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Tag: oscars

  • Rose Byrne and Kristen Wiig Toast to ‘Bridesmaids’, Friendship, and Launching Themselves Into Space

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    For If I Had Legs I’d Kick You and Palm Royale, you both have created such singular characters. How different are they each from you in real life?

    Wiig: She’s a little more delusional than I am. She’s much more ambitious than I am, also. I feel like we’re pretty different. I will say a similarity: I do have a belief that everything works out, and it is supposed to work out the way it’s supposed to work out. She doesn’t take no for an answer—and I do! Obviously, she’s just a little more scheming in a way, but she’s well intentioned, which I guess I am.

    Byrne: I am pretty different. She’s very, very different from me. The character is incredibly hostile, Linda, and she comes from a place of hostility throughout the film, because she’s under such stress and trauma. Whereas my default is not hostility if I’m under stress or trauma. It is a different thing. I go overboard in another way, but not like that. So that was hard, because it’s not my natural default. It was challenging to constantly capture that hostility that she has, fighting everybody and cutting everybody off. But fun too.

    Wiig: Knowing you and seeing her, I was like, “Who is this person?” Because it’s so heartbreaking. And you’re waiting the whole movie for her to just, like, run over somebody in a car. It was truly one of the most amazing performances that I’ve seen.

    Byrne: I feel like it is just an opportunity. It’s a gift to see a woman act like that and lose it like that.

    Wiig: Did you have moments—because this has happened to me—before you shot this where you were like, I don’t know if I can do this?

    Byrne: Every day! I didn’t want to mess it up. I would be calling [writer-director] Mary Bronstein, “Did we get this?” The character’s very paranoid, and I’m not a Method person. But you do become a little bit consumed with your subject, whether you like it or not. You try to have faith, but I’m constantly wondering if this is going to come together. And particularly before you start. Once you’re in, it’s better because you’re just in it. But the anticipation before—I have that every time. It’s kind of boring. Bobby [Cannavale, Byrne’s partner] is like, “Can we be done?”

    Wiig: But I think it’s good too, because then when you’re done, you’re like, Oh my gosh, I did it.

    Byrne: I think if you’re not a little bit scared, then maybe reexamine what you’re doing.

    Kristen, you’re always a great presenter at awards shows, like at the Globes with Will Ferrell and another year with Steve Carell. What’s your approach to doing that?

    Wiig: With both of those in particular, we just met before and we’re like, “What do we want to do?” And both times it was a little like, “Well, they may either not like this or think it’s too long, but let’s just push for it.” And then they just kind of let us do it. But you never know. I remember specifically with the last one that I did with Will, it was later in the show. We were at the same table, and we would just look at each other like, “What are we doing?” I think we did a rehearsal and people were just like, “What is this?” So I think the long answer is, doing something that you think is funny while still acknowledging how great it is for the nominees and everything—not taking anything away from them, and talking about the category, and just having fun with it.

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    Rebecca Ford

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  • BAFTAs 2026 Live Updates: See All the Winners

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    Alan Cumming hosts the biggest night in British cinema—with an assist from his Traitors-famous dog.

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    Eve Batey

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  • ‘KPop Demon Hunters’ Sweeps Annie Awards

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    KPop Demon Hunters is unstoppable.

    Netflix‘s come-from-nowhere global animation phenomenon swept this year’s Annie Awards, the animation honors handed out by the L.A. Branch of the International Animated Film Association, ASIFA-Hollywood, taking 10 prizes, including best feature.

    The pop musical, directed by Maggie Kang and Chris Appelhans, also won best direction, best music, best writing, best editorial and best voice acting for Arden Cho, who voices Rumi. It also swept the technical categories at the Annies, winning best FX, best character animation, best character design and best production design.

    Netflix launched the Sony-produced KPop Demon Hunters last summer with little promotion or fanfare, but it became an overnight sensation and the streamer’s most-watched movie of all time, with a reported 481.6 million views worldwide in the second half of 2025.

    KPop indie competitor at the Oscars, Ugo Bienvenu’s hand-drawn French feature Arco, won the prize for best independent feature at the Annies.

    A number of past Annie Awards winners have gone on to win the best animated feature Oscar. The last Annie best feature winner to also triumph at the Academy Awards was Guillermo del Toro’s Pinocchio in 2023. Last year, the Annie Awards’ top prize went to The Wild Robot. The Oscars opted for Annie best independent winner Flow.

    In the television categories, notable winners included Adult Swim’s Common Side Effects, which won in the best TV/media mature category; Hulu’s The Wonderfully Weird World of Gumball, winner of the best TV/media children honor; and Disney+’s Win Or Lose, which took the best limited series prize. Wow Lisa, a Spanish-language Chilean show, which combines 3D characters placed within scale-model, crafted backgrounds, won the Annie for best preschool series.

    ASIFA-Hollywood presented its lifetime achievement honors, the Winsor McCay Award, to Dutch writer and director Michaël Dudok de Wit (The Red Turtle), The Lego Movie and Cloudy With a Chance of Meatballs writer-directors Christopher Miller and Phil Lord and writer-director Chris Sanders (Lilo and Stitch, How to Train Your Dragon, Wild Robot).

    Sandy Rabins, an animation and live action producer, who was a driving force behind ASIFA-Hollywood’s AnimAID, which provided assistance and support for those in the animation industry who were affected by the L.A. wildfires, received the June Foray Award for “significant and benevolent impact to the animation community.”

    The Ub Iwerks Award for technical advancement affecting the animation industry went to Japanese company Wacom, manufacturer of the Cintiq graphics tablet, which has become the industry standard for professional 2D animation, storyboarding and concept art.

    Animation fair LightBox Expo received a special achievement award for bringing “the creative animation community of filmmakers together with animation students and fans.” The ASIFA-Hollywood Merit Award is given by the board of directors to individuals for current and on-going service to the organization and the animation industry went to Jeffrey New and Haley Mirren Douthit.

    Full list of 2026 Annie Award Winners:

    BEST FEATURE
    KPop Demon Hunters
    Sony Pictures Animation for Netflix

    BEST FEATURE – INDEPENDENT
    Arco
    Remembers, MountainA France, France 3 Cinéma

    BEST SPECIAL PRODUCTION
    Snoopy Presents: A Summer Musical
    WildBrain Studios in association with Apple

    BEST SHORT SUBJECT
    Snow Bear
    The Art of Aaron Blaise

    BEST SPONSORED
    Olipop Yeti
    Screen Novelties & Passion Pictures

    BEST TV/MEDIA – PRESCHOOL
    Wow Lisa
    Episode: Rainy Day
    Punkrobot

    BEST TV/MEDIA – CHILDREN
    The Wonderfully Weird World of Gumball
    Episode: The Rewrite
    Hanna-Barbera Studios Europe

    BEST TV/MEDIA – MATURE
    Common Side Effects
    Episode: Pilot
    Green Street Pictures, Bandera Entertainment and Williams Street Productions

    BEST TV/MEDIA – LIMITED SERIES
    Win Or Lose
    Episode: Home
    Pixar Animation Studios

    BEST STUDENT FILM
    A Sparrow’s Song
    Tobias Eckerlin
    Filmakademie Baden-Württemberg GmbH

    BEST FX – TV/MEDIA
    Edward Ferrysienanda, Kevin Christensen, Guy Schuleman, Benedikt Roettger, Kevin Tarpinian
    Prehistoric Planet: Ice Age
    Episode: The Big Freeze
    BBC Studios Natural History Unit
    FX: Framestore

    BEST FX – FEATURE
    Filippo Macari, Nicola Finizio, Simon Corbaux, Naoki Kato, Daniel La Chapelle
    KPop Demon Hunters
    Sony Pictures Animation for Netflix
    FX: Sony Pictures Imageworks

    BEST CHARACTER ANIMATION – TV/MEDIA
    Alli Sadegiani
    Win Or Lose
    Pixar Animation Studios

    BEST CHARACTER ANIMATION – FEATURE
    Ryusuke Furuya
    KPop Demon Hunters
    Sony Pictures Animation, Netflix

    BEST CHARACTER ANIMATION – LIVE ACTION
    Kayn Garcia, Jean-Denis Haas, Meena Ibrahim, Nathan McConnel, Nick Tripodi
    How To Train Your Dragon
    DreamWorks Animation
    FX: Framestore

    BEST CHARACTER ANIMATION – VIDEO GAME
    Mike Jungbluth, Sebastien Dussault, Vincent Schneider, Remi Edmond
    South of Midnight
    Compulsion Games

