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Tag: Oscars 2026

  • 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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  • 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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  • ‘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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  • 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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  • 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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  • 2026 Oscar Nominations: Watch the Livestream

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    Can I get a drum roll, please? It’s time for the 2026 Academy Award nominations to be revealed.

    On Thursday morning, starting at 5:30 a.m. PT, Oscar-nominated actress Danielle Brooks, known for Peacemaker and The Color Purple, and Thunderbolts* star Lewis Pullman are announcing this year’s Oscar nominations in all 24 categories.

    The presentation is taking place at the Academy’s Samuel Goldwyn Theater, and can be streamed live on Oscar.com, Oscars.org and the Academy’s social media platforms, including TikTok, Instagram, YouTube and Facebook. It will also be broadcast on ABC’s Good Morning America and stream on ABC News Live, Disney+ and Hulu.

    The nominees will be revealed in two batches on Thursday, with Brooks and Pullman reading the categories for supporting actor, supporting actress, animated short film, costume design, live action short film, makeup and hairstyling, music (original score), writing (adapted screenplay) and writing (original screenplay) first at 5:30 a.m. PT. Then at 5:41 a.m. PT, the pair will reveal the nominees for lead actor, lead actress, animated feature film, best picture, casting, cinematography, directing, documentary feature film, documentary short film, film editing, international feature film, music (original score), production design, sound and visual effects.

    Heading into the nominations presentation, The Hollywood Reporter‘s executive editor of awards coverage, Scott Feinberg, predicts that Sinners, One Battle After Another, Frankenstein and Hamnet will lead the field. And continue to follow THR for the latest awards coverage, analysis and updates.

    Academy final voting will begin on Feb. 26 and conclude on March 5. The 98th Oscars, hosted by Conan O’Brien, will air live on ABC and streaming on Hulu from the Dolby Theatre at Ovation Hollywood on Sunday, March 15, starting at 7 p.m. ET/4 p.m. PT.

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    Carly Thomas

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  • Oscars: Academy Reveals Full Lists of Qualifying Documentary, International and Animated Features

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    A total of 201 documentary features, 86 international features and 35 animated features are eligible for Oscar recognition this season in the best documentary feature, best international feature and best animated feature categories, respectively, the Academy of Motion Picture Arts and Sciences announced on Friday.

    The only time more documentaries were deemed eligible — 238 — was the year in which the pandemic led to an extension of the period of eligibility from 12 to 14 months (Jan. 1, 2020 to Feb. 28, 2021) and docs that did not play in theaters were considered.

    This year’s list of eligible documentary features includes titles that have dominated at the doc community’s precursor awards, including Netflix’s The Perfect Neighbor and Apocalypse in the Tropics, Apple’s Come See Me in the Good Light and Neon’s Orwell: 2+2=5. It also includes two acclaimed films made by celebrities about their famous parents, HBO’s My Mom Jayne and Apple’s Stiller & Meara: Nothing Is Lost, which were directed by Mariska Hargitay and Ben Stiller, respectively. And there are several titles related to recent turmoil in the Middle East, including Hemdale/Metallux’s Torn: The Israel-Palestine Poster War on New York City Streets and the self-distributed Coexistence, My Ass!, Holding Liat and Put Your Soul on Your Hand and Walk.

    The most glaring omission from the list: The Eyes of Ghana, a documentary directed by the two-time Oscar-winning documentarian Ben Proudfoot, which is still seeking distribution. The Hollywood Reporter has confirmed that a late decision was made to hold the film for next awards season. Other high-profile docs that were expected to be on the list but are not, either because they were not submitted or because they failed to meet the eligibility requirements, include A24’s Marc by Sofia, Oscar winner Sofia Coppola’s portrait of Marc Jacobs, and Oscar winner Questlove’s Hulu film Sly Lives! (aka the Burden of Black Genius).

    The list of eligible international features includes five widely lauded films that are being distributed in the U.S. by Parasite backer Neon and could conceivably all earn nominations: Norway’s Sentimental Value, Brazil’s The Secret Agent, South Korea’s No Other Choice, Spain’s Sirāt and France’s It Was Just an Accident. It Was Just an Accident, which won the Cannes Film Festival’s Palme d’Or, was directed by Jafar Panahi, a filmmaker from Iran but does not reflect well on the country; as a result, Iran submitted the much lower-profile Cause of Death: Unknown, while France submitted It Was Just an Accident, on the basis that much of the film’s financing was French.

