podcast
8. Sandra Hüller (The Zone of Interest)
9. Taraji P. Henson (The Color Purple) — podcast
10. Erika Alexander (American Fiction)Possibilities
11. Penélope Cruz (Ferrari) — podcast
12. Viola Davis (Air)
13. Claire Foy (All of Us Strangers) — podcast
14. Juliette Binoche (The Taste of Things)
15. Anne Hathaway (Eileen)
16. Patricia Clarkson (Monica) — podcastBest Adapted Screenplay
Frontrunners
1. Oppenheimer (Christopher Nolan)
2. Poor Things (Tony McNamara)
3. Killers of the Flower Moon (Eric Roth & Martin Scorsese)
4. American Fiction (Cord Jefferson)
5. All of Us Strangers (Andrew Haigh)Major Threats
6. The Zone of Interest (Jonathan Glazer)
7. Are You There God? It’s Me, Margaret (Kelly Fremon Craig)
8. Spider-Man: Across the Spider-Verse (Dave Callaham, Phil Lord and Chris Miller)
9. Priscilla (Sofia Coppola)Possibilities
10. The Color Purple (Marcus Gardley)
11. Dumb Money (Rebecca Angelo and Lauren Schuker Blum)
12. Nyad (Julia Cox)
13. Ferrari (Troy Kennedy Martin)Best Original Screenplay
Frontrunners
1. Barbie (Noah Baumbach and Greta Gerwig) — podcast (Gerwig)
2. Past Lives (Celine Song)
3. The Holdovers (David Hemingson)
4. Anatomy of a Fall (Arthur Harari and Justine Triet)
5. May December (Samy Burch and Alex Mechanik)Major Threats
6. Maestro (Bradley Cooper and Josh Singer)
7. Air (Alex Convery)
8. Saltburn (Emerald Fennell)
9. Origin (Ava DuVernay)Possibilities
10. Rustin (Dustin Lance Black and Julian Breece)
11. Fair Play (Chloe Domont)
12. Dream Scenario (Kristoffer Borgli)
13. Flora and Son (John Carney)
14. Asteroid City (Wes Anderson and Roman Coppola)Best International Feature
Frontrunners
1. The Zone of Interest (United Kingdom)
2. The Taste of Things (France)
3. Society of the Snow (Spain)
4. Four Daughters (Tunisia)
5. The Teacher’s Lounge (Germany)Major Threats
6. Perfect Days (Japan)
7. 20 Days in Mariupol (Ukraine)Can’t Yet Call
Blaga’s Lessons (Bulgaria)
Fallen Leaves (Finland)
Shayda (Australia)
Io Capitano (Italy)
Godland (Iceland)
The Promised Land (Denmark)
In the Shadow of Beirut (Ireland)
About Dry Grasses (Turkey)
Thunder (Switzerland)
The Mother of All Lies (Morocco)
Brothers (Czech Republic)
Do Not Expect Too Much From the End of the World (Romania)
Traces (Croatia)
Voy! Voy! Voy! (Egypt)
Sweet Dreams (Netherlands)Best Documentary Feature
Frontrunners
1. American Symphony (Netflix)
2. Still: A Michael J. Fox Movie (Apple) — podcast (Davis Guggenheim)
3. Beyond Utopia (Roadside)
4. 20 Days in Mariupol (PBS)
5. Kokomo City (Magnolia)Rest of the Shortlist
6. Four Daughters (Kino Lorber)
7. The Disappearance of Shere Hite (IFC)
8. Bobi Wine: The People’s President (Nat Geo)
9. The Eternal Memory (MTV)
10. Stamped from the Beginning (Netflix) — podcast (Roger Ross Williams)
11. The Deepest Breath (Netflix)
12. The Mission (Nat Geo)
13. Silver Dollar Road (Amazon)
14. Anselm (Sideshow/Janus)
15. Lakota Nation vs. United States (IFC)Possibilities
16. The Pigeon Tunnel (Apple)
17. Every Body (Focus)
18. Occupied City (A24)
19. To Kill a Tiger (still seeking U.S. distribution)
20. King Coal (still seeking U.S. distribution)
21. The League (Magnolia)
22. Joan Baez: I Am a Noise (Magnolia)Can’t Yet Call
32 Sounds (Abramorama)
Black Ice (Lionsgate)
A Compassionate Spy (Magnolia)
Copa 71 (still seeking U.S. distribution)
Defiant (still seeking U.S. distribution)
Going to Mars: The Nikki Giovanni Story (HBO)
Hollywoodgate (still seeking U.S. distribution)
In the Rearview (Film Movement)
In the Shadow of Beirut (Cyprus Avenue)
Judy Blume Forever (Amazon)
Little Richard: I Am Everything (Magnolia)
Menus-Plaisirs Les Troisgros (Zipporah)
The Mother of All Lies (still seeking U.S. distribution)
Orlando, My Political Biography (Sideshow/Janus)
Periodical (MSNBC)
Smoke Sauna Sisterhood (Greenwich)
A Still Small Voice (Abramorama)
Uncharitable (Abramorama)
What the Hell Happened to Blood, Sweat & Tears? (Abramorama)
While We Watched (PBS)
Your Fat Friend (still seeking distribution)Best Animated Feature
Frontrunners
1. Spider-Man: Across the Spider-Verse (Sony)
2. The Boy and the Heron (GKIDS)
3. Elemental (Pixar) — podcast (Pete Docter)
4. Nimona (Netflix)
5. The Super Mario Bros. Movie (Illumination)Major Threats
6. Teenage Mutant Ninja Turtles: Mutant Mayhem (Paramount)
7. Chicken Run: Dawn of the Nugget (Netflix)
8. Leo (Netflix)
9. Wish (Disney)
10. They Shot the Piano Player (Sony Classics)Can’t Yet Call
Amazing Maurice (Viva)
Deep Sea (Viva)
Ernest & Celestine: A Trip to Gibbertia (GKIDS)
The First Slam Dunk (GKIDS)
Migration (Illumination)
Robot Dreams (Neon)
Stopmotion (IFC)
Suzume (Toho)
Trolls Band Together (DreamWorks)Best Cinematography
Frontrunners
1. Oppenheimer (Hoyte van Hoytema)
2. Killers of the Flower Moon (Rodrigo Prieto)
3. Poor Things (Robbie Ryan)
4. Barbie (Rodrigo Prieto)
5. Maestro (Matthew Libatique)Major Threats
6. Saltburn (Linus Sandgren)