    BEST CHARACTER DESIGN – TV/MEDIA
    Robert Valley
    Love, Death + Robots
    Episode: 400 Boys
    Blur Studio for Netflix

    BEST CHARACTER DESIGN – FEATURE
    Scott Watanabe, Ami Thompson
    KPop Demon Hunters
    Sony Pictures Animation for Netflix

    BEST DIRECTION – TV/MEDIA
    Vincent Tsui
    Common Side Effects
    Episode: Cliff’s Edge
    Productions

    BEST DIRECTION – FEATURE
    Maggie Kang, Chris Appelhans
    KPop Demon Hunters
    Sony Pictures Animation for Netflix

    BEST MUSIC – TV/MEDIA
    Ramin Djawadi, Shane Eli, Johnny Pakfar
    Win Or Lose
    Episode: Episode 6, Mixed Signals
    Pixar Animation Studios

    BEST MUSIC – FEATURE
    KPop Demon Hunters Music Team
    KPop Demon Hunters
    Sony Pictures Animation for Netflix

    BEST PRODUCTION DESIGN – TV/MEDIA
    Gigi Cavenago
    Love, Death + Robots
    Episode: How Zeke Got Religion
    Blur Studio for Netflix

    BEST PRODUCTION DESIGN – FEATURE
    Helen Chen, Dave Bleich, Wendell Dalit, Scott Watanabe, Celine Kim
    KPop Demon Hunters
    Sony Pictures Animation for Netflix

    BEST STORYBOARDING – TV/MEDIA
    Edgar Martins
    Love, Death + Robots
    Episode: How Zeke Got Religion
    Blur Studio for Netflix

    BEST STORYBOARDING – FEATURE
    Anthony Holden, Young Ki Yoon
    The Bad Guys 2
    DreamWorks Animation

    BEST VOICE ACTING – TV/MEDIA
    Dan Mintz (as Tina Belcher)
    Bob’s Burgers
    Episode: Don’t Worry Be Hoopy
    20th Television Animation

    BEST VOICE ACTING – FEATURE
    Arden Cho (as Rumi)
    KPop Demon Hunters
    Sony Pictures Animation for Netflix

    BEST WRITING – TV/MEDIA
    Joe Bennett, Steve Hely
    Common Side Effects
    Episode: Pilot
    Green Street Pictures, Bandera Entertainment, and Williams Street Productions

    BEST WRITING – FEATURE
    Danya Jimenez, Hannah McMechan, Maggie Kang, Chris Appelhans
    KPop Demon Hunters
    Sony Pictures Animation for Netflix

    BEST EDITORIAL – TV/MEDIA
    Tony Christopherson, Joie Lim
    Common Side Effects
    Episode: Raid
    Green Street Pictures, Bandera Entertainment, and Williams Street Productions

    BEST EDITORIAL – FEATURE
    KPop Demon Hunters Editorial Team
    KPop Demon Hunters
    Sony Pictures Animation for Netflix

    WINSOR McCAY AWARD
    Michaël Dudok de Wit
    Christopher Miller
    Phil Lord
    Chris Sanders

    JUNE FORAY AWARD
    Sandy Rabins

    UB IWERKS AWARD
    Wacom

    SPECIAL ACHIEVEMENT AWARD
    LightBox Expo

    ASIFA-HOLLYWOOD MERIT AWARD
    Jeffrey New
    Haley Mirren Douthit

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    Scott Roxborough

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  • In Oscar-Nominated Documentary ‘The Perfect Neighbor,’ Police Catch—But Never Stop—a Killer

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    When Ajike Owens was alive, she dreamed of becoming a famous entrepreneur. “You laugh at me,” she’d tell her mother, Pam Dias, “but one day the whole world’s going to know my name.” Years later, filmmaker Geeta Gandbhir thought about Owens’s avowal while sifting through the 30-plus hours of police body-camera footage and audio recordings that make up The Perfect Neighbor, her Oscar-nominated Netflix documentary about the two years leading up to Owens’s killing.

    The documentary tells the story of Susan Lorincz, who regularly called police to the otherwise tight-knit Florida community where Owens was raising her four children to complain about neighborhood kids playing near her rented property. On June 2, 2023, Lorincz rang authorities over a dispute involving Owens’s children, roller skates, and a missing iPad. Minutes later, the white 58-year-old Lorincz fatally shot her Black neighbor, 35-year-old Owens, through her closed front door.

    Susan Lorincz tells her side of a neighborhood dispute, as captured in police body-cam footage that fuels much of The Perfect Neighbor.Courtesy of Netflix

    As the case against Lorincz was coming together, attorneys for Owens’s family gained access to hours of police body-camera footage through the Freedom of Information Act. Reviewing it alongside her producing partner and husband, Nikon Kwantu (whose cousin was Owens’s best friend, Kimberly Robinson-Jones), Gandbhir said it “reminded us of films like The Blair Witch Project or Paranormal Activity. The community had lived a real-life horror film. So we wanted to create something that placed you in the community.” To raise both media awareness around Owens’s killing and money for the family, Gandbhir and her editor, Viridiana Lieberman, made a film in which cops inadvertently serve as cinematographers.

    Image may contain Adult Person Face Head Photography Portrait Senior Citizen and Hair

    Geeta Gandbhir is a double Oscar nominee for The Perfect Neighbor (best documentary feature) and The Devil Is Busy (best documentary short).Bryan Derballa/Getty Images

    Some have argued that watching a film told largely through the very same system that failed Owens could make viewers identify too closely with law enforcement. “We were really not that concerned with the perspective of the police. They were just the vehicle to showcase this community as they were. When the police come into communities of color, surveillance can be used to criminalize,” Gandbhir tells Vanity Fair in response. “We wanted it to humanize.”

    She doubles down on the belief that “our society essentially failed this community. [The police] didn’t see them as worth protecting. Susan was able to weaponize her race and privilege. And by not realizing she was a danger to the community and probably herself, her life is ruined too,” Gandbhir continues. “She’s ostensibly spending the rest of her life in jail. And as an abolitionist at heart, I really wish that on no one.”

    Lorincz attempted to utilize Florida’s “Stand Your Ground” law as a defense, arguing that she was legally allowed to use deadly force because she feared for her life when Owens banged on her door demanding to speak after her son said Lorincz threw a pair of skates at him. This was also the successful legal tactic of Trayvon Martin’s killer, George Zimmerman, who was acquitted in 2013. In 2024, Lorincz was convicted of manslaughter and sentenced to 25 years in prison. She has appealed her conviction.

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    Savannah Walsh

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  • Academy Awards New Rules for 98th Edition

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    The Oscars are entering a new phase this year. The Academy has introduced new rules for the 98th edition of the Academy Awards. Studios, publicists, and filmmakers are paying close attention. Awards strategies may need to shift. Campaign timelines could change. This is not a minor update. It signals a meaningful adjustment to how Hollywood’s biggest night operates.

    The changes come from the Academy of Motion Picture Arts and Sciences. They reflect a film industry that looks very different from it did a decade ago. Streaming platforms now compete head-to-head with traditional studios. International films have a stronger presence. Standards around eligibility and representation continue to evolve. The new rules attempt to address all of this, and they could shape the race in unexpected ways.

    The 98th edition of the Academy Awards will take place next month on March 15, 2026. But, as we prepare for the show, we review the rules and regulations of the event. Take a look at some of the new rules for this year’s award show. (See the full breakdown here)

    Mandatory Viewing Before Voting

    Academy members must now watch every film nominated in a category before they’re allowed to cast a vote for that category in the final round. This rule closes a long-standing loophole where some voters cast ballots without seeing all nominated films.

    New Award Category: Achievement in Casting

    The Academy is introducing a new Oscar for “Achievement in Casting,” recognizing the creative and strategic role that casting directors play in assembling a film’s ensemble.

    Expanded Voting and Ballot Rules

    All designated nominees in each category will now be included on the final ballot, rather than sometimes only listing the film title.

    Diversity and Inclusion Standards Still in Play

    Films that want to compete for Best Picture must meet at least two of the Academy’s inclusion standards — such as on-screen representation, creative leadership diversity, industry access, or audience development — though these rules have been evolving for some years now.

    Eligibility and Submission Nuances

    The official eligibility list was released with over 300 films qualifying for Oscar consideration, but only a subset (about 201) meet the additional criteria to be eligible for Best Picture.

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    Randi Moultrie

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  • Jafar Panahi and Independent Iranian Directors Decry State Violence

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    Oscar-nominated Iranian director Jafar Panahi (It Was Just an Accident) used a rare public appearance at the Berlin Film Festival to denounce what he described as an “unbelievable crime” unfolding in his home country, as independent filmmakers mounted a parallel campaign to spotlight artists killed and detained in a sweeping crackdown by the Islamic Republic.

