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  • Emily Blunt Was Picking Up Dog Poop When She Got Oscar Nomination News

    Emily Blunt Was Picking Up Dog Poop When She Got Oscar Nomination News

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    Matt Winkelmeyer/Getty Images for Critics Choice Association

    Emily Blunt was in the midst of taking care of her furry friend when she found out she was nominated for an Oscar.

    “I did have a brief cry in the middle of Brooklyn, [a] brief weep directly after picking up my dog’s poop.” Blunt, 40, said in an interview with Josh Horowitz at 92NY on Tuesday, February 6, per The Hollywood Reporter. “I did pick up her poop and then I heard that I got nominated so it was perfect.”

    Blunt noted that she and husband John Krasinski were together when she discovered that she was nominated for her role in Oppenheimer. After sharing the news with Krasinski, 44, he assisted her with their dog’s waste and celebrated with her.

    “I think he went and put it in the trash and then we both cried,” she recalled.

    Every Star Reactions to Their 2024 Oscar Nominations

    Related: Stars React to 2024 Oscar Nominations: Emma Stone, Bradley Cooper and More

    Getty Images (2) Receiving an Oscar nomination is one of Hollywood’s biggest honors — and the fortunate few are showing their gratitude for the recognition. The nominations for the 96th annual Academy Awards were announced by Jack Quaid and Zazie Beetz in Beverly Hills on Tuesday, January 23. A-listers like Emma Stone, Robert Downey Jr. […]

    The actress, who is celebrating her first Oscar nomination, confessed that waiting to hear from the Academy was tortuous — but the end result was worth it.

    “It’s all quite scary, the anticipation of it, and I think you just try not to listen to buzz because buzz can be built on sand sometimes,” she explained. “And so when it did happen, and when it happened in such a far-reaching way for all of us in the movie and every crew member, it was magical.”

    Oppenheimer, the biopic of the inventor of the atomic bomb, leads with 13 nominations at the 2024 Oscars. In addition to Blunt being recognized for Best Supporting Actress for her portrayal of Kitty Oppenheimer, her costars Cillian Murphy and Robert Downey Jr. are in contention for Best Actor and Best Supporting Actor, respectively. The film is also up for Best Picture, Best Director, Best Adapted Screenplay, Best Cinematography, Best Film Editing, Best Original Score, Best Production Design, Best Makeup & Hairstyling, Best Costume Design and Best Sound.

    Everything to Know About the 2024 Oscars- How to Watch the 96th Academy Awards and More Show Details 033

    Related: Everything to Know About the 2024 Oscars: How to Watch and More

    The 96th annual Academy Awards is set to be one of the most competitive award shows of the season after an incredible year of movies. Oppenheimer scored 13 Oscar nominations, the most of any film this year. Closely behind is Poor Things with 11 nods and Barbie with eight mentions for the big night. While […]

    When the Oscar nominations dropped last month, Blunt expressed her gratitude to the Academy and congratulated her costars and colleagues who also received a nod.

    “I’m completely overcome and overjoyed! Weak-legged and immensely grateful for this moment,” Blunt told Entertainment Weekly at the time. “It goes without saying that this staggering film has changed my life. Colossal congratulations to my OppenHomies who ALL blew the doors off the place in their fields … we are a family in this so to raise a glass alongside my friends is a euphoric feeling indeed.”

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    Kaitlin Simpson

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  • Emily Blunt Says She Was Picking Up Dog Poop When She Learned About ‘Oppenheimer’ Oscar Nom

    Emily Blunt Says She Was Picking Up Dog Poop When She Learned About ‘Oppenheimer’ Oscar Nom

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    Emily Blunt is a first-time Oscar nominee this year for her role in Oppenheimer, but it turns out she didn’t find out about her nomination in the most Hollywood way.

    Speaking to Josh Horowitz for a conversation at 92NY on Tuesday, Blunt explained that being referred to as an Academy Award nominee doesn’t yet feel natural, despite the months-long buzz she would receive Oscar recognition.

    “It’s all quite scary, the anticipation of it, and I think you just try not to listen to buzz because buzz can be built on sand sometimes. And so when it did happen, and when it happened in such a far-reaching way for all of us in the movie and every crew member, it was magical,” Blunt said of Oppenheimer‘s many nominations, and when learning of her own, “I did have a brief cry in the middle of Brooklyn, brief weep directly after picking up my dog’s poop.”

    “I did pick up her poop and then I heard that I got nominated so it was perfect,” she continued, and husband John Krasinski “had a really good cry as well, after helping me with the poop. I think he went and put it in the trash and then we both cried.”

    Blunt is nominated for her performance as Kitty Oppenheimer, wife of Cillian Murphy’s titular character, who slowly loses hold of her own life throughout their marriage and J. Robert Oppenheimer’s work on the Manhattan Project.

    “I think there was so much about her that I empathize with — the idea of that extraordinary brain wasted and decaying at the ironing board and the anger and the simmering rage that would follow,” the star said of her real-life character. “She kind of raged against the machine as best she could but there’s only so much I think she could do, and then she married this icon and clearly worshipped him, loved him, supported him, was there, a hugely stabilizing force in his life and yet she was so unstable. I think she bled for him, but I think to her own detriment.”

    Blunt has several scenes of playing drunk in the film, but said only one time in her career has she actually had a few drinks before a drunk scene.

    “I’ve done it once and it was a disaster. I was so paranoid and messy — it was way back in the day, I’m not even going to tell you what it was for. No, I prefer to be stone-cold sober,” Blunt explained, teasing, “I mean I seem to have done this a couple of times, I’m like the go-to for ugly drunks.”

    Horowitz asked her at one point about previously meeting with Oppenheimer director Christopher Nolan for a role in 2008’s The Dark Knight, which eventually went to Katie Holmes. “I don’t think I was right… the best girl wins, it’s alright,” Blunt responded, and when it came to Kitty there was no competition as she joked, “Nothing says raging drunk like Emily Blunt, and Chris knows that.”

    Throughout the hour-long conversation, Blunt also weighed in on possible (or unlikely) follow-ups to some of her most iconic films, including The Devil Wears Prada (“Sometimes things should be cherished and preserved in this bubble and it’s OK. We’re all good with it”), Sicario 3 (“I hear rumblings but there’s nothing firm. I think it’s hearsay”) and Edge of Tomorrow (“I think that’s a more real conversation…. I think when we were first talking about the sequel, it was right before I was about to do Mary Poppins, so it was quite a while. And then I think if we’re going to do one, we would have to reimagine what the sequel will look like.”)

    And after Krasinski has had success in shifting to directing, Blunt said of taking that route herself, “Maybe one day. I don’t know quite yet if I want to, but I’m becoming increasingly interested and yeah, maybe one day.”