7. The Zone of Interest (Łukasz Żal)
8. The Color Purple (Dan Laustsen)
9. Society of the Snow (Pedro Luque)
10. Ferrari (Erik Messerschmidt)
11. Napoleon (Dariusz Wolski)
12. Past Lives (Shabier Kirchner)Possibilities
13. May December (Christopher Blauvelt)
14. The Taste of Things (Jonathan Ricquebourg)
15. The Holdovers (Eigil Byrid)
16. All of Us Strangers (Jamie D. Ramsay)
17. Air (Robert Richardson)
18. The Killer (Erik Messerschmidt)
19. El Conde (Ed Lachman)Best Costume Design
Frontrunners
1. Barbie (Jacqueline Durran)
2. Poor Things (Holly Waddington)
3. Killers of the Flower Moon (Jacqueline West)
4. The Color Purple (Francine Jamison-Tanchuck)
5. Wonka (Lindy Hemming)Major Threats
6. Napoleon (David Crossman & Janty Yates)
7. Priscilla (Stacey Battat)
8. Maestro (Mark Bridges)
9. Oppenheimer (Ellen Mirojnick)
10. The Little Mermaid (Colleen Atwood)
11. Are You There God? It’s Me Margaret (Ann Roth)Possibilities
12. Ferrari (Massimo Cantini Parrini)
13. Asteroid City (Milena Canonero)
14. Saltburn (Sophie Canale)
15. Rustin (Toni-Leslie James)
16. Cassandro (María Estela Fernández)
17. The Hunger Games: The Ballad of Songbirds and Snakes (Trish Summerville)Best Fim Editing
Frontrunners
1. Oppenheimer (Jennifer Lame)
2. Killers of the Flower Moon (Thelma Schoonmaker)
3. Poor Things (Yorgos Mavropsaridis)
4. Barbie (Nick Houy)
5. Maestro (Michelle Tesoro)Major Threats
6. Air (William Goldenberg)
7. Ferrari (Pietro Scalia)
8. American Fiction (Hilda Rasula)
9. Past Lives (Keith Fraase)
10. The Holdovers (Kevin Tent)
11. The Zone of Interest (Paul Watts)Possibilities
12. Spider-Man: Across the Spider-Verse (Michael Andrews)
13. Mission: Impossible: Dead Reckoning Part One (Eddie Hamilton)
14. The Color Purple (Jon Poll)
15. The Killer (Kirk Baxter)
16. May December (Affonso Gonçalves)
17. Origin (Spencer Averick)Best Makeup & Hairstyling
Frontrunners
1. Maestro (Kay Georgiou, Sian Grigg, Kazu Hiro & Lori McCoy-Bell)
2. Poor Things (Mark Couler, Nadia Stacey & Josh Weston)
3. Barbie (Ivana Primorac)
4. Priscilla (Cliona Furey & Jo-Ann MacNeil)
5. Killers of the Flower Moon (Kay Georgiou & Thomas Nellen)Rest of Shortlist
6. Oppenheimer (Luisa Abel, Jason Hamer, Jaime Leigh McIntosh & Ahou Mofid)
7. The Color Purple (Lawrence Davis & Carol Rasheed)
8. Golda (Karen Hartley Thomas)
9. Nyad (Ana María Andrickson, Jandeira Avirón, Felicity Bowring, Corey Castellano, Vanessa Colombo, Daniel Curet, Julie Hewett, Ann-Maree Hurley, Maha Lessner)
10. Guardians of the Galaxy Vol. 3 (Alexei Dmitriew & Cassie Russek)Possibilities
11. Rustin (Melissa Forney & Beverly Jo Pryor)
12. Ferrari (Marcelle Genovese, Marco Pompei, Aldo Signoretti & Scott Wheeler)
13. The Little Mermaid (Camille Friend & Peter Smith King)
14. The Society of the Snow (Ana López-Puigcerver, Belén López-Puigcerver, David Martí & Montse Ribé)
15. The Iron Claw (Elle Favorule & Natalie Shea Rose)
16. Wonka (David Darby, John Nolan & Ivana Primorac)
17. Air (Luisa Abel & Carla Joi Farmer)
18. The Creator (Francesca van der Feyst)
19. Napoleon (Jana Carboni & Francesco Pegoretti)Best Original Score
Frontrunners
1. Killers of the Flower Moon (Robbie Robertson)
2. Oppenheimer (Ludwig Göransson)
3. Spider-Man: Across the Spider-Verse (Daniel Pemberton)
4. Poor Things (Jerskin Fendrix)
5. Barbie (Mark Ronson & Andrew Wyatt)Rest of Shortlist
6. The Zone of Interest (Mica Levi)
7. The Boy and the Heron (Joe Hisaishi)
8. Elemental (Thomas Newman)
9. American Fiction (Laura Karpman)
10. Society of the Snow (Michael Giacchino)
11. Indiana Jones and the Dial of Destiny (John Williams)
12. The Killer (Trent Reznor & Atticus Ross)
13. Origin (Kris Bowers)
14. The Boys in the Boat (Alexandre Desplat)
15. Nyad (Alexandre Desplat)Possibilities
16. Past Lives (Christopher Bear & Daniel Rossen)
17. Monster (Ryuichi Sakamoto)
18. Saltburn (Anthony Willis)
19. Wish (David Metzger)
20. Ferrari (Daniel Pemberton)
21. Rustin (Branford Marsalis)
22. The Pigeon Tunnel (Philip Glass & Paul Leonard-Morgan) — podcast (Glass)
24. A Haunting in Venice (Hildur Guðnadóttir)
25. The Creator (Hans Zimmer) — podcast
26. Are You There God? It’s Me, Margaret (Hans Zimmer) — podcast
27. Napoleon (Martin Phipps)
28. The Marvels (Laura Karpman)
29. All of Us Strangers (Emilie Levienaise-Farrouch)
30. The Super Mario Bros. Movie (Brian Tyler)Best Original Song
Frontrunners
1. “What Was I Made For?” (Barbie), Billie Eilish & Finneas — podcast
2. “I’m Just Ken” (Barbie), Mark Ronson & Andrew Wyatt — podcast (Ronson)
3. “Road to Freedom” (Rustin), Lenny Kravitz — podcast
4. “This Wish” (Wish), Julia Michaels & Benjamin Rice
5. “Peaches” (The Super Mario Bros. Move), Jack Black, Aaron Horvath, Michael Jelenic, Eric Osmond & John SpikerRest of Shortlist
6. “It Never Went Away” (American Symphony), Jon Batiste & Dan Wilson
7. “The Fire Inside” (Flamin’ Hot), Diane Warren — podcast