    In an on-stage discussion with The Hollywood Reporter’s European Bureau Chief Scott Roxborough in Berlin on Thursday, Panahi said the festival wanted to retroactively present him with the Berlinale Golden Bear honor he won in 2015 for Taxi [the director, under a travel ban at the time, was unable to attend in person]. He said he declined, wanting to keep attention fixed on the Iranian regime’s violent repression of protestors, which has resulted in tens of thousands of deaths.

    “They wanted to give me the Golden Bear I had won for Taxi, and I refused it, because of the situation in Iran,” Panahi said. “An unbelievable crime has happened. Mass murder has happened. People are not even allowed to mourn their loved ones…The regime is forcing them into these acts. People do not want violence. They avoid violence. It is the regime that forces violence upon them.”

    Panahi has long resisted the label of political filmmaker, even as his work and his life have been shaped by the state’s response to dissent. The current moment, he suggested, has made silence impossible.

    “Artists do not want to be politically active by themselves. It is the regimes and governments that force them into political engagement,” he said. “Artists try to avoid being politically active, but socially engaged artists cannot stay silent about what happens in society. That is why so many artists, actors and actresses, and superstars have stood with the people of Iran and now face consequences. We have many artists in prison — documentary filmmakers as well. During previous protests and demonstrations, filmmakers were arrested. When an artist is silent, they are complicit in violence.”

    Panahi’s It Was Just an Accident, was written after the director spent seven months in Iran’s notorious Evin Prison and was inspired by the stories of the political prisoners he met inside. The film follows a group of former prisoners who kidnap the man they believe to be their torturer, debating whether to kill or forgive him.

    “I did not know I wanted to make a film about this,” Panahi said. “But when I left prison, when the doors opened and I walked out and looked back at the huge walls behind me, I thought about those still inside. It became a weight on my shoulders. After weeks and months, it grew heavier, and I decided to make a film about them.”

    To render that world authentically, he enlisted several of his fellow inmates, including political activist Mehdi Mahmoudian, to co-write the screenplay. Mahmoudian was recently re-arrested for condemning the actions of Iranian supreme leader Ali Khamenei and is currently out on bail.

    “Mehdi Mahmoudian has spent nearly a quarter of his life in prison. He had more contact with people inside than anyone else. He knew the torturers very well — how they think, what their ideology is. That was a great help to me.”

    In December, while touring with It Was Just an Accident outside Iran, Panahi was sentenced, in abstentia, to a year in prison and another travel ban, for “propaganda activities” against the government. He said following the Oscars — It Was Just an Accident is nominated for best international feature and best original screenplay — he will return to Iran.

    “Half of my existence is in Iran — my family, my mother, my sister, my brother, my son, my friends, and the society I work for. If I did not return, I would betray what I believe. As a socially engaged filmmaker, my duty is to stand with the people I belong to. A doctor can save lives anywhere. But my cinema exists there. I must go back and make films there. That is the right thing to do. I will return, 100 percent, because of who I am and because of my beliefs.”

    His remarks in Berlin unfolded alongside a coordinated effort by the Iranian Independent Filmmakers Association (IIFMA) to draw attention to artists killed and detained in the latest wave of repression. The association, founded in 2023 in the wake of the Woman Life Freedom movement, returned to the Berlinale with a stand, a panel and a flashmob on Potsdamer Platz.

    At a panel in Berlin, IIFMA board member Mahshid Zamani screened footage compiled from social media and material sent directly from Iran documenting the Jan. 8 and 9 crackdown.

    “Each frame captures the courage, hope and longing that define the Iranian spirit while also shedding light on the brutal realities imposed by a repressive, fanatic, Islamic, terrorist regime,” he said. “Tens of artists were murdered while bravely standing up for their beliefs in the uprising of January 8 and 9.”

    Zamani then read aloud the names of musicians, filmmakers, actors and other arts professionals confirmed killed or detained, asking the audience to applaud each one. Later, IIFMA members staged a flashmob reenacting rows of body bags in Berlin’s festival district in commemoration.

    According to IIFMA, the following arts and culture professionals have been killed:

    Ahmad Abbasi – filmmaker
    Shokoufeh Abdi – photographer
    Melika Dastyab – musician
    Pouya Faragardi – musician
    Shabnam Ferdowsi – puppeteer, graphic designer
    Javad Ganji – filmmaker
    Sorena Golgoun – musician
    Yaser Modir-Rousta – musician
    Sanam Pourbabaei – musician
    Sahba Rashtian – painter and animation director
    Foad Safayi – musician
    Mehdi Salahshour – sculptor
    Zohre Shamaeizade – script supervisor and voice actor
    Mohammed “Shahou” Shirazi – singer
    Mostafa Rabeti – filmmaker
    Reyhaneh Yousefi – actor
    Amir-Ali Zarei – musician, art student

    And the following detained:

    Dawood Abbasi – filmmaker and cinematographer
    Ghazale Vakili – actor
    Navid Zarehbin – filmmaker
    Kimia Mousavi – artist

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    Scott Roxborough

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  • ‘Sinners’ Star Wunmi Mosaku Says It Feels “Dystopian” to Celebrate Oscar Nomination After Recent ICE Killings

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    Wunmi Mosaku says it feels “truly dystopian” to celebrate her best supporting actress Oscar nomination after people were killed by Immigration and Customs Enforcement agents.

    The Sinners actress, who became a first-time nominee last month for her role as Annie in the Ryan Coogler-directed film, recently spoke during an interview with the Times of London about the killings of Renee Good and Alex Pretti at the hands of ICE agents last month.

    “I’ve not been able to celebrate because of what’s going on right now, with the killings of Renee Good and Alex Pretti by ICE agents in Minnesota and the kidnapping of a five-year-old boy,” Mosaku said. “It’s difficult to hold both the nomination and the news because one feels beautiful and one is so dark and heavy; truly dystopian — how can I possibly go out and buy some drinks and enjoy the moment?”

    She added that her husband “is not as shocked as I am at the news. There’s a very strange American psyche where terrible things happen and people still can go to work the next day, whereas I’m floored for a week and think, ‘How are people going to crowded places when this has just happened?’ I want a cocoon. My reaction reminds him that this is not normal.”

    Mosaku joins other celebrities who have spoken out against ICE and the Trump administration’s aggressive immigration policies, including Billie Eilish and Bad Bunny, who called out ICE during the 2026 Grammys. Bruce Springsteen also released an anti-ICE song about the “state terror” in Minneapolis following the deaths of Good and Pretti. More recently, at the Spirit Awards on Sunday, Natasha Rothwell, Tessa Thompson and Kumail Nanjiani also protested the federal immigration agency.

    After learning of her Oscar nomination last month, Mosaku told The Hollywood Reporter at the time that her nod felt even more special because of the impact her Sinners character had on Black women.

    “Just knowing how a lot of Black women felt when seeing me represent her, just feeling lovable and soft and strong and powerful and loving and all of our humanity and our mystique and power and spirituality and our ancestors and our connection and our purpose — seeing the response, hearing the response from other Black women felt really healing. So just knowing that this character is being celebrated in award season feels really good. I don’t take it lightly,” Mosaku said.

    “I always say more than anything, I’m so grateful for the people who poured into Ryan to give him this gift and see us in all of our humanity and our gentleness and how much he loves Black women because he wrote that role and he cast me,” she continued. “He hasn’t been tainted by capitalism and the ideas of what femininity is and what beauty is.”

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    Carly Thomas

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  • ‘Godfather’ star Robert Duvall dead at 95

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    Robert Duvall died Sunday, according to his wife, Luciana Pedraza Duvall. He was 95.

    Circumstances surrounding his death were not immediately made available.

    “Yesterday we said goodbye to my beloved husband, cherished friend, and one of the greatest actors of our time,” his wife shared online. “Bob passed away peacefully at home, surrounded by love and comfort.”

    JAMES VAN DER BEEK, ‘DAWSON’S CREEK’ AND ‘VARSITY BLUES’ STAR, DEAD AT 48

    American actor Robert Duvall attends the 53rd Annual Academy Awards at the Dorothy Chandler Pavilion in Los Angeles on March 31st 1981. (UPI/Bettmann Archive/Getty Images)

    “To the world, he was an Academy Award-winning actor, a director, a storyteller. To me, he was simply everything. His passion for his craft was matched only by his deep love for characters, a great meal, and holding court. For each of his many roles, Bob gave everything to his characters and to the truth of the human spirit they represented.”