    The conversation will be available in its entirety on the podcast Happy Sad Confused with Josh Horowitz, released on Feb. 12.

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    Kirsten Chuba

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  • Francesca and Martin Scorsese Bring Their Viral Father-Daughter Act to the Super Bowl

    Francesca and Martin Scorsese Bring Their Viral Father-Daughter Act to the Super Bowl

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    “It’s basically not real if it’s not on the internet,” Francesca Scorsese tells her father, Martin, in a newly released teaser for the Oscar winner’s upcoming Super Bowl ad. It’s a fitting sentiment for the pair, whose viral TikToks have both boosted the icon’s profile among the younger generation and introduced the world to his 24-year-old daughter, an aspiring filmmaker.

    The elder Scorsese helms his first Super Bowl ad for Squarespace, a teaser which features the director learning how to create a website with Francesca, who serves as the commercial’s behind-the-scenes creative director. In the teaser, which can be seen below, the father and daughter mimic the banter found in their popular TikTok and Instagram videos, which contain artful trolling of Marvel movies and a fan cam clip where Francesca calls Martin a “certified silly goose.”

    At one point, Martin quips, “This website slaps, kid, doesn’t it?—a direct callback to Francesca explaining Gen Z slang terms to him. Although she jokingly replies, “I really regret ever teaching you that,” the Tisch graduate says that neither of them plan on pausing their partnership—including in more TikToks. “He tells people that I pull him into them, but actually, it’s the other way around,” Francesca tells Vanity Fair.

    The younger Scorsese, who only recently saw her brief role in her father’s film The Aviator for the first time, insists she “leans more toward darker themes” in her own work. Francesca was the behind-the-scenes creative director on Scorsese’s 2023 Bleu de Chanel commercial featuring Timothée Chalamet, and at the 2023 Cannes Film Festival, both father and daughter debuted projects. Scorsese’s was the Oscar-nominated Killers of the Flower Moon, while Francesca’s was her latest short, titled Fish Out of Water. In between work on an A24 book she’s writing with her father and a short film inspired by her mother Helen Morris’s childhood, Francesca spoke to VF about growing up Scorsese, attending the Oscars, and embracing the nepo-baby label.

    Vanity Fair: In the Super Bowl ad teaser, you joke about regretting teaching your dad what “slaps” means. Do you have any remorse about introducing him to some of the more Gen-Z stuff, like Letterboxd or TikTok?

    Francesca Scorsese: Oh, my God, I don’t have any regrets. Honestly, sometimes, he’ll like….Oh God. Sometimes, he will use Gen-Z slang because he’s heard it, and it’s the funniest thing to me. I feel like hearing your dad say, “Oh yeah, that slaps,” or, “I’m so woke,” or whatever, it’s just so cringy to me. It just makes me crack up. He is from a different generation, so it’s a little—I wouldn’t say embarrassing to hear him say it, but it’s funny because it feels like he is really trying to stay current with my generation and with me.



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    Savannah Walsh

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  • Sterling K. Brown Predicts He’ll Lose the Oscar to Robert Downey Jr.: “He’s Incredibly Deserving”

    Sterling K. Brown Predicts He’ll Lose the Oscar to Robert Downey Jr.: “He’s Incredibly Deserving”

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    Sterling K. Brown said he isn’t expecting to take home an Oscar this year, but he’s “totally fine” with it.

    The actor, who is up for best supporting actor for his role in American Fiction, recently joked during an appearance on The Graham Norton Show, “There’s no losing yet — it’ll happen in its own due time.”

    Brown proceeded to say that “Colman [Domingo] will probably win,” adding, “I know that I’m not going to win.” Domingo was also a guest on the BBC show, as well as scored a best leading actor Oscar nomination for Rustin.

    Though Graham Norton and the other guests pushed back, telling Brown that he still has a good chance at winning, the This Is Us actor admitted he’s “totally fine” if he doesn’t take home the trophy.

    “Robert Downey Jr. is going to win, and he’s incredibly deserving,” Brown said of the Oppenheimer star and his fellow nominee. “He’s an incredible actor. You should give him love. And the fact that I get a chance to be nominated along with him and Mr. [Robert] De Niro and Ryan Gosling and [Mark] Ruffalo, I’m just happy to be in the room.”

    Norton went on to tease Brown on his perspective should he end up winning the Academy Award. “On the night, this will all be very humble,” the host quipped. “’I can’t believe I won!’”

    Brown told The Hollywood Reporter last month that he thought the Cord Jefferson-directed movie, adapted from Percival Everett’s 2001 novel Erasure, “was one of the best scripts I’d ever read.”

    “It was able to make fun of an industry and also challenge it to say there are ways in which you could be better,” he said of American Fiction. “You are narrow in terms of Black life that you are willing to portray for mass consumption. I’m going to tell you that, and at the same time, I’m going to give you an idea of other stories that would be viable for mass consumption.”

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    Carly Thomas

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  • Yorgos Lanthimos on ‘Poor Things,’ His Friendship with Emma Stone, Unleashing Mark Ruffalo and Why He Doesn’t Like Labels

    Yorgos Lanthimos on ‘Poor Things,’ His Friendship with Emma Stone, Unleashing Mark Ruffalo and Why He Doesn’t Like Labels

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    His friendship with Emma Stone, unleashing new sides of Mark Ruffalo and Colin Farrell, his next film and the limitations of language. Those were just some of the topics that Poor Things director Yorgos Lanthimos discussed during an onstage interview organized by the British Film Institute (BFI) in London on Wednesday evening.

    “I don’t really think of themes themselves,” Lanthimos shared when asked by an audience member what topics and themes he was planning to take on in future movies. “It is more about coming up with the stories and the structures and sensing that there’s something there that I’m interested in.” He also said that it was only “after that that you realize what it is about for yourself [since] for other people it could be about another thing. So it’s hard to say what the themes are.”

    The filmmaker said he and his collaborators are “interested in humans and just going in deeper into those kinds of societal structures and behaviors and relationships.”

    He then mentioned his latest project, which is entitled Kinds of Kindness and features Stone, Jesse Plemons, Margaret Qualley and Willem Dafoe, among others. “We’ve just shot this film … which is three different stories,” the director said, calling it “a contemporary film.” He added: “It’s three different stories, and we’re finishing the edit right now, and I still can’t tell you exactly what it is about. But I also wouldn’t want to tell you what I thought the stories are about because it just makes it so small. I try not to even think about it during the process, because I’m afraid that it will make my choices more narrow.”

    The filmmaker behind such acclaimed movies as Dogtooth, The Lobster, The Killing of a Sacred Deer and The Favourite also discussed his body of work and creative process during the appearance at the British capital’s Southbank Centre. The event, under the title “Yorgos Lanthimos in Conversation,” drew a big crowd, including Stone, who sat in the front row.