8. “For the First Time” (The Little Mermaid), Alan Menken & Lin-Manuel Miranda — podcast (Miranda)
9. “Keep It Movin’” (The Color Purple), Denisia Andrews, Halle Bailey, Brittany Coney & Morten Ristorp
10. “Dance the Night” (Barbie), Caroline Ailin, Dua Lipa, Mark Ronson & Andrew Wyatt — podcasts (Lipa & Ronson)
11. “Addicted to Romance” (She Came to Me)
12. “Can’t Catch Me Now” (The Hunger Games: The Ballad of Songbirds and Snakes), Dan Nigro & Olivia Rodrigo — podcast (Rodrigo)
13. “High Life” (Flora and Son), John Carney & Gary Clark
14. “Better Place” (Trolls Band Together), Amy Allen, Karl Schuster & Justin Timberlake — podcast (Timberlake)
15. “Camp Isn’t Home” (Theater Camp), Noah Galvin, Molly Gordon, Nick Lieberman, Ben Platt & Mark Sonnenblick — podcast (Platt)Possibilities
16. “Am I Dreaming” (Spider-Man: Across the Spider-Verse), Michael Dean, Peter Lee Johnson, Rakim Mayers, Landon Wayne & Leland Wayne
17. “Steal the Show” (Elemental), Ari Staprans “Lauv” Leff, Michael Matosic & Thomas Newman
18. “I Am” (Origin), Te Kanapu Anasta, Michael Fatkin, Vince Harder & Stan Walker
19. “A World of Your Own” (Wonka), Simon Farnabay, Neil Hannon & Paul King
20. “Superpower (I)” (The Color Purple), Terius Gesteelde-Diamant
21. “Out-Alpha the Alpha” (Dicks: The Musical), Megan Thee Stallion
22. “The Scuttlebutt” (The Little Mermaid), Alan Menken & Lin-Manuel Miranda — podcast (Miranda)
23. “Everything Is Gonna Be Alright” (Bobi Wine: The People’s President), Bobi Wine
24. “Wounded Heart” (Silver Dollar Road), Ondara
25. “Live That Way Forever” (The Iron Claw), Richard Reed & Laurel “Little Scream” Sprengelmeyer
26. “All Love Is Love” (Dicks: The Musical), Aaron Jackson & Josh Sharp
27. “Quiet Eyes” (Past Lives), Zach Dawes & Sharon Von Etten
28. “Gonna Be You” (80 for Brady), Diane Warren — podcastBest Production Design
Frontrunners
1. Oppenheimer (Ruth De Jong & Claire Kaufman)
2. Barbie (Sarah Greenwood & Katie Spencer)
3. Killers of the Flower Moon (Jack Fish & Adam Willis)
4. Poor Things (Shona Heath, James Price & Szusza Mihalek)
5. Maestro (Rena DeAngelo & Kevin Thompson)Major Threats
6. Saltburn (Suzie Davis & Charlotte Diricks)
7. Asteroid City (Kris Moran & Adam Stockhausen)
8. Wonka (Nathan Crowley & Lee Sandales)
9. The Color Purple (Paul D. Austerberry & Larry Dias)
10. Napoleon (Elli Griff & Arthur Max)
11. Ferrari (Maria Djurkovic & Sophie Phillips)
12. Society of the Snow (Alain Bainée & Angela Nahum)Possibilites
13. The Zone of Interest (Joanna Kus, Chris Oddy & Katarzyna Sikora)
14. The Taste of Things (Toma Baqueni)
15. Anatomy of a Fall (Cécile Deleu & Emmanuelle Duplay)
16. Priscilla (Patricia Cuccia & Tamara Deverell)
17. Air (François Audouy & Jan Pascale)
18. May December (Sam Lisenco & Jess Royal)
19. Origin (Ina Mayhew & Jacqueline Jacobson Scarfo)
20. Spider-Man: Across the Spider-Verse (Patrick O’Keefe)Best Sound
Frontrunners
1. Oppenheimer (Willie Burton, Richard King, Kevin O’Connell & Gary A. Rizzo)
2. Maestro (Richard King, Steve Morrow, Tom Ozanich, Jason Ruder & Dean Zupancic)
3. The Color Purple (Richard Bullock, Paul Massey, Steve Morrow, Julian Slater & Renee Tondelli)
4. Barbie (Dan Kenyon, Ai-Ling Lee, Kevin O’Connell & Nina Rice)
5. Ferrari (Tony Lamberti, Lee Orloff, Andy Nelson & Bernard Weiser)Rest of Shortlist
6. Killers of the Flower Moon (John Pritchett, Philip Stockton & Mark Ulano)
7. The Zone of Interest (Johnnie Burn)
8. Spider-Man: Across the Spider-Verse (Juan Peralta, Geoffrey G. Rubay & Michael Semanick)
9. Poor Things (Johnnie Burn & Tamás Dévényi)
10. Transformers: Rise of the Beasts (Erik Aadahl, Ron Bartlett, Anna Behlmer, Simon Pidrette & Ethan Van Der Ryn)Possibilities
11. Napoleon (Stephane Bucher, James Harrison, Paul Massey, William Miller & Oliver Tarney)
12. Wonka (Niv Adiri, Ben Barker, John Casali, Glenn Freemantle & Paul Massey)
13. The Creator (Erik Aadahl, Tom Ozanich, Ethan Van Der Ryn, Ian Voigt & Dean Zupancic)
14. Guardians of the Galaxy Vol. 3 (David Acord, Christopher Boyes, Cheryl Nardi, Lee Orloff & Gary A. Rizzo)
15. Mission: Impossible — Dead Reckoning Part One (Chris Burdon, James H. Mather & Chris Munro)
16. Indiana Jones and the Dial of Destiny (David Giammarco, Paul Massey, Juan Peralta, Gary Rydstrom, Donald Sylvester & Stuart Wilson)
17. Wish (David E. Fluhr & Shannon Mills)
18. 32 Sounds (Mark A. Mangini)
19. The Deepest Breath (Will Chapman, Greg Gettens & Chad Orororo)Best Visual Effects
Frontrunners
1. Guardians of the Galaxy Vol. 3
2. Poor Things
3. The Creator
4. Mission: Impossible — Dead Reckoning Part One
5. Society of the SnowRest of Shortlist
6. Spider-Man: Across the Spider-Verse
7. Transformers: Rise of the Beats
8. Indiana Jones and the Dial of Destiny
9. Rebel Moon: Part One — A Child of Fire
10. WonkaPossibilities
11. The Marvels
12. Napoleon
13. Aquaman and the Lost Kingdom
14. Ant-Man and the Wasp: Quanumania