    She continued, “In doing so, he leaves something lasting and unforgettable to us all. Thank you for the years of support you showed Bob and for giving us this time and privacy to celebrate the memories he leaves behind.”

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    When asked about turning 90 in 2021, Duvall told People magazine that his wife was one of the best things in his life. 

    “I don’t know if I love any of it, but day to day with my wonderful wife,” Duvall said. “She takes care of me, and I have good friends, and try to work out and keep in some kind of shape.”

    Robert Duvall and Luziana Pedraza

    Robert Duvall married Luciana Pedraza in 2005. (Chris Weeks)

    The Academy Award-winning actor was known for his storied seven-decade Hollywood career, which included the films “The Outfit,” “Network” and “Sling Blade.”

    Born in San Diego in 1931, Duvall majored in drama at Principia College before serving a two-year stint in the Army after graduating. 

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    With help from a G.I. Bill, Duvall attended The Neighborhood Playhouse School of the Theatre in New York and studied with Dustin Hoffman. He made his motion picture debut as Boo Radley in “To Kill a Mockingbird.”

    Robert Duvall stars in The Godfather

    Robert Duvall as Tom Hagen in “The Godfather,” the movie based on the novel by Mario Puzo and directed by Francis Ford Coppola. (CBS Photo Archive)

    His career began to flourish in the ‘60s with roles in “The Chase” with Marlon Brando and in Francis Ford Coppola’s “The Rain People.” He teamed up with Coppola once again for his iconic role as Tom Hagen in “The Godfather.”

    Portraying Hagen in 1972 earned him his first Academy Award nomination. He received a total of seven Oscar nominations, with nods for “Apocalypse Now,” “The Great Santini,” “The Apostle,” “A Civil Action,” and “The Judge,” in 2014. 

    Robert Duvall holds up Academy Award

    Robert Duvall earned an Oscar in 1983 for his role in “Tender Mercies.” (Bettman)

    Duvall won the Best Actor in a Leading Role for the 1983 film “Tender Mercies,” where he portrayed a former country star battling alcoholism. 

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    In addition to his work on the silver screen, Duvall also earned accolades for television roles and brought home an Emmy Award for the AMC limited series “Broken Trail.” Other Emmy-nominated roles included the Western epic “Lonesome Dove,” the HBO flick “Stalin,” and “The Man Who Captured Eichmann.”

    Tracy Wright is an entertainment reporter for Fox News Digital. Send story tips to Tracy.Wright@fox.com.

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  • Independent Spirit Awards 2026 Loses Its Beachy Vibes and Some of Its Spirit Along With It

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    The ceremony also had a newbie host, former Saturday Night Live star Ego Nwodim, who tried her best to keep the energy in the room up with dynamic bits. The best one included a “sexual tension cam” that let put real-life couples like Jesse Plemons and Kirsten Dunst and Kumail Nanjiani and Emily V. Gordon on the awkward spot. But many of her bits didn’t seem to land in the room, despite her best efforts.

    Still, the show had its highlights. Train Dreams won best feature film, best director for Clint Bentley, and best cinematography for Adolpho Veloso. The winner of best feature film is often an Oscar contender and every few years aligns with best picture (Moonlight, Nomadland, Everything Everywhere All At One, and Anora). Train Dreams is nominated for best picture, but not expected to win that category, so it was nice to see the indie film earn lots of love.

    Netflix had a very nice day overall, with limited series Adolescence winning every category it was nominated in: New scripted series, lead performance for Stephen Graham, supporting performance for Erin Doherty, and breakthrough performance for Owen Cooper.

    With Oscar voting opening just a week and a half from now, there were plenty of contenders making a pit stop at the show, even if their projects weren’t nominated at the Spirits. Weapons star Amy Madigan handed out the first award of the night, and Sinners stars Wunmi Mosaku and Delroy Lindo, The Secret Agent star Wagner Moura, and Song Sung Blue’s Kate Hudson also presented awards.

    Another Oscar nominee, If I Had Legs I’d Kick You star Rose Byrne, who also presented, won the award for lead performer, giving another gracious awards speech following her Golden Globes win. “This character of Linda really could only exist in an independent film. She’s fierce and she’s gracious and she’s a middle-aged woman,” she said.

    All love between Rose Byrne and Kate Hudson, who are both up for best actress at the Oscars.

    Kevin Mazur/Getty Images

    Byrne, though beloved all season, isn’t likely to also win the best actress Oscar since she’s up against Hamnet’s Jessie Buckley there. The two most likely categories for overlap are best documentary feature, which went to Netflix’s The Perfect Neighbor, and best international feature, which went to The Secret Agent.

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    Rebecca Ford

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  • Updating Live: All the Winners From the Independent Spirit Awards 2026

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    If awards ceremonies were a family dinner table, the Independent Spirit Awards 2026 would be the cool, artsy cousin. Since 1984, nonprofit arts org Film Independent has been honoring American TV and filmmakers who operate outside the studio system, with an annual awards ceremony that falls between the Golden Globes and the Academy Awards. The 2026 ceremony—the organization’s 41st—will be held on Sunday, February 15 at 5 p.m. ET (the time will be 2 p.m. in Hollywood).

    A huge change this year is the ceremony’s location. For years, it’s been held at the Santa Monica pier, but construction for the 2028 Los Angeles Olympics bumped it from that spot. Instead, it will be held at the Hollywood Palladium, in the heart of Sunset Boulevard. But other things that set the awards apart remain, such as its gender neutral acting awards and its focus on movies and TV that don’t always get mainstream love. This year’s host, Ego Nwodim, has also promised an edgy show, telling The Hollywood Reporter, “This is my whole thing: Don’t ask permission, ask forgiveness. I didn’t ask permission.”

    You can watch the Independent Spirit Awards live on YouTube, on the channels for Film Independent or for IMDB. You can also check out all the looks from the red carpet now, and don’t miss Vanity Fair’s complete coverage of the 2026 awards season.

    Read on for all the winners at the 2026 Independent Spirit Awards:

    Film categories

    Best feature

    Peter Hujar’s Day
    The Plague
    Sorry, Baby
    Train Dreams
    Twinless

    Best first feature

    Blue Sun Palace
    Dust Bunny
    East of Wall
    Lurker
    One of Them Days

    John Cassavetes Award (best feature made for under $1M)

    The Baltimorons
    Boys Go to Jupiter
    Eephus
    Esta Isla (This Island)
    Familiar Touch

    Best director

    Clint Bentley, Train Dreams
    Mary Bronstein, If I Had Legs I’d Kick You
    Lloyd Lee Choi, Lucky Lu
    Ira Sachs, Peter Hujar’s Day
    Eva Victor, Sorry, Baby

    Best screenplay

    WINNER: Eva Victor, Sorry, Baby

    Michael Angelo Covino, Kyle Marvin, Splitsville
    Angus MacLachlan, A Little Prayer
    James Sweeney, Twinless
    Christian Swegal, Sovereign

    Best first screenplay

    Andrew DeYoung, Friendship
    Elena Oxman, Outerlands
    Alex Russell, Lurker
    Syreeta Singleton, One of Them Days
    Constance Tsang, Blue Sun Palace

    Best lead performance

    Everett Blunck, The Plague
    Rose Byrne, If I Had Legs I’d Kick You
    Kathleen Chalfant, Familiar Touch
    Chang Chen, Lucky Lu
    Joel Edgerton, Train Dreams
    Dylan O’Brien, Twinless
    Keke Palmer, One of Them Days
    Théodore Pellerin, Lurker
    Tessa Thompson, Hedda
    Ben Whishaw, Peter Hujar’s Day

    Best supporting performance

    Naomi Ackie, Sorry, Baby
    Zoey Deutch, Nouvelle Vague
    Kirsten Dunst, Roofman
    Rebecca Hall, Peter Hujar’s Day
    Nina Hoss, Hedda
    Jane Levy, A Little Prayer
    Archie Madekwe, Lurker
    Kali Reis, Rebuilding
    Jacob Tremblay, Sovereign
    Haipeng Xu, Blue Sun Palace

    Best breakthrough performance

    Liz Larsen, The Baltimorons
    Misha Osherovich, She’s the He
    Kayo Martin, The Plague
    SZA, One of Them Days
    Tabatha Zimiga, East of Wall

    Best cinematography

    Alex Ashe, Peter Hujar’s Day
    Norm Li, Blue Sun Palace
    David J. Thompson, Warfare
    Adolpho Veloso, Train Dreams
    Nicole Hirsch Whitaker, Dust Bunny