    Their black-comedy sci-fi fantasy Poor Things recently earned 11 nominations each for both the BAFTA Film Awards and the Oscars.

    Asked about his continuing creative partnership with Stone, Lanthimos told the audience: “The funny thing is, which I tell her, but she doesn’t believe me, I thought of her for The Lobster as well.” Stone was heard laughing when he said that, drawing appreciative laughs from the audience as well. “She has this wonderful speech impediment, it feels like a lisp,” he continued. “And in the world of The Lobster that would be very critical, a very particular characteristic. So she could be the lisping woman.”

    How did Stone end up playing Bella Baxter in Poor Things? “We got to know each other really well, even before making The Favourite, because we started discussing it a couple of years before, and it took some time to get made. So we became friends during that time,” Lanthimos explained. “Then when we actually had the working experience, it just was obvious that we got along and we like working together.”

    So he mentioned other projects to the star, “and she immediately jumped on Poor Things as soon as she heard the story. … And the rest is history.”

    Asked about how he showed new sides of Mark Ruffalo in Poor Things, Lanthimos said the credit for the acting work should go to his stars and their creativity. But he did share that Ruffalo had some doubts initially, which the director managed to address.

    “Well, I just set him free, he was ready to go,” the Greek director said, calling Ruffalo “a brilliant actor.”

    “He was a little bit reluctant, I guess, because he hasn’t done anything like that,” he recalled. “Now that I know him better, I think in general he always thinks he’s not good for it.” But then Ruffalo got excited and “completely embraced” his role, Lanthimos recalled. “He came in strong when we started rehearsing. We had two or three weeks of rehearsal. He was the guy who was already there. And we had so much fun during rehearsals.”

    Asked about his reaction to the broad appeal Poor Things has enjoyed, Lanthimos said: “I have been surprised.”

    The filmmaker on Wednesday also lauded other stars he has worked with. Discussing Colin Farrell and his work in The Lobster, Lanthimos said: “He was looking to do different things,” such as In Bruges. ”His comedic sense and, in general, his presence I thought was very strong. And I guess the thing with casting with me is, first of all, I want to try and find people that I want to work with, no matter if they fit the character exactly. That’s why he had to gain so much weight. But it’s mostly about people that I want to work with, meeting them and seeing if we get along.” Concluded the director: “It’s important to find the people that actually have this connection with your work and with you as a person.”

    Farrell, of course, also appeared in The Killing of a Sacred Deer, along with Nicole Kidman and then-new discovery Barry Keoghan. Calling him “incredible,” Lanthimos recalled: “We saw hundreds of American kids” for his role. “It was clear immediately that he was so special.”

    Having a veteran like Kidman on set also helped. “Nicole is extremely generous,” Lanthimos said in singing her praises. “That helps a lot.”

    Overall, Lanthimos said he sees his work with actors as making sure “to give them space … (so) they can try stuff and they are safe.”

    One of the things the director has gotten a reputation for is his unusual approach to his prep work and sets. “I come up with games for the actors to get to know each other and feel comfortable to make a fool of themselves and make the process light and fun,” the Greek filmmaker explained. “We shouldn’t be taking things too seriously. We are making movies.”

    What games does he make his stars play? ”It’s a lot of physical stuff,” he shared, mentioning dancing and “silly walks” as examples, along with “raising the volume of your voice as you speak in a totally nonsensical way.”

    So what does Lanthimos make of people describing his films as absurdist? “It’s always not the most pleasant thing to just be boxed into one thing,” he shared. “I guess there is some kind of absurdity in the films, but I hope they’re more complex than that.”

    The BFI event’s description itself also lauded the filmmaker for “his exquisitely crafted, wild absurdist tales and darkly comic explorations of the human condition.”

    Lanthimos understands such labels. “I understand why people have the need to describe it a certain way or make sense of it by using language,” he told the audience. “But the thing is, the trouble is language is not always sufficient for any kind of work of art.”

    Emma Stone with Ramy Youssef (left) in Poor Things

    Courtesy of Telluride Film Festival/ Yorgos Lanthimos/Searchlight Pictures.

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    Georg Szalai

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  • 15 Most Shocking Best Director Oscar Snubs, From Denis Villeneuve to Kathryn Bigelow

    15 Most Shocking Best Director Oscar Snubs, From Denis Villeneuve to Kathryn Bigelow

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    Before Greta Gerwig’s highly publicized Oscar snub for “Barbie” in best director, along with her leading lady Margot Robbie in best actress, there have been dozens of shocking snubs in Academy Awards history.

    From the double-hitter of Ben Affleck and Kathryn Bigelow in 2012 to the recent jaw-dropper of Denis Villeneuve and any of the many Christopher Nolan absences, there have been many notable names who haven’t heard their names called on nomination morning during the modern era of Oscar. 

    Casual cinephiles and the general public tend to forget how tough it is to make the top five of anything. Acknowledging that the Directors Branch has consistently overlooked women and people of color, there has been some improvement over the years. The stone-cold fact remains: We’re not there yet.

    As of 2024, comedies and horror films are still criminally underrepresented, while animated and documentary filmmakers have yet to be noticed. There have been non-fiction films worthy of attention throughout the years, such as Werner Herzog’s devastating look at two bear activists killed in Alaska in “Grizzly Bear” (2005) and Joshua Oppenheimer’s reenactment of mass killings in Indonesia with “The Act of Killing” (2012). Andrew Stanton’s gorgeous exploration of love between two robots in “Wall-E” (2008) might be the closest we’ve ever come to an animated director landing a nom, while Lee Unkrich’s “Toy Story 3” shows how you elevate beloved characters despite being a third outing in a franchise.

    While many of us can share the name of a filmmaker who has truly ground our gears, the ones reflected in this piece were heavily favored on multiple prediction lists during their respective years.

    Here, Variety looks back at the 15 biggest director snubs of the last 25 years.

    Honorable mentions: Ryan Coogler (“Black Panther”); Luca Guadgnino (“Call Me by Your Name”); Joseph Kosinski (“Top Gun: Maverick”); Bennett Miller (“Moneyball”)

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    Clayton Davis

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  • Barbie’s Dream Revenge: How Snub Fury Can Upend an Oscar Race

    Barbie’s Dream Revenge: How Snub Fury Can Upend an Oscar Race

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    “If I were the front-runner, I’d be worried.” These words, spoken back in 2013 by an Academy voter during the tumultuous Oscar season, were in reaction to a perennial phenomenon that has arisen again: a conspicuous snub. This time, there are two of them.