15. Dungeons & Dragons: Honor Among Thieves
16. Barbie
17. Killers of the Flower Moon
18. Godzilla: Minus One
19. The Boys in the Boat
20. Nyad[ad_2]
Scott Feinberg
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The 2024 Emmys Have Finally Found a Host
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Awards show hosting is a famously thankless gig that seems harder and harder to fill these days, but it’s hard to imagine a network doing better than hiring an Emmy nominee who’s currently hosting a game show on their network. That brings us to Anthony Anderson, who will host the Emmy Awards airing on January 14, 2024—delayed from their usual September date thanks to the writers’ and actors’ strikes.
“After Anthony hosted our upcoming show We Are Family, we knew he’d be a natural fit for a star-studded, anticipatory night like the Emmys,” said Allison Wallach, the head of unscripted programming at Fox, which will air this year’s awards. (Rights to the broadcast shuffle among the four major networks on a rotating schedule.) It’s a handy promo for their game show, of course, which premieres on January 3. But Anderson is a logical choice for many other reasons, including his own Emmy nominations for Black-ish and his performance on the show itself in years past:
“With our industry’s recent challenges behind us, we can get back to what we love — dressing up and honoring ourselves,” Anderson said in a statement. “And there’s no better celebratory moment to bring the creative community together than the milestone 75th Emmy Awards. When Fox asked me to host this historic telecast, I was over the moon that Taylor Swift was unavailable, and now I can’t wait to be part of the biggest night in television.”
If this news has you in the Emmy spirit, have we got the things for you: our new interactive Emmys ballot is now live, and you can make your picks for all the winners and have them handy for when the awards air in January. And for a guide to the eight biggest races with potential for surprise, of course we’ve got you covered.
Listen to Vanity Fair’s Little Gold Men podcast now.
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Swedish Film Awards Nominations Unveiled
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The Swedish Film Institute on Wednesday announced the nominations for the Guldbagge (Golden Bug) awards, Sweden’s top film prize, with politics taking center stage among the feature contenders.
Axel Petersén’s Shame on Dry Land, a neo-noir set in the world of online gamblers who fled Sweden for refuge in Malta, lead the pack with 9 Guldbagge nominations. But it was snubbed in the best film category. Per Fly’s cold war thriller Hammarskjöld, starring Mikael Persbrandt as the titular Swedish diplomat, and former UN Secretary-General, who died in a mysterious plane crash, received seven nominations, including best film, tying with Opponent, Milad Alami’s drama about a family who flee Iran for Northern Sweden.
Alongside Hammarskjöld and Opponent, best film nominees include Mika Gustafson’s social drama Paris Is Burning, the relationship drama 100 Seasons from director Giovanni Bucchieri, and The Gullspång Miracle, a documentary from director Maria Fredriksson about two pious sisters who buy an apartment after witnessing what they take as a divine sign, only to realize that the seller is the spitting image of their dead sister, who committed suicide some thirty years before.
Fredriksson, Alami, and Petersén are all up for the best directing Guldbagge, alongside Ami-Ro Sköld, nominated for the animated drama The Store.
Going up against Persbrandt in the best actor category are Payman Maadi for Opponent, Joel Spira for Shame on Dry Land and Gustaf Hammarsten for his starring role in Lukas Moodysson’s Together 99. Best actress nominees include Maral Nasiri for Opponent, Karin Franz Körlof for Andreas Öhman’s One Day All This Will Be Yours, Sanna Sundqvist for Thank You, I’m Sorry from director Lisa Aschan, and Lena Olin for Mårten Klingberg’s Second Act.
The Guldbagge Awards will be handed out at a gala ceremony in Stockholm on Jan. 15, 2024.
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Scott Roxborough
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IDA Documentary Awards: ‘Bobi Wine: The People’s President’ Wins Best Feature
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Bobi Wine: The People’s President won the top prize of best feature documentary at the 2023 International Documentary Awards on Tuesday night.
The film follows music star, activist and opposition leader Bobi Wine amid Uganda’s 2021 presidential election.
Accepting the award during the International Documentary Association‘s virtual awards show, co-director Moses Bwayo said, “The awareness this film has brought to world audiences has arguably kept Bobi Wine alive and out of prison for now.”