    Other countries that made interesting submissions include Japan (GKIDS’ Kokuho, a film about Kabuki performers, which is now the highest-grossing non-animated film in that country’s history); Iraq (Sony Classics’ The President’s Cake won two prizes at Cannes); Belgium (Music Box’s Young Mothers could bring the brothers Jean-Pierre Dardenne and Luc Dardenne the first Oscar noms of their distinguished careers); and Taiwan (Netflix’s Left-Handed Girl, which was co-written by Anora Oscar winner Sean Baker).

    Meanwhile, at least three countries submitted acclaimed documentaries for best international feature consideration: Ukraine (PBS’ 2000 Meters to Andriivka, a doc about a Ukrainian platoon’s fight to retake a city from Russian invaders, which was directed by Mstyslav Chernov, who won the best doc feature Oscar two years ago); North Macdeonia (Nat Geo’s The Tale of Silyan, from Tamara Kotevska, whose 2019 film Honeyland was nominated for best international feature and doc feature Oscars); and Denmark (Mr. Nobody Against, a film about Vladimir Putin’s propaganda efforts, which is still seeking U.S. distribution).

    And the list of animated features includes giant blockbusters like Crunchyroll’s Demon Slayer: Kimetsu no Yaiba Infinity Castle, which is now the highest-grossing Japanese film of all time and the highest-grossing international film in the U.S. of all time, as well as the fifth-highest-grossing film of 2025; streaming hits like Netflix’s KPop Demon Hunters, which is now that streamer’s most watched film ever; acclaimed indies like Neon’s Arco, a French-language critics’ darling that counts Natalie Portman among its producers; and highly-anticipated forthcoming titles like Disney’s Zootopia 2.

    Among the animated films that were expected to contend but are not on the list of eligible titles, either because they were not submitted or because they failed to meet the eligibility requirements, are A24’s Ne Zha 2, Sony’s Paddington in Peru and Paramount’s Smurfs.

    The documentary feature and international feature categories are winnowed down to shortlists before nominations, while the animated feature category goes straight to nominations. Shortlist voting will span Dec. 8-12, 2025, and the announcement of the shortlists will come on Dec. 16. Nominations voting in all categories will span Jan. 12-16, 2026, and the announcement of the nominations will come on Jan. 22, 2026.

    A full list of eligible animated, documentary and international features follows.

    Eligible animated features

    Thirty-five features are eligible for consideration in the Animated Feature Film category for the 98th Academy Awards. Some of the films have not yet had their required qualifying release and must fulfill that requirement and comply with all the category’s other qualifying rules to advance in the voting process.

    To determine the five nominees, members of the Animation Branch are automatically eligible to vote in the category. Academy members outside of the Animation Branch are invited to opt in to participate and must meet a minimum viewing requirement to be eligible to vote in the category. Films submitted in the Animated Feature Film category may also qualify for Academy Awards in other categories, including Best Picture. Animated features that have been submitted in the International Feature Film category as their country’s official selection are also eligible in the category.

    “All Operators Are Currently Unavailable”

    “Arco”

    “The Bad Guys 2”

    “Black Butterflies”

    “Boys Go to Jupiter”

    “Chainsaw Man – The Movie: Reze Arc”

    “ChaO”

    “Colorful Stage! The Movie: A Miku Who Can’t Sing”

    “David”

    “Demon Slayer: Kimetsu no Yaiba Infinity Castle”

    “Dog Man”

    “Dog of God”

    “Dragon Heart – Adventures Beyond This World”

    “Elio”

    “Endless Cookie”

    “Fixed”

    “Gabby’s Dollhouse: The Movie”

    “In Your Dreams”

    “KPop Demon Hunters”

    “The Legend of Hei 2”

    “Light of the World”

    “Little Amélie or the Character of Rain”

    “Lost in Starlight”

    “A Magnificent Life”

    “Mahavatar Narsimha”

    “Night of the Zoopocalypse”

    “Olivia & las Nubes”

    “100 Meters”

    “Out of the Nest”

    “Scarlet””Slide”

    “The SpongeBob Movie: Search for SquarePants”

    “Stitch Head”

    “The Twits”

    “Zootopia 2”

    Eligible documentary features

    Two hundred one features are eligible for consideration in the documentary feature film category for the 98th Academy Awards. Some of the films have not yet had their required qualifying release and must fulfill that requirement and comply with all the category’s other qualifying rules to advance in the voting process.