    Best editing

    Ben Leonberg, Good Boy
    Carson Lund, Eephus
    Fin Oates, Warfare
    Sara Shaw, Splitsville
    Sofía Subercaseaux, The Testament of Ann Lee

    Robert Altman Award

    The Long Walk

    Best documentary

    WINNER: The Perfect Neighbor

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    Eve Batey

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  • DGA Awards 2026: See The Full Winners List

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    Read on for the full list of DGA Awards 2026 winners below:

    Theatrical Feature Film

    WINNER: Paul Thomas Anderson – One Battle After Another

    Ryan Coogler – Sinners
    Guillermo Del Toro – Frankenstein
    Josh Safdie – Marty Supreme
    Chloé Zhao – Hamnet

    Michael Apted First Time Directorial Feature

    WINNER: Charlie Polinger – The Plague

    Hasan Hadi – The President’s Cake
    Harry Lighton – Pillion
    Alex Russell – Lurker
    Eva Victor – Sorry, Baby

    Documentary Film

    WINNER: Mstyslav Chernov – 2000 Meters to Andriivka

    Geeta Gandbhir – The Perfect Neighbor
    Sara Khaki and Mohammadreza Eyni – Cutting Through Rocks
    Elizabeth Lo – Mistress Dispeller
    Laura Poitras and Mark Obenhaus – Cover-Up

    Dramatic Series

    WINNER: Amanda Marsallis – The Pitt, “6:00 PM”

    Liza Johnson – The Diplomat, “Amagansett”
    Janus Metz – Andor, “Who Are You?”
    Ben Stiller – Severance, “Cold Harbor”
    John Wells – The Pitt, “7:00 A.M.”

    Comedy Series

    WINNER: Seth Rogen and Evan Goldberg – The Studio, “The Oner”

    Lucia Aniello – Hacks, “A Slippery Slope”
    Janicza Bravo – The Bear, “Worms”
    Christopher Storer – The Bear, “Bears”
    Mike White – The White Lotus, “Denials”

    Limited & Anthology Series

    WINNER: Shannon Murphy- Dying for Sex, “It’s Not That Serious”

    Jason Bateman – Black Rabbit, “The Black Rabbits”
    Antonio Campos – The Beast in Me, “Sick Puppy”
    Lesli Linka Glatter – Zero Day, “Episode 6”
    Ally Pankiw – Black Mirror, “Common People”

    Movies for Television

    WINNER: Stephen Chbosky – Nonnas

    Jesse Armstrong – Mountainhead
    Scott Derrickson – The Gorge
    Michael Morris – Bridget Jones: Mad About the Boy
    Kyle Newacheck – Happy Gilmore 2

    Variety

    WINNER: Liz Patrick – SNL50: The Anniversary Special

    Yvonne De Mare – The Late Show with Stephen Colbert, “Julia Roberts; Sam Smith”
    Andy Fisher – Jimmy Kimmel Live!, “Stephen Colbert; Kumail Nanjiani; Reneé Rapp”
    Beth McCarthy-Miller – SNL50: The Homecoming Concert
    Paul Pennolino- Last Week Tonight with John Oliver, “Public Media”

    Sports

    WINNER: Matthew Gangl – 2025 World Series – Game 7

    Steve Milton – 2025 Masters Tournament
    Rich Russo – Super Bowl LIX

    Reality/Quiz and Game

    WINNER: Mike Sweeney – Conan O’Brien Must Go, “Austria”

    Lucinda M. Margolis – Jeopardy!, “Ep. 9341”
    Adam Sandler – The Price is Right, “10,000th Episode”

    Documentary Series/News

    WINNER: Rebecca Miller – Mr. Scorsese, “All This Filming Isn’t Healthy”

    Marshall Curry – SNL50: Beyond Saturday Night, “Written By: A Week Inside the SNL Writers Room”
    Susan Lacy and Jessica Levin – Billy Joel: And So It Goes, “Part Two”
    Alexandra Stapleton – Sean Combs: The Reckoning, “Official Girl”
    Matt Wolf – Pee-Wee as Himself, “Part 1”

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    John Ross

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  • Oscars Set Creative Team and Producers for 98th Academy Awards

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    Director Hamish Hamilton is set to return to the Oscars. The ceremony’s broadcast executive producer and showrunner Raj Kapoor and executive producer Katy Mullan today announced members of their production team for the 98th Academy Awards.

    Also returning are executive producer Rob Paine; Taryn Hurd and Sarah Levine Hall rejoin the team as producers. As previously announced, Jeff Ross and Mike Sweeney also return as producers for a second time.

    Host Conan O’Brien is on the writing team for the show. Joining him are: Sweeney, Amberia Allen, José Arroyo, Josh Comers, Dan Cronin, Jessie Gaskell, Skyler Higley, Berkley Johnson, Ian Karmel, Brian Kiley, Laurie Kilmartin, Carol Leifer, Todd Levin, Jon Macks, Matt O’Brien and Agathe Panaretos.

    Also returning to the show’s production team are music director Michael Bearden, production designers Misty Buckley and Alana Billingsley, lighting designers Bob Dickinson and Noah Mitz and supervising choreographer Mandy Moore. 

    The 98th Oscars will be held March 15 at the Dolby Theatre at Ovation Hollywood. The show will be televised live on ABC, streamed live on Hulu and airs live in more than 200 territories worldwide.

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    Jazztangcay

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  • How the Woman Who Shot ‘Sinners’ Could Make History at the Oscars

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    Arkapaw and I soon discover that we grew up in neighboring towns in the San Francisco Bay Area. She was born in Oxnard, but moved north with her mother (who is of Filipina descent) when she was two years old. While studying art history at Loyola Marymount University, she took an elective course in film, and felt drawn to it. But she couldn’t find any evidence of a successful female cinematographer—until she stumbled upon Ellen Kuras, the DP of Blow. “There was one,” Arkapaw says. “So I thought, Oh, if there’s one, there can be more.”

    After studying at the American Film Institute, she worked on music videos for artists like Haim, Solange Knowles, and Janelle Monáe, and made her first major feature, Palo Alto, with Coppola. She almost met with Coogler when he was assembling his 2015 sports drama Creed, but at the time, “the studio didn’t think I had enough credits. I wasn’t as advanced as they would’ve liked,” she says.

    That had changed by the time Coogler needed a cinematographer for the Black Panther sequel—and Arkapaw already had a relationship with Marvel after working on its series Loki. She and Coogler, another Northern California native, “hit it off. I think this Bay Area thing was special; it’s like I knew him already,” she says.

    Black Panther: Wakanda Forever was an ambitious blockbuster, and the biggest film Arkapaw had ever worked on. Sinners would come with a new set of challenges. Arkapaw had to navigate the technical aspects of having one actor (Michael B. Jordan) play two characters who often interacted with each other. The opening scene of Sinners shows how she managed it without making the casting a distracting gimmick: The brothers are leaning against a car and pass a cigarette between them. It’s a simple but effective moment that allows the viewer to forget one man is playing both characters. Arkapaw says Coogler had initially envisioned the scene as showing both brothers at once. But later, “I presented an idea of moving that camera around. It made everything harder,” she says.

    Arkapaw’s greatest test came when Coogler decided he wanted Sinners to be the first movie to shoot entirely on two different large formats: Ultra Panavision 70 and IMAX. She and her team had to familiarize themselves with equipment and cameras they’d never used before. “There’s a lot of technical and logistical stuff, and you want to do a good job,” she says. “But I thrive in that kind of pressurized situation.”

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    Rebecca Ford

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  • Oscar Snubees Cynthia Erivo and Ariana Grande Won a Grammy for Wicked

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    Photo: Giles Keyte/Universal Pictures

    Of all the consolation prizes, a Grammy is a pretty good one. Less than two weeks after Wicked: For Good got entirely shut out from the Oscars, Cynthia Erivo and Ariana Grande won a Grammy … for a song from the first Wicked movie. During the Grammy Awards Premiere Ceremony prior to the televised awards show, Erivo and Grande won a Grammy for Best Pop Duo/Group Performance for “Defying Gravity,” which is from the first Wicked film. Elphie and Glinda beat out Katseye, SZA and Kendrick Lamar, Rosé and Bruno Mars, and KPop Demon Hunters. It’s Erivo’s second Grammy Award and Ariana Grande’s third. Good news!