    The final weeks of Hollywood’s awards race are always when the friendly rivalries turn hostile, the whisper campaigns become deafening, and the currents and conventional wisdom can abruptly shift. This year Oppenheimer heads toward the Academy Awards ceremony as the proverbial front-runner, with 13 nominations, including best picture and best director for Christopher Nolan. But when the nominations were announced this week, much of the chatter was focused on two people who were left out.

    Barbie cowriter and director Greta Gerwig was conspicuously absent from the directing category, while the movie’s star and producer, Margot Robbie, was left out of the best-actress contenders. (Notably, Gerwig is nominated for her screenplay, while Robbie shares the best-picture nomination, so both remain Oscar nominees.) Their snubs in those specific categories might seem ominous for the movie’s best-picture prospects, but history shows that a film’s campaign for the top prize can be galvanized by glaring omissions. Gerwig in particular may not have been on the directing short list, but she ruled the headlines nonetheless: “Oppenheimer dominates the Oscar nominations, as Gerwig is left out for best director,” read the NPR story.

    To be clear, Team Oppenheimer hasn’t taken anything away from Team Barbie. After the two settled on the same release date, the “Barbenheimer” craze seemingly benefited both of them immeasurably. Robbie and Oppenheimer actor Cillian Murphy even joined forces for Variety’s Actor on Actors video series, and after so much critical acclaim and box office success, both films were destined to have a major presence at the Academy Awards. And they do. It’s just that two key players from Barbie didn’t make the cut, leaving outsiders agog with disbelief. How did this happen?

    We call it a “snub” when a favorite is left out, but the nomination process is really more like a game of musical chairs, with more worthy honorees than there are slots. Academy voters like to mix things up and spread around their support, motivated by a sense of fairness and a desire to use their ballot to do something meaningful. And that doesn’t change in phase two, when voters get the chance to see what’s already on the ballot, what might be missing, and put their support behind something that was snubbed on nominations morning.

    After all, it’s happened before.

    In the Oscar race for the films of 2012, there was something for everybody—history with Lincoln, action with Zero Dark Thirty, heartbreak with Amour, and indie grit with Beasts of the Southern Wild. But everyone seemed to agree that the movie with the complete package was Argo, the based-on-a-true-story thriller that earned seven Oscar nominations…but no directing nod for director Ben Affleck.

    That shocking snub motivated that anonymous voter to say, “If I were the front-runner, I’d be worried.” At that point the perceived front-runner was Steven Spielberg’s Lincoln, with 12 nominations and a slam dunk best-actor contender in Daniel Day-Lewis. But after nominations morning, Argo became the David facing down the Goliaths of Lincoln, Les Mis, and Life of Pi, all of which went on to collect other top awards. On the day of the nominations, Affleck’s directing absence was viewed by pundits as a sign that Argo lacked support, but in the days and weeks to follow, outrage over the snub turned into a kind of underdog enthusiasm that ultimately vaulted Argo to a best-picture victory.

    How exactly did it happen? Voters detected unfairness, and they wanted to fix it. Affleck and Team Argo couldn’t control that, but they made some key decisions that helped their cause.

    Affleck, for his part, responded to the discourse with humor and humility. “I mean, I also didn’t get the acting nomination. And no one’s saying I got snubbed there!” he said backstage at the Golden Globes, holding the prize for directing.

    It was his allies, meanwhile, who could speak more openly on his behalf. The recently passed Alan Arkin, who received a supporting-actor mention for his work on the film, said this in reaction: “The main concern outside of the initial joy was wishing that Ben had been given a nod. It’s an absolutely perfect film in every way, and he’s responsible for it.”

    George Clooney, who produced Argo, joined the clapback by invoking sympathy for Affleck, who had made a filmmaking comeback after a string of critically panned flops like Gigli. “Part of the reason there’s such admiration for Ben at this stage is because he was in actor jail,” Clooney said in the Golden Globes pressroom. “I did Batman & Robin—trust me, I know. It’s how you handle yourself when things aren’t going particularly well. He directed his way out of this. I can’t tell you how proud we are to have worked with him—and how much I hate him.”

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    Anthony Breznican

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  • Megyn Kelly Torches ‘Entitled’ ‘New Feminists’ For Melting Down Over ‘Barbie’ Oscar Snubs – ‘It’s Never Enough’

    Megyn Kelly Torches ‘Entitled’ ‘New Feminists’ For Melting Down Over ‘Barbie’ Oscar Snubs – ‘It’s Never Enough’

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    Opinion

    Source YouTube: Megyn Kelly Show, Warner Bros. Pictures

    Earlier this week, we reported that liberals like Hillary Clinton were melting down over Barbie director Greta Gerwig and star Margot Robbie being snubbed by the Oscars. Now, the former Fox News host Megyn Kelly is firing back to slam the “new feminists” who are upset about Gerwig and Robbie not being nominated.

    Related: Hillary Clinton Mourns ‘Barbie’ Oscar Snubs – ‘#HillaryBarbie’

    Kelly Sounds Off

    “It’s so ridiculous now that women – now that we’re considered equals of course, and are getting treated like – 1706358373 we deserve all the awards,” Kelly said on her eponymous SiriusXM talk show. “All the women we choose need to be nominated for the positions we think otherwise, the f–g patriarchy. That’s literally what they’re tweeting out that … ‘they made a movie about the patriarchy and then the patriarchy kept them down.’”

    Kelly went on to point out that while Gerwig and Robbie were not nominated in the categories that they were expected to be recognized in, Barbie actress America Ferrera scored an Oscar nomination for Best Supporting Actress for her work in the film.

    “Did they keep America Ferrera down because she seems really thrilled that she got this nomination for Best Supporting Actress and Greta got a nod as best screenwriter, but it’s never enough,” Kelly continued. “Barbie didn’t get enough nominations. Alright, so the new feminists are very, very angry that Margot Robbie did not get nominated for Best Actress and Greta Gerwig did not get nominated for Best Director because, you see, they were entitled to. That’s pretty much what I understand is the argument.”

    “The best supporting actress, America Ferrera who was in that movie, she got the nod. And for best screenplay, Greta Gerwig was nominated with the man with whom she co-wrote the movie,” she added. “But that’s not enough, you see. You’re a misogynist unless you actually make Margot Robbie the nominee for Best Actress and recognize Greta in her directing role. And that’s just how life works.”

    Check out Kelly’s full comments on this in the video below.

    Related: Whoopi Goldberg Teaches Hillary Clinton A Lesson After She Whines About ‘Barbie’ Oscar Snubs – ‘Everybody Doesn’t Win’

    Ferrera Whines About Barbie Oscar Snubs

    This came after Ferrera responded to her Oscar nomination by whining about Gerwig and Robbie being snubbed.