    Documentary features that have won a qualifying film festival award or have been submitted in the international feature film category as their country’s official selection are also eligible in the category. Films submitted in the documentary feature film category may also qualify for Academy Awards in other categories, including best picture. Members of the documentary branch vote to determine the shortlist and the nominees. The shortlist of 15 films will be announced on Tuesday, Dec. 16, 2025.

    “Abby’s List, A Dogumentary”

    “Ada – My Mother the Architect”

    “Afternoons of Solitude”

    “The Age of Disclosure”

    “Ai Weiwei’s Turandot”

    “The Alabama Solution”

    “All God’s Children”

    “The Altar Boy, the Priest and the Gardener”

    “Always”

    “Amakki”

    “American Sons”

    “Among Neighbors”

    “animal.”

    “Antidote”

    “Apocalypse in the Tropics”

    “Architecton”

    “Are We Good?”

    “Art for Everybody”

    “Art Spiegelman: Disaster Is My Muse”

    “The Art Whisperer”

    “Artfully United”

    “Assembly”

    “BTS ARMY: Forever We Are Young”

    “Becoming Led Zeppelin”

    “Being Eddie”

    “Below the Clouds”

    “Benita”

    “Between the Mountain and the Sky”

    “Beyond the Gaze: Jule Campbell’s Swimsuit Issue”

    “Billy Idol Should Be Dead””BLKNWS: Terms & Conditions”

    “Blum: Masters of Their Own Destiny”

    “Bodyguard of Lies”

    “Brothers after War”

    “Can’t Look Away: The Case against Social Media”

    “Caterpillar”

    “Champions of the Golden Valley”

    “Checkpoint Zoo”

    “Cheech & Chong’s Last Movie”

    “Child of Dust”

    “Chronicles of Disney”

    “Coexistence, My Ass!”

    “Come See Me in the Good Light”

    “Complicated”

    “Cover-Up”

    “Cracking the Code: Phil Sharp and the Biotech Revolution”

    “Cutting through Rocks”

    “Dalit Subbaiah”

    “The Dating Game”

    “Deaf President Now!”

    “Democracy Noir”

    “Diane Warren: Relentless”

    “Dog Warriors”

    “Drop Dead City”

    “The Duel We Missed”

    “El Canto de las Manos”

    “Elie Wiesel: Soul on Fire”

    “The Encampments”

    “Endless Cookie”

    “Europe’s New Faces”

    “Facing War”

    “Fatherless No More”

    “Fiume o Morte!”

    “Folktales”

    “Food Delivery: Fresh from the West Philippine Sea”

    “For the Living”

    “14 Short Films about Opera”

    “From Island to Island”

    “Ghost Boy”

    “Girl Climber”

    “Go to the People”

    “Goodbye Horses: The Many Lives of Q Lazzarus””Grand Theft Hamlet”

    “Heaven. Poste Restente”

    “Heightened Scrutiny”

    “Holding Liat”

    “I Know Catherine, the Log Lady”

    “I, Poppy”

    “I Was Born This Way”

    “If You Tell Anyone”

    “I’m Not Everything I Want to Be”

    “I’m Only Blind”

    “Imago”

    “In Limbo”

    “In Waves and War”

    “In Whose Name?”

    “Israel Palestine on Swedish TV 1958 -1989”

    “It’s Never Over, Jeff Buckley”

    “Janis Ian: Breaking Silence”

    “The King of Color”

    “The Last Class”

    “The Last Holocaust Secret”

    “The Last Philadelphia”

    “The Last Twins”

    “Li Cham (I Died)”

    “The Librarians”

    “Life After”

    “Lilith Fair: Building a Mystery – The Untold Story”

    “Liza: A Truly Terrific Absolutely True Story”

    “Love+War”

    “Mahamantra – The Great Chant”

    “The Man Who Saves the World?”