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    Rebecca Alter

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  • Video: ‘Marty Supreme’ | Anatomy of a Scene

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    “Hello, I’m Josh Safdie. I’m the co-writer, co-editor, and director of “Marty Supreme.” This is when the dream is very much alive during the first act, and we’re seeing Marty in the role that he sees himself. And I talked to Timmy about what it means to be winning. And I said, I need that to almost superhero levels. This is the character Kay Stone, the former movie star, beautifully and tragically played by Gwyneth Paltrow. ” … see the open window with a bowl of fruit on the table?” “You see it?” “I do.” “Here’s what’s going to happen. I’m going to make an apple appear in that bowl. And if I do, you’re going to blow off your little rendezvous … ” And we shot this scene — I wanted to shoot the two scenes, Martys side and Kay’s side at the same time. So we lit it, and they’re actually conjoined by a door, these two hotel rooms. So they’re talking to each other on period telephones in real time, so that I could capture their emotional points of view. The name of the cue you’re hearing is called “The Apple,” by Dan Lopatin, my composer. And the apple is again the ultimate sign of winning. And here she shows up as part of her deal. And that’s the Viennese choir, about 30 voices, that Dan orchestrated in an effort to really have this kind of heavenly vibe. And it’s nice because I can ground the scene in Kay’s point of view, which is kind of a surrogate for the audience, which is seeing Marty in his full dream and his full stardom, and it’s reminding her of a hustle she once chased. Darius Khondji, my cinematographer, and I tried to emulate, best we could, the glory and awe that we saw in the 1949 newsreel championships. “Let’s have a little fun with this one.” “O.K.” “Have a little fun, all right?” “Gotcha.” Timmy and Geza Rohrig, who plays Bela Kletzki, spent many hours with Diego Schaaf, the film’s table tennis choreographer, who mined thousands of hours of footage in order to find the perfect points to emulate. Timmy played some of these exhibition style points and so did Geza, but the harder part was for them to time doing this with the C.G. ball. “Point, Kletzki.” And there you see Kay, now intoxicated. There’s the head of the I.A.T.T. who’s livid. “Kletzki. starts, 6 to 20, Mauser leads two games to zero.” “Match point again for Mr. Mauser.” And this is one of my favorite moments of the film, right here, the way Bela sets him up like that. Pure showmanship. And Timmy’s laugh, which is just an incredible piece of his performance and I think indicative of the way he’s able to spike the film with these big feelings of emotion and joy.

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    Mekado Murphy

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  • How BAFTA’s Embrace of ‘One Battle After Another’ and ‘Sinners,’ Plus Snubs and New AMPAS Viewing Requirements, Could Decide the Oscars

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    The BAFTA nominations offered some clarity, and enough complication, to keep this year’s Oscar race interesting.

    Leading the charge, as expected, was Paul Thomas Anderson’s “One Battle After Another,” which landed a commanding 14 nominations, falling two short of the all-time BAFTA record set by “Gandhi” (1982). The haul puts the revolutionary dramedy in line with “All Quiet on the Western Front” (2022), “The King’s Speech” (2010) and “Atonement” (2007), which all went on to win best film.

    All five of its principal actors were also nominated, including Chase Infiniti, who missed an Oscar nomination for best actress last week.

    The nominations come after the Academy Award announcement, which isn’t typical in most award seasons. BAFTA is a vital bellwether on the awards circuit.

    Typically, the BAFTAs don’t tend to “over-reward” movies. While the Oscars have awarded “Ben-Hur” (1959), “Titanic” (1997) and “The Lord of the Rings: The Return of the King” (2003) with 11 statuettes each, George Roy Hill’s classic Western “Butch Cassidy and the Sundance Kid” (1969) is the most BAFTA-awarded movie ever with nine. This may present a “spread the wealth” moment at the Feb. 22 ceremony.

    The top five contenders for best picture are now known, shifting the focus to the context clues that could determine the ultimate victor on BAFTA, and Oscar night.

    Stellan Skarsgård in “Sentimental Value”

    Courtesy Everett Collection

    Historically, BAFTA has shown an affection toward European storytelling, which bodes well for “Sentimental Value.” The film could mirror a similar trajectory of “The Banshees of Inisherin,” emerging as a multi-award player with potential wins in original screenplay, international feature and possibly acting trophies for both Stellan Skarsgård and Inga Ibsdotter Lilleaas — both of whom were notably snubbed by the Screen Actors Guild.

    As for “Marty Supreme,” which delivered a robust showing with 11 nominations, the moment represents a critical opportunity for Timothée Chalamet to prove himself as the definitive frontrunner in the best actor race. At BAFTA, age carries less weight than it does with the Academy. This is the same voting body that awarded best actor to Jamie Bell, then just 14, for “Billy Elliot,” triumphing over Oscar nominees Tom Hanks (“Cast Away”), Geoffrey Rush (“Quills”) and eventual winner Russell Crowe (“Gladiator”).

    Some of the big shockers from BAFTA noms included “Train Dreams” missing out on an adapted screenplay nomination, which I had pegged as a potential dark horse/spoiler for the Oscar statuette, similar to when “American Fiction” (2023) picked up the prize despite there being an unstoppable front-runner in “Oppenheimer” for best picture. That leaves PTA’s film in the pole position, with the adaptation of “Hamnet” by Chloe Zhao and Maggie O’Farrell, which landed a resounding 11 noms, as an opportunity to make a case.

    And then there is the “Sinners” of it all.

    Nabbing 13 significant nominations, the most ever for a film helmed by a Black director, “Sinners” makes the case that it’s not as weak as it was perceived to be by the international community.

    The nominations for Michael B. Jordan and Wunmi Mosaku were expected. The omission that landed hardest, however, was Delroy Lindo’s.

    Despite earning an Oscar nomination for best supporting actor — and appearing on BAFTA’s longlist — Lindo was left out of the final BAFTA lineup. With that miss, he joins Andrea Riseborough (“To Leslie”) and Marina de Tavira (“Roma”) as the most recent performers to score Oscar bids without recognition from the Golden Globes, Critics Choice, BAFTA or SAG.

    Can Lindo still win? That depends on who wins the SAG and BAFTA awards.

    What once looked like a clear path for Skarsgard unraveled when he was surprisingly left off the Actor Awards nominations for “Sentimental Value.” The Critics Choice Award went to Jacob Elordi for “Frankenstein,” while the Golden Globe went to Skarsgard, which left the race fractured across precursors.

    All eyes will be on SAG/AFTRA’s Actor Awards on March 1, the last televised awards show before final Oscar voting opens, and one which notably does not include either Skarsgard nor Lindo. If Benicio Del Toro (“One Battle After Another”) triumphs, that would complicate the race further and set the stage for an unpredictable Oscar night. In that scenario, BAFTA could ultimately become the most influential X factor.

    Since SAG began giving out prizes in 1995, only three performers have won acting Oscars without receiving a SAG nom: Marcia Gay Harden for “Pollock,” Regina King for “If Beale Street Could Talk” and Christoph Waltz for “Django Unchained.” Harden is the only one to not receive a single televised precursor, the same situation as Lindo. For the 73-year-old performer to prevail, he would need to join that tiny group.

    The Writers Guild Awards nominations also dropped, which didn’t offer any surprises on the adapted screenplay front since all the Oscar nominees were eligible.

    However, in original screenplay, recent Oscar nominees “Blue Moon,” “It Was Just an Accident” and “Sentimental Value” were not eligible. That left the openings for the non-Oscar-nominated “Black Bag,” “If I Had Legs I’d Kick You” and “Weapons.” Nonetheless, this is Coogler’s to lose.

    There’s a curveball that exists this year that pundits and analysts have yet to fully consider. In a major shift for Oscar voting protocol, AMPAS now requires members to confirm they’ve watched all nominated films in a category before being allowed to vote in that race. The initiative, aimed at strengthening the integrity and credibility of the awards process, combines digital tracking through the Academy Screening Room with member-reported viewings, which builds on a structure already familiar to Academy voters.

    Quantrell Colbert

    This means Oscar voters will actually have to do their homework.

    Academy sources told Variety back in April the reception from members has been overwhelmingly positive and that many had requested the change for years.

    Historically, watching every nominated title was recommended, but not required. Now, studios may have to actually encourage members to watch other competitors’ movies to vote in any given category.

    Notably, BAFTA has similar requirements but operates on an honor system, in which members check off the films they have seen. Based on their responses, the category will be opened for final voting.

    If an AMPAS member were to watch only the 10 best picture-nominated movies, it would open nine of the 24 categories to them — best picture, supporting actor, adapted screenplay, casting, production design, cinematography, film editing and original score. If members prioritize four more from non-best picture films — “Blue Moon” (Ethan Hawke), “If I Had Legs I’d Kick You” (Rose Byrne), “Song Sung Blue” (Kate Hudson) and “Weapons” (Amy Madigan) — they will gain voting access to the three remaining acting categories.