    “I was incredibly disappointed that they weren’t nominated,” Ferrera told Variety. “Greta has done just about everything that a director could do to deserve it. Creating this world, and taking something that didn’t have inherent value to most people and making it a global phenomenon. It feels disappointing to not see her on that list.”

    “What Margot achieved as an actress is truly unbelievable,” Ferrera continued. “One of the things about Margot as an actress is how easy she makes everything look. And perhaps people got fooled into thinking that the work seems easy, but Margot is a magician as an actress in front of the screen, and it was one of the honors of my career to get to witness her pull off the amazing performance she did. She brings so much heart and humor and depth and joy and fun to the character. In my book, she’s a master.”

    ‘#HillaryBarbie’

    Even the two-time failed presidential candidate Hillary Clinton got in on the action by comforting Gerwig and Robbie on social media.

    “Greta & Margot,” Clinton began, “While it can sting to win the box office but not take home the gold, your millions of fans love you.”

    “You’re both so much more than Kenough,” she continued, borrowing a phrase from the film. She concluded her post by adding the nauseating hashtag, “#HillaryBarbie.”

    The liberal meltdown over the Barbie Oscar snubs has been nothing short of ridiculous, and we’re glad that Kelly had the guts to call them out on it. What do you think about what Kelly had to say? Let us know in the comments section.

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    James Conrad

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  • Where to Watch the 2024 Oscar Nominees

    Where to Watch the 2024 Oscar Nominees

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    Now that the 2024 Oscar nominations are here, it’s homework time. Sure, nobody but the Oscar voters themselves are required to watch all of the Oscar nominees, but why not head into the awards on March 10 as informed as you can be? Plus, between some of last year’s biggest blockbusters, heart-wrenching documentaries, and what might be the best superhero movie ever, there’s a lot of great stuff to catch up on.

    Below, a guide to where you can catch all of this year’s nominees, including streaming links for everything that’s already available for you right at home. Happy viewing!

    STREAMING

    American Symphony (Netflix)

    Oscar and Grammy winner Jon Batiste gets the full documentary treatment with this heartbreaking, intricately crafted portrait of an artist approaching the most ambitious work of his career, and of a marriage facing down a devastating disease. The Netflix film was rather shockingly snubbed for best documentary, where it was expected to win, but Batiste’s original song “It Never Went Away” was nominated in a competitive category alongside two Barbie songs.

    Barbie (Max)

    Last year’s box office champ is now nominated for eight Oscars, and even without best-director and best-actress nods, it will be a force to be reckoned with at the March 10 ceremony. The Oscar-nominated costumes and production design might be what first caught our eye, but the infinitely quotable screenplay and performances (also Oscar-nominated!) are what’s made it endure.

    Bobi Wine: The People’s President (Disney+)

    A rousing portrait of political movement and dissent, this documentary examines the effort of singer Bobi Wine to run a democratic campaign against the sitting autocratic government of Uganda—and his plea for the people to make a change.

    The Creator (Hulu)

    Hailed for the visual effects it accomplished on a relatively modest $80 million budget, the Gareth Edwards–directed sci-fi film earned a nomination for those dazzling effects as well as one for sound. If you ask our critic, it deserved to be a sleeper hit—maybe now’s the time.

    El Conde (Netflix)

    Rich in classic cinematic references ranging from Nosferatu to Superman, this decidedly strange anti-biopic from Spencer’s Pablo Larraín felt too weird even for the Academy. The gist: Chilean dictator ​​Augusto Pinochet is a vampire who won’t stop haunting the country he nearly destroyed. But Edward Lachman’s stark, dreamy black-and-white cinematography proved too stunning for his peers to deny.

    Elemental (Disney+)

    Pixar Animation’s 27th feature film is set in a world of anthropomorphic elements of nature and centers around two: Ember, a fire element, and Wade, a water element. It’s a classic Pixar movie, a heartwarming tale about embracing differences with gorgeous visuals, and it’s nominated for best animated feature.

    The Eternal Memory (Paramount+)

    In this stunningly moving Chilean documentary, a journalist suffering from Alzheimer’s and his wife, a noted actor, simply take life day by day. Maite Alberdi’s intimate hand captures the heartbreak, humor, and enduring love between a couple treating every day as if it could be their last—or just any other.

    Flamin’ Hot (Disney+, Hulu)

    You may not have expected Eva Longoria’s zippy directorial debut—a biopic of the man who claimed (rather controversially) to be the inventor of Flamin’ Hot Cheetos—to enter the Oscar conversation after its swift drop on Hulu. But when one asks Diane Warren to contribute an original song, that equation quickly changes—and indeed, Warren’s “The Fire Inside” has given the songwriter, remarkably, her 15th nomination.

    Golda (Fubo)

    Helen Mirren may be a versatile, transformational actor, but she’d never gone under prosthetics for a role the way this eponymous biopic required. For rendering the Oscar winner completely unrecognizable in the role of Golda Meir, the Israeli prime minister who guided her country through a time of brutal war, makeup artist Karen Hartley-Thomas and her team earned a deserved surprise nomination.

    Guardians of the Galaxy: Vol. 3 (Disney+)

    Nominated in the best-visual-effects category, the conclusion to the Guardians of the Galaxy series was one significant bright spot in Marvel’s otherwise rough 2023.

    The Holdovers (Peacock)

    The 1970-set film is director Alexander Payne’s first feature since 2017’s drama Downsizing and reunites the director with his Sideways star and now best-actor nominee Paul Giamatti. In the film, Giamatti plays a cranky professor at an all-boys East Coast prep school forced to stay on campus over the holidays and chaperone a handful of students and fellow employees, including grieving mother and cook Mary Lamb, played by fellow new nominee Da’Vine Joy Randolph.

    Indiana Jones and the Dial of Destiny (Disney+)

    The latest entrant in the iconic franchise struggled at the box office even as it brought Harrison Ford back in gear—and winningly paired him with Phoebe Waller-Bridge—but the Academy wasn’t ready to give up on the legendary composer John Williams, breaking his own record this year with his 54th Oscar nomination for the score.

    Killers of the Flower Moon (Apple TV+) 

    One could argue that the three-hour Western crime drama, which is based on the 2017 book by David Grann, has been an Oscar contender since production was announced. With three icons of cinema involved in director Martin Scorsese and stars Robert De Niro and Leonardo DiCaprio, the film was always going to be a must-see, and with Lily Gladstone’s powerful, moving performance at its true center, it’s no wonder the film has 10 nominations.

    Maestro (Netflix)

    Bradley Cooper’s passion project, about the life and loves of famed composer Leonard Bernstein, has long been a front-runner to land Oscar nominations. The film received seven nods in total, including best picture, acting nominations for writer-director-star Cooper and Carey Mulligan, best original screenplay, best cinematography, best sound, and best makeup and hairstyling.