    “A Man with Sole: The Impact of Kenneth Cole”

    “Marlee Matlin: Not Alone Anymore”

    “Meanwhile”

    “Men of War”

    “Mighty Indeed”

    “Mr. Nobody against Putin”

    “Mistress Dispeller”

    “Monk in Pieces”

    “My Armenian Phantoms”

    “My Mom Jayne: A Film by Mariska Hargitay”

    “My Undesirable Friends: Part I – Last Air in Moscow”

    “Natchez””The New Yorker at 100”

    “Night in West Texas”

    “1985: Heroes among Ruins – The Triumph of the People”

    “Norita”

    “Of Mud and Blood”

    “One to One: John and Yoko”

    “Orwell 2+2=5”

    “Our Time Will Come”

    “Out of Plain Sight”

    “Paint Me a Road Out of Here”

    “Paparazzi”

    “The Parish of Bishop John”

    “Pavements”

    “The Perfect Neighbor”

    “The Pool”

    “Predators”

    “Prime Minister”

    “The Prince of Nanawa”

    “Put Your Soul on Your Hand and Walk”

    “Rebel with a Clause”

    “Remaining Native”

    “Riefenstahl”

    “Rise Up! 14 Short Films about Alliance for Positive Change”

    “River of Grass”

    “The Road between Us: The Ultimate Rescue”

    “The Rose: Come Back to Me”

    “Row of Life”

    “Sanatorium”

    “A Savage Art”

    “Schindler Space Architect”

    “Secret Mall Apartment”

    “Seeds”

    “Selena y Los Dinos”

    “Sensory Overload”

    “76 Days Adrift”

    “Shari & Lamb Chop”

    “The Shepherd and the Bear”

    “Shoot the People”

    “Shuffle”

    “The Six Billion Dollar Man”

    “67 Bombs to Enid”

    “Slumlord Millionaire””Songs from the Hole”

    “Soul of a Nation”

    “Speak.”

    “Stans”

    “Steve Schapiro: Being Everywhere”

    “Stiller & Meara: Nothing Is Lost”

    “Stop the Insanity: Finding Susan Powter”

    “Story of My Village”

    “Strange Journey: The Story of Rocky Horror”

    “The Stringer”

    “Suburban Fury”

    “Sudan, Remember Us”

    “Supercar Saints”

    “Swamp Dogg Gets His Pool Painted”

    “The Tale of Silyan”

    “Thank You Very Much”

    “There Was, There Was Not”

    “Third Act”

    “This Ordinary Thing”

    “Through the Fire (The Eaton Fire: The Aftermath)”

    “Torn: The Israel -Palestine Poster War on New York City Streets”

    “Trade Secret”

    “Trains”

    “Twin Towers: Legacy”

    “2000 Meters to Andriivka”

    “Unbanked”

    “UnBroken”

    “Under the Flags, the Sun”

    “Unseen Innocence”

    “Viktor”

    “Viva Verdi!”

    “WTO/99”

    “Walk with Me”

    “Walls – Akinni Inuk”

    “We Were Here – The Untold History of Black Africans in Renaissance Europe”

    “Welded Together”

    “The White House Effect”

    “Who in the Hell Is Regina Jones?”

    “Wisdom of Happiness”

    “The Wolves Always Come at Night”

    “Worth the Fight”

    “Writing Hawa”

    Eligible international features

    Eighty-six countries or regions have submitted films that are eligible for consideration in the International Feature Film category for the 98th Academy Awards.

    An international feature film is defined as a feature-length motion picture (more than 40 minutes) produced outside the United States with a predominantly (more than 50 percent) non-English dialogue track.

    Academy members from all branches are invited to opt in to participate in the preliminary round of voting and must meet a minimum viewing requirement to be eligible to vote in the category. The shortlist of 15 films will be announced on Tuesday, Dec. 16, 2025.