    Being the sole piece of recognition for your movie could put you at a significant disadvantage, or it could prove incredibly favorable. When voters take the time to watch a film like “Weapons,” they will see how brilliant Madigan’s work is and may be able to look past her surprising BAFTA snub.

    The makeup and hairstyling category has the most sole representation among its nominees — “Kokuho,” “The Smashing Machine” and “The Ugly Stepsister.” In theory, the ultimate winner could be decided by the branch itself, making the makeup guild’s award the most vital clue this season. Other categories, such as visual effects and original song, each have two lone nominees. Could this finally help 17-time nominee Diane Warren take home her first statuette?

    This could also affect a song like “Golden” from “KPop Demon Hunters,” which has a second nomination in animated feature, but that is a medium often underappreciated by the industry. A stellar, top-of-their-game voter (i.e., Kirsten Dunst or Carrie Coon) publicly shares that they do the work and watch most, if not all, of the nominees in a given year. But for those who do not, what will this ultimately do to the winners? Will we have sweepers like last year’s “Anora,” which won five of its six nominations? Or does this lend itself to more surprising winners at future ceremonies?

    The best way to predict this season’s outcome may not be about statistics alone; it will be about answering the question: How does an industry voter feel about a movie or performance when they are actually watching it? That’s a good outcome in itself.

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    Clayton Davis

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  • Oscar Season Lights Up the Academy Museum in Los Angeles

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    Timed to the 98th Academy Awards, the Academy Museum offers a season-long immersion into Hollywood’s biggest night

    As awards season reaches its most cinematic crescendo, the Academy Museum of Motion Pictures transforms into the beating heart of Oscar history and celebration. From now through March 22, the Museum invites Angelenos and visitors alike to experience Oscars Season, a richly layered program that honors the legacy of the Academy Awards while spotlighting the artists and stories shaping this year’s race.

    Timed around the 98th Academy Awards, airing live on Sunday, March 15, the season turns the Museum campus into an immersive destination where film history meets the present moment. Through curated screenings, nominee conversations, gallery activations and special events, the Oscars are not just watched but experienced.

    Throughout the galleries, visitors are immersed in the visual and cultural language of the Oscars. An exclusive Oscars-themed montage takes over the Spielberg Gallery, while the Academy Awards History Gallery debuts a new rotation of iconic red carpet fashion. Legendary looks worn by Elizabeth Taylor, Sharon Stone and Paul Reubens offer a striking reminder that Oscar night has always been as much about cultural impact as cinematic excellence.

    A major highlight arrives on March 1 with the opening of a new gallery titled 19 Branches of the Academy. Developed in collaboration with the Governors of each branch, the exhibition offers a rare behind-the-scenes look at the artists and craftspeople who shape the film industry, from directors and actors to editors, sound designers and visual effects artists. It is a thoughtful exploration of how collective talent and collaboration define cinematic excellence.

    And the Oscar® for Best Picture went to Anora, accepted by Alex Coco, Mikey Madison, Mark Eydelshteyn, Samantha Quan, Sean Baker and Yuriy Borisov during the live ABC Telecast of the 97th Oscars® at the Dolby® Theatre at Ovation Hollywood on Sunday, March 2, 2025.
    Credit: Copyright ©A.M.P.A.S.

    On Sunday afternoons in January and February, the Museum continues its popular Oscar Sundays series with screenings that honor the art of sound. Presented in the David Geffen Theater, films such as It’s a Mad Mad Mad Mad World, Indiana Jones and the Last Crusade and Sound of Metal remind audiences that sound is often the invisible force behind cinema’s most unforgettable moments.

    As the Oscars draw closer, the Museum shifts focus to this year’s nominees. From March 7 through March 14, guests can attend screenings of all nominated short films and documentaries, alongside Nominee Spotlights featuring conversations with filmmakers across major categories, including International Feature Film, Best Picture, Makeup and Hairstyling and Animated Feature. Select programs are paired with lobby exhibitions showcasing items from nominated films, offering a tactile connection to the creative process.

    The season culminates on Sunday, March 1,5 with the fifth annual Official Oscars Watch Party. Set against the backdrop of the Museum campus, the event combines live viewing of the ceremony with curated food and wine, photo moments and access to the Museum’s spaces. Creative cocktail attire sets the tone for an evening that celebrates both the glamour and the artistry of Hollywood’s biggest night.

    Scroll to continue reading

    Beyond the galleries and theaters, the Oscars spirit extends to the Academy Museum Store with exclusive merchandise and to Fanny’s restaurant, which introduces a cocktail menu inspired by this year’s Best Picture nominees.

    Lewis Pullman and Danielle Brooks host the announcement of the 98th Oscars® nominations on Tuesday, January 22, 2026.
    Credit: Copyright ©A.M.P.A.S.

    More than a celebration, Oscar Season at the Academy Museum reaffirms Los Angeles as the global home of cinema. It is a reminder that the Oscars are not just a single night in March but an evolving story of artists, innovation and cultural memory told year after year from the heart of Hollywood.

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    George Satsidis

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  • Video: 2026 Oscar Nominees: Surprises and Snubs

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    Kyle Buchanan, our awards season columnist, breaks down the Academy Award nominations for 2026.

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    Kyle Buchanan, Edward Vega and Laura Salaberry

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  • Michael B. Jordan on ‘Sinners’ Breaking Records With 16 Oscar Noms: “Hard to Put Into Words”

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    Michael B. Jordan admits he’s struggling to find the words right now. The 38-year-old is already considered a veteran of this industry, having broken out on beloved ’00s TV shows like The Wire and Friday Night Lights and gone on to topline franchise blockbusters like Creed. So today marks a true milestone, earning his first career Oscar nomination for his deft, layered dual performance in Sinners.

    “I’ve been in this industry for a long time. I’ve admired and seen the Academy and the other actors in the movies and filmmakers that I’ve looked up to and been inspired by my whole life,” Jordan tells The Hollywood Reporter. “To be in those conversations and in that company is a solidifying feeling.”

    But that’s only where the celebration can start today. Jordan’s is one of 16 nominations for Sinners — the most any movie has received in Oscars history. The filmmaker Ryan Coogler, with whom Jordan has been regularly collaborating for over a decade, is personally nominated for his directing, writing and producing (for best picture). It’s a staggering showing, which Jordan tells The Hollywood Reporter is a true affirmation. Over the phone at various points, he laughs in disbelief, cheers loudly and stops himself a few times, as the emotion catches up to him. 

    Sinners

    Courtesy Warner Bros. Pictures

    How has the morning been?

    I did not get up at 5:30. Man, I slept. I’m in the edit right now [on The Thomas Crown Affair], so I kind of wanted to just kind of wake up to whatever I was going to wake up to — and that was a lot of love and affection. To be acknowledged in this way, it is truly an honor. It is crazy.

    How do you hear the fact that this is the most nominated movie of all time?

    Honestly still digesting it all. It’s really a testament to the film as a whole and all the pieces involved and the people that went to go see this movie and watched this film. It meant something to them and they felt something — to see how it resonated throughout the year with people, man. For all of these pieces to be singled out and acknowledged and honored with the nomination. it’s something that’s really hard to put into words right now.

    Who was your first phone call? Ryan?

    My mom was my first call. It was great. A lot of tears and the reason why I’m even in this industry and why I’m acting at all — why that was even an idea. To talk to the woman who started it all first meant the world. 

    I’m sure Ryan is doing his phone calls right now, so we missed each other. (Laughs.) We called each other back and forth, so I’m going to connect with him pretty soon too.

    This is your first personal nomination, and that’s true for your costars as well: Wunmi Mosaku and Delroy Lindo. 

    (Cheering) Woo! Yeah, so happy for Delroy, man. So happy for Wunmi. I’m so incredibly happy for Coog and everybody else, but Delroy, Wunmi — I couldn’t be happier for them.

    This is a year where you’re in great company — I wonder how you look at the slate of nominees and, particularly at this moment for the industry, what strikes you about the group?

    It’s actually a really, really great year as far as people bouncing back to theaters post-pandemic. I think these numbers and the turnout for these movies has been telling that the artists, when given the opportunity and the chance and the space and the support, can deliver on cinematic experiences that bring people back to the cinema. Just to be a part of that movement to help add to that contribution feels great.

    How do you take stock of Sinners’ trajectory, getting to this point?

    Listen, Mike De Luca and Pam Abdy and Warner Brothers and [David] Zaslav supported Coog’s vision and took a swing with us in a big way. Having that pay off? The journey of it has been a fierce and swift one. You focus on building that house and people will come.