    May December (Netflix) 

    A “sly wonder” when it premiered at the Cannes Film Festival, the latest from Todd Haynes was picked up by Netflix and got a robust awards-season push, including a lot of buzz for stars Natalie Portman, Julianne Moore, and Charles Melton. In the end it landed just one Oscar nomination, for the screenplay by Samy Burch and Alex Mechanik, but it’s already well on its way to becoming a modern classic.

    Mission: Impossible—Dead Reckoning Part One (Paramount+)

    Overshadowed last summer by the Barbenheimer phenomenon, the latest Mission: Impossible isn’t quite the Oscar force that Tom Cruise’s last movie was, but it has two well-earned nominations for its sound and visual effects.

    Nimona (Netflix)

    The animated adaptation of ND Stevenson’s graphic novel features stellar lead voice performances from Riz Ahmed and Chloë Grace Moretz, plus an elegant animation style that helps it stand apart from so many mainstream animated releases.

    Nyad (Netflix)

    Nominated for both Annette Bening’s rigorous lead performance as the marathon swimmer Diana Nyad, and Jodie Foster’s warm supporting turn as her coach, Bonnie Stoll, Nyad is a sports drama that really lifts off thanks to the friendship at its center. As Vanity Fair chief critic Richard Lawson wrote in his review, “Nyad crackles most when Nyad and Bonnie are grooving together on land.”

    Rustin (Netflix)

    Colman Domingo’s best-actor nomination makes him the first openly gay actor nominated for an Oscar in more than 20 years—a feat even more special because his nod is for playing civil rights pioneer Bayard Rustin, whose pivotal role in organizing the March on Washington was often overlooked until now. 

    Society of the Snow (Netflix)

    The harrowing true story of the Uruguayan rugby team who survived a plane crash in the Andes has never been more vivid than in J.A. Bayona’s film, an Oscar contender for both best international feature and hair and makeup. Bayona says he prepared the actors extensively so he could film “almost like a documentary”—a commitment to realism that absolutely comes through.

    Spider-Man: Across the Spider-Verse (Netflix)

    Another strike against the “sequel is never better than the original” crowd, this spectacular second cinematic chapter in the saga of Miles Morales joined the ranks of Barbie and Oppenheimer as a dual box-office and critical phenomenon. From an Oscar-nominated team including Phil Lord, Christopher Miller, and Kemp Powers, the kinetic animation style and dizzying energy hurtled this story to a cliff-hanger—one just juicy enough to keep us both satisfied and hungry for more.

    RENTABLE

    Anatomy of a Fall

    Justine Triet’s layered legal thriller has been picking up acclaim and awards-season steam this month, particularly after taking home the best-screenplay trophy at the Golden Globes. After winning the prestigious Palme d’Or at the Cannes Film Festival last year, Triet’s film has also received seven BAFTA nominations and is now up for five Oscars, including best actress for Sandra Hüller’s powerful performance.

    Four Daughters

    This innovative, experimental documentary provides an intimate, if controlled, depiction of ordinary Tunisian family life, after two daughters disappear from a family of four children. Director Kaouther Ben Hania places actors in the roles of the missing daughters to carefully explore feelings of grief, loss, confusion, and love in a broken family unit. It’s an exclusive in the Kino Film Collection in addition to being available to rent. 

    Oppenheimer

    The most-nominated film of the year and best-picture favorite, Christopher Nolan’s epic biopic may earn stars Cillian Murphy, Emily Blunt, and Robert Downey Jr. their first Oscars in addition to accolades for its mind-boggling visuals and score. With a rigorous attention to real history but a brisk pace that makes three hours fly by, it’s a spectacle that still hits hard on the small screen.

    Napoleon

    The Ridley Scott–directed epic about France’s notorious conqueror, played by Joaquin Phoenix, picked up three nominations from the Academy, including best achievement in production design, costume design, and visual effects.

    Past Lives

    Celine Song’s celebrated first feature, which she wrote and directed, has been a critical darling since its Sundance debut in 2023. The film, about two friends drifting in and out of each other’s lives over nearly three decades, played by Greta Lee and Teo Yoo, has two nominations for Song’s original screenplay and best picture.

    The Color Purple 

    This starry big-screen adaptation of Alice Walker’s beloved novel and the Broadway show it inspired boasts a talented ensemble and two icons as executive producers, Oprah Winfrey and Steven Spielberg. Though Danielle Brooks received the film’s only Oscar nomination, the entire cast has been celebrating both the making and release of the film. 

    20 Days in Mariupol

    This harrowing, immersive documentary emerged as one of the year’s most decorated ever since premiering more than a year ago at the Sundance Film Festival. The filmmaker Mstyslav Chernov breathtakingly documents the 20 days he spent in a Ukranian city under siege immediately following the Russian invasion. It’s both nominated for best documentary and was Ukraine’s shortlisted entry for international feature. (Currently streaming for free on YouTube.)

    ONLY IN THEATERS

    The Boy and the Heron

    The critical acclaim and box office success of what may or may not be Hayao Miyazaki’s final film was enough to land the beloved director a Golden Globe for his fantastical coming-of-age film, also up for the best-animated-feature Oscar.

    American Fiction

    Cord Jefferson’s acclaimed directorial debut is yet another critical and awards-season darling based on a novel. Fiction is an adaptation of Percival Everett’s 2001 novel, Erasure, and stars Jeffrey Wright, Sterling K. Brown, Erika Alexander, Tracee Ellis Ross, and Issa Rae. The film has five Oscar nominations including best picture, lead and supporting acting noms for Wright and Brown, best adapted screenplay, and best original score.

    Godzilla Minus One

    Somehow, this relatively low-budget Japanese phenomenon is the first Godzilla movie to ever receive an Oscar nomination, for its visual effects. And how appropriate, with director Takashi Yamazaki conjuring a sense of terror and wonder in his portrait of a postwar Japan under siege from an iconic movie monster.

    Poor Things

    Combine Frankenstein with a coming-of-age road-trip saga and you come close to describing what makes Poor Things, nominated for 11 Oscars, so special. Led by Emma Stone’s richest performance yet, courtesy of her enduring collaboration with director Yorgos Lanthimos, it’s a visually dazzling and surprisingly moving period piece so appealing that costar Ramy Youssef agreed to do it before reading a word of the script.

    The Teachers’ Lounge

    Led by a ferociously brilliant Leonie Benesch, this German social thriller was the surprise talk of festivals all around the world in 2023, from its Berlin premiere to its North American launch in Telluride. Accordingly, while flashier titles took up more oxygen in the international-film race, it’s no surprise that this portrait of a modern-day elementary school teacher facing a profound moral quandary made its way into the Oscars’ final five.