    Albania, “Luna Park”

    Argentina, “Belén”

    Armenia, “My Armenian Phantoms”

    Australia, “The Wolves Always Come at Night”

    Austria, “Peacock”

    Azerbaijan, “Taghiyev: Oil”

    Bangladesh, “A House Named Shahana”

    Belgium, “Young Mothers”

    Bhutan, “I, the Song”

    Bolivia, “The Southern House”

    Bosnia and Herzegovina, “Blum: Masters of Their Own Destiny”

    Brazil, “The Secret Agent”

    Bulgaria, “Tarika”

    Canada, “The Things You Kill”

    Chile, “The Mysterious Gaze of the Flamingo”

    China, “Dead to Rights”

    Colombia, “A Poet”

    Costa Rica, “The Altar Boy, the Priest and the Gardener”

    Croatia, “Fiume o Morte!”

    Czech Republic, “I’m Not Everything I Want to Be”

    Denmark, “Mr. Nobody against Putin”

    Dominican Republic, “Pepe”

    Ecuador, “Chuzalongo”

    Egypt, “Happy Birthday”

    Estonia, “Rolling Papers”

    Finland, “100 Liters of Gold”

    France, “It Was Just an Accident”Georgia, “Panopticon”

    Germany, “Sound of Falling”

    Greece, “Arcadia”

    Greenland, “Walls – Akinni Inuk”

    Haiti, “Kidnapping Inc.”

    Hong Kong, “The Last Dance”

    Hungary, “Orphan”

    Iceland, “The Love That Remains”

    India, “Homebound”

    Indonesia, “Sore: A Wife from the Future”

    Iran, “Cause of Death: Unknown”

    Iraq, “The President’s Cake”

    Ireland, “Sanatorium”

    Israel, “The Sea”

    Italy, “Familia”

    Japan, “Kokuho”

    Jordan, “All That’s Left of You”

    Kyrgyzstan, “Black Red Yellow”

    Latvia, “Dog of God”

    Lebanon, “A Sad and Beautiful World”

    Lithuania, “The Southern Chronicles”

    Luxembourg, “Breathing Underwater”

    Madagascar, “Disco Afrika: A Malagasy Story”

    Malaysia, “Pavane for an Infant”

    Mexico, “We Shall Not Be Moved”

    Mongolia, “Silent City Driver”

    Montenegro, “The Tower of Strength”

    Morocco, “Calle Malaga”

    Nepal, “Anjila”

    Netherlands, “Reedland”

    North Macedonia, “The Tale of Silyan”

    Norway, “Sentimental Value”

    Palestine, “Palestine 36”

    Panama, “Beloved Tropic”

    Paraguay, “Under the Flags, the Sun”

    Peru, “Kinra”

    Philippines, “Magellan”

    Poland, “Franz”

    Portugal, “Banzo”

    Romania, “Traffic”

    Saudi Arabia, “Hijra”

    Serbia, “Sun Never Again”Singapore, “Stranger Eyes”

    Slovakia, “Father”

    Slovenia, “Little Trouble Girls”

    South Africa, “The Heart Is a Muscle”

    South Korea, “No Other Choice”

    Spain, “Sirât”

    Sweden, “Eagles of the Republic”

    Switzerland, “Late Shift”

    Taiwan, “Left -Handed Girl”

    Tunisia, “The Voice of Hind Rajab”

    Turkey, “One of Those Days When Hemme Dies”

    Uganda, “Kimote”

    Ukraine, “2000 Meters to Andriivka”

    United Kingdom, “My Father’s Shadow”

    Uruguay, “Don’t You Let Me Go”

    Venezuela, “Alí Primera”

    Vietnam, “Red Rain”

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    Scott Feinberg

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  • Egypt’s Oscar Hopeful ‘Happy Birthday’ Follows an 8-Year-Old Maid Who Is a Class Act in a World of Classism

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    This Oscar season, you may find yourself falling in love with an eight-year-old maid and celebrating Happy Birthday. That is the title of the coming-of-age drama film, directed and co-written by Sarah Goher in her feature directorial debut, which is Egypt’s submission for the best international feature category at the 2026 Oscars. Jamie Foxx is a producer on the movie, starring newcomer Doha Ramadan, Nelly Karim, Hanan Motawie, Sherif Salama, and Aly Sobhy.