    Any celebration plans today?

    Ah man, I’m going right to the edit. (Laughs.) I’m on my way right now. I’m getting ready. I’ll take some time tonight to just really reflect. I mean, I don’t even know. There will be signs though. There will be signs of celebration.

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    David Canfield

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  • The 11 Biggest Snubs and Surprises From the Oscar Nominations 2026

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    Because this Oscar season has been competitive from the get-go, we were expecting some surprises when nominations were announced—and boy, did we get them. The Oscar nominations 2026 included a slew of pleasantly unpredictable names in the acting categories (Delroy Lindo! Elle Fanning!) as well as several shake-ups in other tight races, like best director and even best picture.

    Sure, One Battle After Another and Sinners were expected to lead the pack when the final list was announced Thursday, just as they have all season. But Sinners made history by getting the most nominations for a movie in a single year, outstripping its top competitor (which only—“only”—got 12 total nods).

    There were some painful snubs as well. Though the first Wicked film got lavished with Oscars attention last year, earning 10 nominations including best picture (and winning two, for its production and costume design), Wicked: For Good was completely shut out at this year’s ceremony. Palme d’Or winner It Was Just an Accident also seemed like a strong Oscar contender, but lost steam in the end; it was nominated in best international feature and best original screenplay, but missed out on both the main best picture category and best director.

    Below, we break down the biggest snubs and surprises of the 2026 Oscar nominations—from F1 zooming into contention to Academy favorite Guillermo del Toro dropping off the best director list.

    SURPRISE: Sinners Breaks the Oscar Record

    Shortly before the nominations were announced, Hollywood began whispering about the possibility of Sinners breaking the record for most Oscar nominations for a single film. It would be a tall feat: Three films—All About Eve, Titanic, and La La Land—held that record, with 14 nominations apiece. But sure enough, Sinners out-Oscared them, landing 16 total nominations. The film picked up more acting nods than expected when Wunmi Mosaku and Delroy Lindo landed supporting nominations, along with Michael B. Jordan in lead actor. Beyond those and best picture, Sinners also earned nods for directing, original screenplay, casting, cinematography, costume design, production design, sound, makeup and hairstyling, song, score, and editing. As for what this means on Oscar night, let’s take a look at history: All About Eve and La La Land each ultimately won six awards. All About Eve got best picture; as many will remember, thanks to #Envelopegate, La La Land did not.Titanic won 11 Oscars, including best picture as well. —Rebecca Ford

    SNUB: Wicked For Bad

    Yikes! Wicked: For Good didn’t receive a single Oscar nomination. Not for original song; not for production design or costume design, both of which it won last year. Overall, the Academy made it clear they were not fans of splitting this beloved musical into two movies. Wicked: For Good is one of the highest-grossing films of the year, so there was a feeling that the Academy would find ways to support it even if it wasn’t going to get a best picture nomination this time around. But Universal will have to take the film’s box office achievement as the ultimate win for this franchise, as the Academy was fine with mourning the Wicked this morning. —John Ross

    SURPRISE: F1 Races to a Best Picture Nomination

    It isn’t a huge surprise that F1 landed nominations for its crafts, getting recognized in best sound and best visual effects. Even its editing nom wasn’t a huge surprise; the film’s racing scenes are very well done. But the Brad Pitt-starring sports drama was not expected to play much outside of those sandboxes—so its nomination for best picture was one of the biggest surprises of the day. That 10th slot for best picture was very much in flux; F1 had just enough juice to make it in over other hopefuls like It was Just an Accident, Sirat, and Wicked: For Good. —R.F.

    SNUB: Oscars Say Thank You, Next to Ariana Grande

    Grande was arguably the co-lead in the second half of Wicked, and many critics considered her the highlight of the film. As her co-star Cynthia Erivo’s Oscars chances faded, Grande was still considered likely to get a nomination from the Academy. She did receive nominations from the Actors Awards and the Golden Globes, after all. But today, the pop star was edged out by the swell of Sinners and Sentimental Value—both films that overperformed this morning across the board. —J.R.

    SURPRISE: Blue Moon Picks Up an Original Screenplay Nomination

    This chamber piece about a lonely genius has turned out to be the tiny movie that could. With a knock-out performance by Ethan Hawke as famed lyricist Lorenz Hart (Hawke also earned an acting nomination), Blue Moon charmed audiences with its quick-witted dialogue and impressive, fluid directing by Richard Linklater. The screenwriter, Robert Kaplow, constructed his script based on letters between Hart and a Yale student named Elizabeth—and earned his first Oscar nomination today for his effort. —R.F.

    SNUB: Jafar Panahi and Guillermo Del Toro Miss Out In Best Director

    The best director race is always one of the hardest Oscar categories to predict. Panahi didn’t get a DGA nomination for It Was Just An Accident, but conventional wisdom was that he would still get in at the Oscars because of the film’s overall popularity with international voters, as well as his personal story. And Panahi did get a nomination for Original Screenplay—but the directors’ branch instead nominated another non-American filmmaker, Joachim Trier, for Sentimental Value. Past Oscar winner Del Toro, meanwhile, is beloved by his peers, and received a DGA nomination for Frankenstein. But ultimately, he didn’t have enough support to secure one of the five spots this morning. His film still received many below-the-line nominations, from cinematography to costume design—so come Oscar night, Del Toro will probably still get some shout-outs from the big stage. —J.R.

    SURPRISE: Delroy Lindo Is In for Sinners

    A rising tide lifts all boats, and while many Oscar watchers felt Lindo was deserving of today’s nomination, they didn’t think he would be able to break through in such a competitive field. Yet Sinners performed so well this morning that it helped carry Lindo into a nomination for his role in the film as Delta Slim. Though Lindo has an impressive body of work, this marks his very first Oscar nomination. Lindo’s surprise nod meant that Paul Mescal, who was believed to be a sure thing in this category for his role in Hamnet, was pushed out. It’s also worth noting that Jacob Elordi secured his nomination for Frankenstein after months of dogged campaigning. —J.R.

    SNUB: Adam Sandler Still Doesn’t Have an Oscar Nomination

    At the start of this season, it felt like this was Sandler’s year to finally get a nomination for an Academy Award. His role in Noah Baumbach’s Jay Kelly was measured, less bombastic than Uncut Gems, and the response was positive at every stop on the campaign trail. (Including when Sandler sat for a conversation with Timothee Chalamet, moderated by Vanity Fair.) But as the season progressed, Jay Kelly started to get a softer response among voters—and Jacob Elordi began to get more attention for his role in Frankenstein. This morning, Sandler fell victim to the surprise of Delroy Lindo’s nomination and Elordi’s ascent. —J.R.

    SURPRISE: Kate Hudson Gets Her Second Oscar Nod, 25 Years Later

    Hudson campaigned hard this season, and it paid off. Her role as Claire “Thunder” Sardinia in Song Sung Blue plays to all her strengths: she sings, she blends comedy and drama, and her chemistry with Hugh Jackman is superb. After her Actors Award nomination, industry insiders started to take her campaign more seriously. Still, there was a feeling that the film itself wasn’t strong enough to land her in one of the five spots. Today, though, she proved the naysayers wrong. But as a result, Chase Infiniti unfortunately didn’t make the best actress cut for her film debut in One Battle After Another. —J.R.

    SURPRISE: Sentimental Value Overperforms

    Sentimental Value seemed to stumble earlier this season, when it was completely snubbed for Actor Awards nominations. But the film came back with gusto on Oscar nomination day, earning nine nods. While it was expected to land noms for picture, screenplay, and a few other places, the film also landed a surprise supporting actress nomination for Elle Fanning, who joined her co-star Inga Ibsdotter Lilleaas. Joachim Trier also landed a coveted best director nom in a very competitive field, and the film also earned a surprise editing nomination. It’s clear there’s love for this Norwegian family drama across the board. —R.F.

    SURPRISE: The Voice of Hind Rajab Lands in International Feature

    Only one film in the international feature category was not released by Neon, which has become the go-to distributor for foreign language Oscar fodder. The Voice of Hind Rajab is an emotional story about volunteers at the Palestine Red Crescent Society responding to the killing of a five-year-old Palestinian girl. Germany’s Sound of Falling and South Korea’s No Other Choice were both vying for this final slot in this category, but The Voice of Hind Rajab, with its restrained yet emotionally devastating filmmaking, is undeniably timely as the war in Gaza rages on. The film’s nomination also marks only the second time that Tunisia has earned a nomination in this category. —R.F.

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    Rebecca Ford, John Ross

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