Asmae El Moudir won best director for The Mother of All Lies, in which El Moudir creates a replica of the Casablanca neighborhood where she grew up, allowing her to reconnect with her past.
The Mother of All Lies was nominated for three awards, along with Milisuthando, while Apolonia, Apolonia had a leading four nominations.
Incident, which reconstructs a Chicago police shooting in 2018 from numerous viewpoints, won best short documentary award. POV and POV Shorts won best curated series and best short-form series, respectively, both for the second year in a row.
Other noteworthy winners include Smoke Sauna Sisterhood‘s Ants Tammik (best cinematography), Anselm‘s Leonard Küssner (best original music score), Four Daughters‘ Kaouther Ben Hania (best writing), Our Planet II (best episodic series) and Dear Mama (best multi-part documentary).
In addition to the award winners listed below, the IDA awarded the Pare Lorentz Award to In the Rearview, and the ABC News VideoSource Award went to Storming Caesars Palace.
The 39th IDA Documentary Awards, hosted by KCRW DJs Tyler Boudreaux and Raul Campos, saw winners accept their awards from cities around the world.
“While we are speaking from Los Angeles, our thoughts are with the people living in the midst of war around the globe,” IDA board co-presidents Grace Lee and Chris Perez said at the top of the show. “The loss of lives, friendships and the inability to listen has been heartbreaking. And yet, as a community, we are storytellers of the world we live in and know that our work can not only capture history but change minds. To the thousands of IDA members who live in 76 countries and voted for the winners of the best feature and best short documentary categories, thank you for investing your time and for your inspired choices!”
In announcing this year’s IDA nominations, interim executive director Ken Ikeda said the organization would be skipping an in-person event.
“In the wake of devastating events unfolding in the world and the grief our staff, board, community, and humanity at large are experiencing, we have decided to forego an in-person party,” IDA interim executive director Ken Ikeda said in a statement. “We know that stories have the power to encourage compassion, understanding and peace. We are committed to preserving space for stories to be shared. Our wish is to recognize and celebrate the nominees and winners together, as a global documentary community.”
The IDA’s new executive director, as of Jan. 8, Dominic Asmall Willsdon, delivered the closing remarks.
“In the coming years, across all that IDA does, our task is to become as international as we can be,” Willsdon said. “You see it already. Look at this year’s award nominees, who works at IDA, who’s on the board now, this year’s grant recipients, and who’s contributing to the magazine.”
A complete list of this year’s International Documentary Awards winners follows.
Best Feature Documentary Nominees
Against the Tide (India | BBC Storyville | Director: Sarvnik Kaur | Producers: Koval Bhatia, Sarvnik Kaur)
ANHELL69 (Colombia | Square Eyes | Director: Theo Montoya | Producers: Bianca Oana, David Hurst, Theo Montoya, Juan Pablo Castrillon, Balthasar Busmann, Maximilian Haslberger)
Apolonia, Apolonia (Denmark | HBO Max | Director: Lea Glob | Producer: Sidsel Lønvig Siersted)
Bobi Wine: The People’s President (Uganda | National Geographic Documentary Films | Directors: Moses Bwayo, Christopher Sharp | Producers: Christopher Sharp, John Battsek) (WINNER)
Going to Mars: The Nikki Giovanni Project (United States | HBO Documentary Films | Directors: Michèle Stephenson, Joe Brewster | Producers: Michèle Stephenson, Joe Brewster, Tommy Oliver)
In the Rearview (Poland | Cinephil | Director: Maciek Hamela | Producers: Maciek Hamela, Piotr Grawender)
Milisuthando (South Africa | Director: Milisuthando Bongela | Producers: Marion Isaacs, Viviana Gomez, Sonia Barrera, Milisuthando Bongela, Hankyeol Lee)
Q (United States | Chehab Films | Director: Jude Chehab | Producers: Jude Chehab, Fahd Ahmed)
The Mother of All Lies (Morocco | Arizona Distribution | Director/Producer: Asmae El Moudir)
While We Watched (United Kingdom, India | POV, BRITDOC Films | Director: Vinay Shukla | Producers: Vinay Shukla, Khushboo Ranka, Luke W Moody)Best Short Documentary Nominees
How to Carry Water (United States | Multitude Films | Director: Sasha Wortzel | Producers: Colleen Cassingham, Jess Devaney, Anya Rous)
Incident (United States | Hypnotic Pictures | Director: Bill Morrison | Producers: Bill Morrison, Jamie Kalven) (WINNER)
Liturgy of Anti-Tank Obstacles (United States | The New Yorker, Condé Nast Entertainment | Director: Dmytro Sukholytkyy Sobchuk | Producer: Daniel Lombroso)
Marungka Tjalatjunu (Dipped in Black) (Australia | Other Pictures | Directors: Derik Lynch, Matthew Thorne | Producers: Matthew Thorne, Patrick Graham)
Nǎi Nai & Wài Pó (Grandma & Grandma) (United States | Director: Sean Wang | Producers: Sean Wang, Sam Davis)
Neighbour Abdi (The Netherlands | The New York Times Op-Docs | Director: Douwe Dijkstra | Producer: Richard Valk)