    It was co-written by Goher’s life and creative partner, Mohamed Diab. The duo previously also worked together on the Marvel series Moon Knight, starring Oscar Isaac, as well as Diab’s Clash and Bus 671. Happy Birthday was produced by Ahmed El Desouky for SkyLimit Production.

    The film tells the story of Toha, the already-mentioned young maid, who works for an upper-class family and Cairo and is determined not to let anyone stop her from throwing a great birthday party for her friend, her employer’s daughter. In the process, Happy Birthday explores “issues of class, power, and belonging through the eyes of an innocent child,” as a preview for the movie on the website of the 29th edition of the Tallinn Black Nights Film Festival (PÖFF), where it starts screening on Saturday, notes.

    The movie premiered at the Tribeca Film Festival in June, where it won the awards for best international narrative feature and best screenplay in such a feature, along with the Nora Ephron Award.

    For Goher, the film came from personal experience. The Egyptian was born and raised in New York, but would spend summers with her grandmother in Cairo. “The only other kid my age in my grandma’s apartment was this little girl, and I thought she was extended family,” the filmmaker tells THR. “We would play, and she was the most fun thing for me whenever I’d go to Egypt. And then after a couple of summers, I realized she was my grandma’s maid.”

    The girl one summer was no longer there, and Goher later realized that noone was talking about this because having young maids was not legal but common. “Child labor is not allowed in Egypt, but there’s this gray area where families in Egypt, if not in this generation, in a previous generation have a child around them that was in this limbo,” Goher explains. “So that became the inspiration for this film.”

    She knew that casting the young lead was key. “I knew very well early on that I had to cast the girl right, or else the whole thing would fall apart, and I wanted a girl who understood the socio-economic world of the character,” Goher shares. She and the creative team used street casting, Facebook, TikTok and the like.

    ‘Happy Birthday’

    Courtesy of PÖFF

    In the end, she asked to meet 60 girls at the Cairo Opera House for about eight hours. “I wanted them all dressed the same so no one would know who was from the nice neighborhood and who was from the [poorer] neighborhood,” Goher recalls. “I had these girls dancing and singing, doing mirror exercises, breathing exercises, and improvisations around the film. And then, very quickly, when you have kids by themselves, away from their parents, and with other kids, they really open up in a way that you start to see a lot about them quickly.”

    Young Doha Ramadan stood out. “She’s such a confident and creative girl,” says Goher. “She would tell me these crazy stories about herself, her friends, and about things in her neighborhood, and these scary stories that they tell each other. And I realized that the kids who are really good actors are really good storytellers.”

    The two worked closely throughout the process. “I needed her to understand that this is fiction,” Goher explains. “And I wanted to have her input into her character, because I did not want to be projecting a story from my imagination about someone like her.”

    The filmmaker hopes that audiences will fall in love with the character of Toha just like some of her friends who are not into children did. “They don’t want kids, but they fell in love with Doha and Toha. Neither has any sense of self-pity,” Goher tells THR. “Toha doesn’t see the tragedy of her life. She just wants to live it like, and that’s something I think we all need to see.”

    The filmmaker didn’t want to wrap the film and send Ramadan back to her own life without paying back time and effort for all the young talent’s work on the movie, so she created an “enrichment program.” After all, Ramadan didn’t know how to read when they started filming, even though she memorized the entire script, including all the other actors’ lines. “As soon as we finished shooting the film, I got her a private tutor to teach her reading and writing,” Goher tells THR. “And I also enrolled her at the Opera House, which has a gifted youth center, so she’s been taking ballet there.”

    Concludes the Happy Birthday director: “I wanted her to see herself as an artist, because in her socio- economic class, art is not something that’s a priority. I needed to give her an outlet that she could continue to follow. And I’m very grateful for her mother and her family, who have been completely supportive and cooperative throughout this entire process.”