    The Zone of Interest

    Jonathan Glazer’s “chilling presentation of evil,” as we’ve described it, is a Holocaust movie unlike any other. The film paints a stark portrait of a family, the patriarch played by Christian Friedel and matriarch by Sandra Hüller, who live a lavish life despite being located right next to Auschwitz. It has five Oscar nominations including best picture, best director, and best adapted screenplay.

    NOT AVAILABLE YET 

    Io Capitano

    This best-international-feature nominee from Italy and director Matteo Garrone is a moving “Homeric adventure” about two Senegalese teenagers who leave their home in Dakar in search of a better life in Europe. In addition to the Oscar and Golden Globe nomination, star Seydou Sarr received the best-young-actor award at the Venice Film Festival last year.

    Perfect Days

    Made by German director Wim Wenders but filmed in Japan, this international-feature nominee doesn’t open in North American theaters until February 7—plenty of time to catch this lovely, meditative film before Oscar night.

    Robot Dreams

    This first animated feature from award-winning Spanish director Pablo Berger (Blancanieves) is based on the graphic novel by Sara Varon and revolves around a lonely dog living in Manhattan who decides to build himself a robot for company. The moving story about the importance of friendship is nominated for best animated feature but is not yet available in theaters or to stream.

    To Kill a Tiger

    This best-documentary-feature nominee centers around Ranjit, a farmer and loving father in India seeking justice for his 13-year-old daughter, the survivor of a brutal sexual assault. Director Nisha Pahuja worked for nearly 10 years to bring the story to big screens.

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    Katey Rich, Kara Warner, David Canfield

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  • Our Editors Share Their Favorite Looks From the 2024 Award Season So Far

    Our Editors Share Their Favorite Looks From the 2024 Award Season So Far

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    Lights, camera, fashion.

    With the 2024 award season underway, we’re already seeing some truly *incredible* looks from film and television stars alike on the red carpet. From Hunter Schafer’s ethereal Prada dress straight from the runway to Rosamund Pike’s veiled look, some of the biggest names in Hollywood certainly aren’t holding back.

    For the latest episode of Who What Wear With Hillary Kerr, Kat Collings, WWW’s editor in chief, sits down with Erin Fitzpatrick, WWW’s associate director of fashion news, to discuss some of their favorite looks from the Golden Globes, Critics Choice Awards, and more. Plus, Collings and Fitzpatrick share their predictions for what film’s biggest stars will wear on the biggest red carpet of award season—the Oscars. 

    For excerpts from their conversation, scroll below.

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    Madeline Hill

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  • If Ryan Gosling was that upset about the patriarchy and Margot’s Barbie snub he’d tell the Academy to stick its nomination

    If Ryan Gosling was that upset about the patriarchy and Margot’s Barbie snub he’d tell the Academy to stick its nomination

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    Unless you’ve been asleep under a rock, you’ll have seen that Ryan Gosling has been nominated for an Oscar for his portrayal of Ken in the Barbie movie.

    However, the film’s leading man isn’t exactly celebrating. And that’s because the film – made by women, starring mostly women about a plastic woman – hasn’t received that many nods for, you guessed it, women! Yes, really!

    Margot Robbie has been snubbed in the Best Actress category. Plus Greta Gerwig has missed out on a Best Director nod. America Ferrera is up for Best Supporting Actress, though. Plus Barbie is in the running for Best Film (Margot co-produced it).

    The film received eight nominations in total, including one for Adapted Screenplay for Greta and her husband Noah Baumbach. But Ryan’s not impressed.

    Ryan Gosling is up for an Oscar for Barbie – but should he accept it? (Credit: YouTube)

    Ryan Gosling unimpressed with Oscars nod

    The actor issued a statement overnight. In it, he pointed out that there is “no Ken without Barbie”.

    “I am extremely honored to be nominated by my colleagues alongside such remarkable artists in a year of so many great films. And I never thought I’d being saying this, but I’m also incredibly honored and proud that it’s for portraying a plastic doll named Ken.

    To say that I’m disappointed would be an understatement.

    “But there is no Ken without Barbie. And there is no Barbie movie without Greta Gerwig and Margot Robbie, the two people most responsible for this history-making, globally-celebrated film. No recognition would be possible for anyone on the film without their talent, grit and genius.”

    He then added: “To say that I’m disappointed that they are not nominated in their respective categories would be an understatement. Against all odds with nothing but a couple of soulless, scantily clad, and thankfully crotchless dolls, they made us laugh, they broke our hearts, they pushed the culture and they made history. Their work should be recognised along with the other very deserving nominees.”

    Ryan concluded his statement: “Having said that, I am so happy for America Ferrera and the other incredible artists who contributed their talents to making this such a groundbreaking film.”

    Margot Robbie wearing blue in the Barbie movie
    Margot Robbie played Barbie and co-produced the film – so where was her nod? (Credit: YouTube)

    ‘If I was Ryan, I’m not sure I could accept it’

    But is he really that disappointed? I’m not so sure.

    I think, if he was as cut up he says he is then he’d join the pretty short list of Oscar-nominated stars who’ve told the Academy to stick its nomination where the sun don’t shine. Three have even gone so far as to refuse to accept the actual award.

    So it’s all very well putting it down on paper, but actions speak louder than words, Ryan. And I’m not the only one who feels that way. Twitter is suggesting a boycott of the ceremony. And one tweeter posted earlier today: “If I was Ryan I’m not sure I could accept it.”

    He will, though.

    At the end of the day, I reckon grasping that little golden statuette for the very first time will end up being more important to Ryan than sticking two fingers up at the patriarchy and standing strong with not only his Barbie pals, but women in cinema as a whole.

    It’s a man’s world, and this whole debacle more than proves it.

    Find out if Ryan Gosling wins Best Supporting Actor for Barbie when the Oscars take place on March 10.

    Read more: 15 best pictures of celebrities getting their Barbie on!

    YouTube video player

    So what do you think? Should Margot have been honoured? Should Ryan turn it down? Head to our Facebook page @EntertainmentDailyFix and join the debate.

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    Nancy Brown

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  • The Internet's Theory About Greta Gerwig's 'Barbie' Oscars Snub

    The Internet's Theory About Greta Gerwig's 'Barbie' Oscars Snub

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    Since the 2024 Academy Award nominations were announced Tuesday, Barbie fans have been quick to point out that the lack of nominations for director Greta Gerwig and titular actor Margot Robbie felt like an ironic snub.