Raat: Night Time in Small Town India (India | The Third Eye Learning Lab | Directors: Arti Ahirwar, Ashraf Hussain, Rajkumari Ahirwar, Vikas Khatri, Tabassum Ansari, Kulsum Khatoon, Khushi Bano, Parmeshwar Mandrawaliya, Santra Chaurthiya, Rajkumari Prajapati, Manisha Chanda, Anita Sen, Rani Devi, Ajfarul Shaikh | Producers: Ruchika Negi, Dipta Bhog, Shabani Hassanwalia, Shivam Rastogi)
Suddenly TV (Sudan | Gisa Productions | Director/Producer: Roopa Gogineni)
The Unicorn in Snowpants Suddenly Ran Off (Germany | The New Yorker, Filmakademie Baden-Württemberg | Director: Philipp Schaeffer | Producer: Fabian Leonhardt)
The Veiled City (United Kingdom | JSH Films | Director: Natalie Cubides-Brady | Producer: Jacob Swan Hyam)Best Director
Asmae El Moudir, The Mother of All Lies (Arizona Distribution | Morocco) (WINNER)
Milisuthando Bongela, Milisuthando (South Africa)
Sarvnik Kaur, Against the Tide (BBC Storyville | India)
Theo Montoya, ANHELL69 (Square Eyes | Colombia)
Lea Glob, Apolonia, Apolonia (HBO Max | Denmark, Poland, USA)Best Cinematography
Andrew H. Brown, Between the Rains (Journeyman Pictures | Kenya, USA)
Ants Tammik, Smoke Sauna Sisterhood (Greenwich Entertainment | Estonia, France, Iceland) (WINNER)
Curren Sheldon, King Coal (Fourth Act Film | USA)
Franz Lustig, Anselm (Sideshow Pictures | Germany)
Lars Erlend Tubaas Oymo, Songs of Earth (SWC/Arte, BBC Storyville | Norway)Best Editing
Andreas Bøggild Monies, Thor Ochsner, Apolonia, Apolonia (HBO Max | Denmark, Poland, USA)
Carolina Siraqyan, The Eternal Memory (MTV Documentary Films | Chile, USA) (WINNER)
Fahd Ahmed, Q (Chehab Films | USA, Lebanon)
Hendrik Mägar, Tushar Prakash, Smoke Sauna Sisterhood (Greenwich Entertainment | Estonia, France, Iceland)Best Original Music Score
Jonathan Goldsmith, To Kill a Tiger (National Film Board of Canada | Canada, India)
Leonard Küssner, Anselm (Sideshow Pictures | Germany) (WINNER)
Rebekka Karijord, Songs of Earth (SWR/Arte, BBC Storyville | Norway)
Samora Pinderhughes, Chris Pattishall, Going To Mars: The Nikki Giovanni Project (HBO Documentary Films | USA)
Will Epstein, Nam June Paik: Moon is the Oldest TV (Greenwich Entertainment | USA)Best Writing
Asmae El Moudir, The Mother of All Lies (Arizona Distribution | Morocco)
Kaouther Ben Hania, Four Daughters (Kino Lorber | France, Tunisia, Germany) (WINNER)
Lea Glob, Andreas Bøggild Monies, Apolonia, Apolonia (HBO Max | Denmark, Poland, USA)
Milisuthando Bongela, Milisuthando (South Africa)
Nisha Pahuja, To Kill a Tiger (National Film Board of Canada | Canada, India)Best TV Feature or Mini-Series
Great Photo, Lovely Life (HBO Max | USA | Directors: Amanda Mustard, Rachel Beth Anderson | EP: Rachel Dretzin, Producers: Amanda Mustard, Rachel Beth Anderson, Luke Malone)
How to Come Alive with Norman Mailer (Showtime | USA | Director: Jeff Zimbalist | EP: Vinnie Malhotra, Stu Schreiberg, John Buffalo Mailer, Producers: Victoria Marquette, Jeff Zimbalist)
Mariupol: The People’s Story (BBC | UK | Director: Robin Barnwell | EP: Darren Kemp, Tom Stone | Producer: Hilary Andersson) (WINNER)
Reggie (Prime Video | USA | Director: Alexandria Stapleton | EP: Brenda Gilbert, Aaron L. Gilbert, Josh Miller, Kim Carsten, Zoë Morrison, Jason Cloth, Suraj Maraboyina, Producers: Alexandria Stapleton, Christopher Leggett, Rafael Marmor, Daniel Crown, Yoni Liebling)
The U.S. and the Holocaust (PBS | USA | Directors: Ken Burns, Lynn Novick, Sarah Botstein | EP: Ken Burns, Producers: Sarah Botstein, Lynn Novick, Mike Welt)Best Curated Series
American Masters (PBS | USA | EP: Michael Kantor)
America ReFramed (American Documentary, Inc, WORLD Channel | USA | EP: Erika Dilday, Chris White, Christopher Hastings)
Independent Lens (PBS, Independent Lens | USA | EP: Sally Jo Fifer, Lois Vossen)
POV (PBS | USA, Denmark, Brazil | EP: Erika Dilday; Chris White) (WINNER)
Reel South (PBS, WORLD Channel | USA, South Korea, UK | EP: Rachel Raney, Don Godish, Donald Washington, Linda Midgett)Best Episodic Series
Frozen Planet II (BBC America | USA | Producer: Mark Brownlow)
Our Planet II (Netflix | USA, UK | Producers: Alastair Fothergill, Keith Scholey) (WINNER)
Telemarketers (HBO Max | USA | Producers: Benny Safdie, Josh Safdie, Dani Bernfeld, David Gordon Green, Jody Hill, Danny McBride, Greg Stewart, Brandon James, Adam Bhala Lough, Sam Lipman-Stern, Nancy Abraham, Lisa Heller, Tina Nguyen)
The Hair Tales (Hulu | USA | Producers: Oprah Winfrey, Tracee Ellis Ross, Michaela Angela Davis, Tara Duncan, Raeshem Nijhon, Carri Twigg, Kisah Imani Cameron, Kadine Anckle, Nicole Galovski)
VICE (Showtime | USA | Producers: Beverly Johnson, Subrata De)Best Music Documentary
Keeping the Music Alive (France, Singapore, UK | TVF International | Directors: Sarah El Younsi, Mandakini Gahlot | Producers: Bable Doc, CNA)
Little Richard: I Am Everything (Magnolia Pictures, CNN Film, HBO Max | USA, UK | Director: Lisa Cortés | Producers: Lisa Cortés, Robert Friedman, Liz Yale Marsh, Caryn Capotosto)