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    Georg Szalai

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  • Oscars: Tajikistan Picks ‘Black Rabbit, White Rabbit’ as Best Int’l Feature Submission

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    Black Rabbit, White Rabbit, a mystery drama by Iranian filmmaker Shahram Mokri (Fish & Cat), has been selected to represent the country of Tajikistan in the best international feature film category at the Oscars.

    The news follows the film’s International Film Festival of India – Vision Asian Award honor at the Busan International Film Festival. The movie next screens at the BFI London Film Festival and Chicago International Film Festival.

    The film, a co-production between Tajikistan and the United Arab Emirates, was made with the support of Tajikfilm in Tajikistan and produced in Tajik and Persian. The cast includes a group of prominent Tajik actors, namely Babak Karimi, Hasti Mohammaï, Kibriyo Dilyobova, and Bezhan Davlyatov. Mokri wrote the screenplay with Nasim Ahmadpour. The producer is Negar Eskandarfar.

    “A suspicious film prop, a mysterious audition, a conspiratorial road incident and multiple rabbits are woven together in this bold and beguiling drama from Tajikistan,” reads a synopsis of the movie. “A film armorer suspects a fake firearm is real. An actor arrives on set demanding a role. A car crash victim fears her accident was deliberate. Three seemingly disparate stories weave into an enigmatic whole, with flowing, expertly choreographed takes, no small amount of droll humour and flashes of magic realism punctuating Iranian director Shahram Mokri’s playful, subtly provocative meta-mystery.”

    The DreamLab Films production is the fourth movie that Tajikistan has submitted for the international Oscar race. The Central Asian country has never been nominated.

    Black Rabbit, White Rabbit is Mokri’s fourth feature film. His feature debut Fish & Cat (2013) won a special award in the Orizzonti (Horizons) section at the Venice Film Festival. The director went on to direct Invasion (2017), which screened at the Berlin International Film Festival, followed by Careless Crime (2020), which screened at Venice and won the jury prize at the Chicago International Film Festival. 

    The 98th Oscars take place Sunday, March 15.

    Check out a trailer for Black Rabbit, White Rabbit below.

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    Georg Szalai

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  • Oscars: Australia Picks ‘The Wolves Always Come at Night’ as International Feature Submission

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    Australia has selected Gabrielle Brady’s Mongolian-language documentary The Wolves Always Come at Night as its submission for the best international feature category at the 2026 Academy Awards. Brady’s film will also run for consideration in the best documentary feature category.

    Blending documentary and fiction, the film tells the story of Mongolian herders Davaasuren Dagvasuren and Otgonzaya Dashzeveg who make the difficult decision to leave their homelands after the arrival of a powerful and destructive sandstorm, a situation made worse by the climate crisis.

    The Wolves Always Come premiered at the 2024 Toronto International Film Festival in the Platform Prize program, although there was drama at the festival after Davaasuren and Otgonzaya were denied visitor visas by the Canadian government. The film also screened in competition at the London Film Festival in 2024 and screened at Zurich Film Festival, IDFA, San Francisco International Film Festival, True/False and Sydney Film Festival.

    The Wolves Always Come at Night is the world’s first co-production between Germany, Australia and Mongolia. Executive producers include Oscar-winner Dan Cogan, Deanne Weir, Stefanie Plattner, Alexander Wadouh, and Emma Hindley. The film received principal production investment from Screen Australia and significant private investment from Weir Anderson Films, alongside Storming Donkey Productions. The Wolves Always Come at Night was also financed with support from BBC Storyville, SWR Arte, and Madman Films. Cinephil is repping for worldwide sales.

    Australia’s Oscar submissions are chosen by a committee of industry professionals selected by Screen Australia.

    Despite English being the de facto national language of Australia, the country has been consistently submitting films into the best international feature film (formerly the best foreign language film) category at the Oscars since 1996. As of 2025, sixteen Australian films have been submitted including Rolf de Heer and Peter Djigirr’s Yolngu Matha and Gunwinggu language film Ten Canoes (2006); Warwick Thornton’s Warlpiri language film Samson and Delilah (2009) which was shortlisted; Kim Mordaunt’s Lao language film The Rocket (2013); and Bentley Dean and Martin Butler’s Nauvhal language film Tanna (2016), which was awarded an official nomination.

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    Abid Rahman

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