Max Roach: The Drum Also Waltzes (PBS, American Masters | USA | Directors/Producers: Ben Shapiro, Sam Pollard) (WINNER)
Milli Vanilli (USA | Paramount+ | Director: Luke Korem | Producers: Luke Korem, Bradley Jackson)
Pianoforte (Poland, Germany | Greenwich Entertainment | Director: Jakub Piatek | Producer: Maciej Kubicki)Best Multi-Part Documentary
Algiers, America (Hulu | USA | Director: Jackson Fager | Producers: Jackson Fager, Jeffrey Fager, David Rohde, Connor Schell, Libby Geist, Raina Kelley, Joseph Langford, Durado Brookes)
Burden of Proof (HBO Max | USA | Director: Cynthia Hill | Producers: Charlotte Cook, Rahdi Taylor, Davis Guggenheim, Nancy Abraham, Lisa Heller)
Deadlocked: How America Shaped the Supreme Court (Showtime | USA | Director: Dawn Porter | Producers: Vinnie Malhotra, Aaron Saidman, Eli Holzman, Dawn Porter)
Dear Mama (FX | USA | Director: Allen Hughes | EP: Lasse Järvi, Quincy “QD3” Jones III, Staci Robinson, Nelson George, Charles King, Peter Nelson, Adel “Future” Nur, Jamal Soseph, Ted Skillman, Allen Hughes, Steve Berman, Marc Cimino, Jody Gerson, John Nanick, Nicholas Ferrall, Nigel Sinclair) (WINNER)
Ladies First: The Story of Women in Hip-Hop (Netflix | USA | Directors: Hannah Beachler, Raeshem Nijhon, Dream Hampton | Producers: Dream Hampton, Troy Carter, Raeshem Nijhon, Carri Twigg, MC Lyte, Nicole Galovski, Justin Simien, Jennifer Ryan)Best Short-Form Series
99: True Stories From Your Fellow Humans (99 | USA, India, UK | Producer: Jérôme Plan)
Couples Therapy (Showtime | USA | Producers: Eli Despres, Josh Kriegman, Elyse Steinberg, Vinnie Malhotra)
Equals (Anahad Foundation | USA | Producers: Shuchi Roy, Mudit Chaturvedi)
POV Shorts (American Documentary | USA | Producers: Erika Dilday, Chris White) (WINNER)
Queer Futures (Multitude Films | USA | Producers: Jess Devaney, Anya Rous, J Wortham)Best Standalone Audio Documentary
K-Pop Dreaming, Episode 3 – “Trot” (USA | LAist Studios | Host: Vivian Yoon | Producers: Fiona Ng, Antonia Cereijido)
Les gardiennes du temple (The Guardians of the Temple) (France | SMAC Le Florida, Théâtre des Quatre Saisons, RTBF, RTS Culture SRG SSR | Hosts: Aurélien Caillaux, Benoit Bores | Producers: Faïdos Sonore, Les Voix de Traverse, SMAC Le Florida, Théâtre des Quatre Saisons)
Melanie Speaks (USA | SiriusXM Podcast Network | Host: Sarah Esocoff | Producers: Kameel Stanley, Jen Derwin, Bill Crandal, Mike Spinella, Sarah Bentley, Sarah Esocoff)
NPR’s Invisibilia: Freedom Diving (USA | NPR | Host: Kia Miakka Natisse | Producers: Phoebe Wang, Ariana Gharib Lee)
This Coal Life (South Africa | Host: Lesedi Mogoatlhe | Reporter: Siyabonga Mokoena | Producer: Dhashen Moodley) (WINNER)
Toughie (USA | BBC’s Short Cuts | Host: Josie Long | Reporter/Producer: Sarah Craig)Best Multi-Part Audio Documentary or Series
Foretold (USA | Los Angeles Times | Host: Faith E. Pinho | Producers: Asal Ehsanipour, Alex Higgins, Heba Elorbany, Jazmin Aguilera, Lauren Raab, Avery Trufelman, Sue Horton)
Into America presents: Street Disciples (USA | MSNBC | Host: Trymaine Lee | Producers: Aisha Turner, Isabel Angell, Max Jacobs, Allison Bailey, Mike Brown, Janmaris Perez)
Operation Morning Light (USA, Canada | Imperative Entertainment, Vespucci | Host: Dëneze Nakehk’o | Producers: Michael LaPointe, Aliya Pabani)
Scamanda (USA | Lionsgate Sound | Host: Charlie Webster | Producer: Jaxson McLennan | EP: Craig Piligian, Charlie Webster, Nancy Moscatiello)
The Greatest Menace: Inside The Gay Prison Experiment (Australia | Audible | Host/Producer: Patrick Abboud | Producer: Simon Cunich)
You Didn’t See Nothin (USA | The Invisible Institute, USG Audio | Host: Yohance Lacour | Producers: Bill Healy, Erisa Apantaku, Dana Brozost-Kelleher, Sarah Geis) (WINNER)David L. Wolper Student Documentary
El Bastón (The City College of New York | USA, Colombia | Director: Nemo Allen | Producers: Aditi Natasha Kini, Juan Blanco García)
Hungry for Freedom (National Film and Television School | UK, Thailand | Director/Producer: Rachata Thongruay | Producer: Athena Vlachos)
Lettre à Elie (Letter to Elie) (National Film and Television School | UK | Director/Producer: Alexis Grigorieff) (WINNER)
PromisedLand™ (National Film and Television School | UK | Director/Producer: Frank Eli Martin | Producer: Tal Elkayam)
With Woman (National Film and Television School | UK | Director/Producer: Mia Harvey)[ad_2]
Hilary Lewis
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Producer Guild Awards Reveals Documentary Film Nominations
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The Producers Guild is out with the first nominees for its 35th annual Producers Guild Awards. Here are the seven films in the running for Outstanding Producer of a Documentary Motion Picture:
20 Days in Mariupol
American Symphony
Beyond Utopia
The Disappearance of Shere Hite
The Mother of All Lies
Smoke Sauna Sisterhood
Squaring the Circle (The Story of Hipgnosis)The hardware will be handed out during Sunday, February 25 during the 2024 Producers Guild Awards at the Fairmont Century Plaza in Los Angeles — two weeks before the 96th Oscars.
The PGA nominees for Sports, Children’s and Short Form TV Programs will be revealed December 15. The Theatrical Motion Pictures, Animated Theatrical Motion Pictures, Television Series/Specials, and Televised/Streamed Motion Pictures nominations will be announced Thursday, January 12.
HBO Max/CNN Films’ Navalny took the documentary motion picture prize at the 34th Producers Guild Awards back in February. That pic went on to score the Academy Award.
Last awards season, the Producers Guild also named A24’s Everything Everywhere All at Once its best picture — a major stepping stone en route to the film’s Oscar triumph. The other 2023 PGA Awards film winners were Weird: The Al Yankovic Story and Guillermo Del Toro’s Pinocchio .
The nonprofit Producers Guild of America represents, protects and promotes the interests of more than 8,400 producers spanning film, television and emerging media. Its Producers Guild Awards honors excellence in motion picture and television productions, as well as the most notable names in the industry who are shaping the producing profession.
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Erik Pedersen
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The Game Awards and ‘Fallout’ Trailer Reactions, ‘Avatar: Frontiers of Pandora’ Impressions, and Top Five Movie Tie-in Games
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Join Ben and Matt James as they chat about whether the Game Awards should be about awards, the most exciting announcements from the show (0:00), and their anticipation for the Fallout TV adaptation (16:00). Then they take a spoiler-free journey through the immersive world of the Naʼvi as they delve into Avatar: Frontiers of Pandora (20:45). Finally, they discuss the evolution of movie-based games and name their all-time top five movie tie-ins (47:00).
Host: Ben Lindbergh
Guest: Matt James
Producer: Devon Renaldo
Additional Production Supervision: Arjuna RamgopalSubscribe: Spotify / Apple Podcasts
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Ben Lindbergh
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In ‘American Fiction,’ Sterling K. Brown Finds Freedom in a Fresh Start
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American Fiction is primarily about a writer and professor named Thelonious “Monk” Ellison (played by Jeffrey Wright), whose attempt to write a book satirizing the publishing industry brings him unexpected, mortifying success. But Cord Jefferson’s critically acclaimed directorial debut doesn’t just focus on Monk’s professional world—we also get to see how Monk’s ambitious, highly educated family affects his life and outlook. Struggling to care for his ailing mother, Monk also suffers an unexpected loss that brings his family together at their beach house. It’s then that we meet Cliff Ellison, Monk’s surgeon brother, played by Sterling K. Brown.
Brown, best known for his Emmy-winning turns on the TV series This Is Us and The People v. O.J. Simpson, delivers a wide range of layers with Cliff, a man at his own pivotal turning point. Divorced after his wife found him in bed with another man, Cliff is now embarking on his new chapter as an out gay man. “We’re finding him at a point in time in his life where things are in a bit of upheaval,” Brown tells Vanity Fair. “He’s sort of coloring outside the lines, but he is coloring with colors that feel authentic to him for the first time.”
Brown was first drawn to American Fiction because of Jefferson’s script, which is based on the 2001 novel Erasure by Percival Everett. “I laughed, I cried, I got a chance to see a world populated with people that looked like me in a story that we don’t typically get to occupy.”
Brown focused on the script for his inspiration for Cliff, while also pulling experiences from his own life. He thought about family and friends he’s known who had come out as gay or who had struggled with coming out, especially with “the societal pressures to try to fit in and how those can be internalized until ultimately they don’t work or they’re still being internalized.”
He also related to Cliff’s experience of being an outsider, even within his own family. “I’m sure most of us feel this from time to time, like you are on the outside looking in—that everybody sort of understands each other, but they don’t quite understand you,” he says. Raised in Missouri with two brothers and two sisters, Brown raised eyebrows within his community when he decided to pursue acting. He even resisted it in the beginning, enrolling at Stanford to study economics before eventually switching to focus on acting.
He remembers doing a play at church at a young age, when one of the deacons said a prayer: “Lord, even though they’re trying to deceive us, hopefully they can find a way to sort of elevate you in the process with the show.” Brown says he was struck by the “fundamental misunderstanding of what actors do. Because I think a lot of people think that we’re untrustworthy because we’re so good at pretending we’re something that we’re not. But I think when you’re really doing it right, you are living so much within the given circumstances of the character that you were simply acting as if this was your truth.”
In the case of Cliff, he’s all about finding his truth. And he’s hard to miss in any scene—he’s got a bit of an Afro, some flashier clothing than his professor brother, and he’s often walking around without a shirt, his chiseled physique on full display. Brown says there was no mention of how fit Cliff was in the script, but it made sense for where he was at that point in his life. “Listen, anybody who’s been divorced for a while, whatever community, if you’re trying to get back out in these streets, you try to keep it tight,” he says with a laugh.
His overall look is consistent with his newfound freedom, including his choice to go shirtless whenever he damn well pleases. “I think even in terms of how uncovered he is, it is also sort of a cinematic expression of freedom,” Brown says. “You’re probably supposed to have clothes on right now, but Cliff is like the honeybadger—he don’t give a fuck.”
American Fiction gave Brown an opportunity to show off his comedy chops in scenes between himself and Wright—scenes that reveal the complicated and often funny dynamic between brothers. (At one point, Monk points out that he, too, is a doctor, and Cliff shoots back, “Maybe if we need to revive a sentence.”) They throw insults back and forth, but also know each other’s real weaknesses and vulnerabilities. “He and his brother have historically been at odds with one another,” says Brown. “I think being gay sort of made him a bit of a black sheep.”
For most of his life, Cliff tried to conform to what was expected of him. Brown, who shot most of his scenes in the film over nine days, found freedom in playing a man who has blown up his life for a fresh start. “He is delighting in the messiness of his life,” he says. “It’s not always comfortable. It doesn’t always feel good, but I think he knows that only through using his colors can he find his way into real happiness.”
Listen to Vanity Fair’s Little Gold Men podcast now.
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Rebecca Ford
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