    The summer blockbuster racked up eight nominations, among them Ryan Gosling’s acknowledgement in the Best Supporting Actor category. But a nod for Ken and not Barbie, in a film that touches on the infiltration of patriarchy, felt a little on the nose for some observers. It was strongly felt that Gerwig should be in the Best Director category, and that Robbie should be recognised alongside her fellow actresses.

    But amid the outrage, a new theory has emerged as fans hope the film “pulls an Argo.” Cinephiles who remember Ben Affleck’s directorial snub for Argo during the 2013 Oscar nominations are hoping the snub could lead to Gerwig, and Barbie, bagging Best Picture.

    One social media user posted on X (formerly Twitter): “Could Greta Gerwig’s Oscar snub be the thing that delivers the Best Picture Oscar for Barbie? As producers, both Gerwig and Robbie will walk away with gold statuettes if @barbiethemovie takes the big prize. It’s like Argo all over again.”

    Another X user wrote: “The only way to avenge Greta and Margot’s snub is to give it Best Picture. The academy has done it for less, Argo. You can do it #Oscars.”

    Meanwhile, Reddit fans took a more strategic approach. “Could Greta Gerwig actually benefit from a director snub (a.k.a pull an Argo)?” one movie fan queried. “Maybe a director snub could actually play out in her favor. Voters knowing that Oppenheimer is likely to win bigger awards might vote for Gerwig in Best Adapted Screenplay,” they wrote.

    “Both because it is a remarkable achievement as a script and to partially make up for the director snub.”

    See below for further online commentary about the surprising theory.

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    Armani Syed

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  • Cesar Nominations: ‘Anatomy of a Fall,’ ‘The Animal Kingdom’ Lead the Pack for French Film Awards

    Cesar Nominations: ‘Anatomy of a Fall,’ ‘The Animal Kingdom’ Lead the Pack for French Film Awards

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    Justine Triet’s Oscar-nominated Anatomy of a Fall and Thomas Cailley’s fantasy drama The Animal Kingdom are the front runners for this year’s Cesar Awards, France’s equivalent to the Academy Awards. In nominations announced Wednesday, Anatomy picked up 11 Cesar noms and The Animal Kingdom 12. Both were nominated in the best film and best director categories.

    Also nominated for best film are Jean-Baptiste Durand’s Junkyard Dog, All Your Faces from director Jeanne Herry and Cédric Kahn’s The Goldman Case.

    France’s official Academy Award contender, Anh Hung Tran’s foodie period drama The Taste of Things, which missed out on an Oscar nom on Tuesday, picked up three Ceasar nominations, but none in the main categories.

    German actress Sandra Hüller, a best actress nominee at this year’s Oscars for her starring turn in Anatomy of a Fall, is also up for the Cesar for best actress, going up against Oscar winner Marion Cotillard, nominated for Little Girl Blue, Lea Drucker, up for Last Summer, Hafsia Herzi, nominated for The Rapture, and Belgian actress Virginie Efira, nominated for her work in Just the Two of Us.

    The 2024 Cesar Awards will be handed out at a ceremony in Paris on Friday, Feb. 23.

    Oscar frontrunner Oppenheimer picked up a single Cesar nomination, in the best foreign film category, but Oppenheimer director Christopher Nolan is guaranteed a trophy. The British director will receive an honorary Cesar for lifetime achievement at this year’s ceremony.

    2024 Cesar Nominations

    Best Film

    Anatomy of a Fall produced by Marie-Ange Luciani, David Thion, directed by Justine Triet

    Junkyard Dog produced by Anais Bertrand, directed by Jean-Baptiste Durand

    All Your Faces produced by Hugo Selignac, Alain Attal, directed by Jeanne Herry

    The Goldman Case produced by Benjamin Elalouf, directed by Cédric Kahn

    Animal Kingdom produced by Pierre Guyard, directed by Thomas Cailley

    Best Director

    Justine Triet for Anatomy of a Fall

    Catherine Breillat for Last Summer

    Jeanne Herry for All Your Faces

    Cédric Khan for The Goldman Case

    Thomas Cailley for Animal Kingdom

    Best Actress

    Marion Cotillard for Little Girl Blue

    Léa Drucker for Last Summer

    Virginie Efira for Just the Two of Us

    Hafsia Herzi for The Rapture

    Sandra Hüller for Anatomy of a Fall

    Best Actor

    Romain Duris for Animal Kingdom

    Benjamin Lavernhe for Abbé Pierre: A Century of Devotion

    Melvil Poupaud for Just the Two of Us

    Raphaël Quenard for Yannick

    Arieh Worthalter for The Goldman Case

    Best Supporting Actress

    Leïla Bekhti for All Your Faces

    Galatea Bellugi for Junkyard Dog

    Élodie Bouchez for All Your Faces

    Adèle Exarchopoulos for All Your Faces

    Miou Miou for All Your Faces

    Best Supporting Actor

    Swann Arlaud for Anatomy of a Fall

    Anthony Bajon for Junkyard Dog

    Arthur Harari for The Goldman Case

    Pio Marmaï for Yannick

    Antoine Reinartz for Anatomy of a Fall

    Best Newcomer Actress

    Céleste Brunnquell for No Love Lost

    Kim Higelin for Consent

    Suzanne Jouannet for La Voie Royale

    Rebecca Marder for Grand Expectations

    Ella Rumpf for Marguerite’s Theorem

    Best Newcomer Actor

    Julien Frison in Marguerite’s Theorem

    Paul Kircher for Animal Kingdom

    Samuel Kircher for Last Summer

    Ivilo Machado-Graner for Anatomy of a Fall

    Raphaël Quenard for Junkyard Dog

    Best Original Screenplay

    Justine Triet, Arthur Harari for Anatomy of a Fall

    Jean-Baptiste Durand for Junkyard Dog

    Jeanne Herry for All Your Faces

    Nathalie Hertzberg, Cédric Kahn for The Goldman Case

    Thomas Cailley, Pauline Munier for Animal Kingdom

    Best Adapted Screenplay

    Valerie Donzelli, Audrey Diwan for Just the Two of Us

    Vanessa Filho for Consent

    Catherine Breillat for Last Summer

    Best Original Score

    Gabriel Yared for Just the Two of Us

    Delphine Malaussena for Junkyard Dog

    Vitalic for Disco Boy

    Andrea Laszlo de Simone for Animal Kingdom

    Guillaume Roussel for The Three Musketeers (Part 1: D’Artagnan / Part 2: Milady

    Best Sound

    Julien Sicart, Fanny Martin, Jeanne Delplancq, Olivier Goinard for Anatomy of a Fall

    Remi Daru, Guadalupe Cassius, Loic Prian, Marc Doisne for All Your Faces

    Erwan Kerzanet, Sylvian Malbrant, Olivier Guillaume for The Goldman Case

    Fabrice Osinkski, Raphael Sohier, Matthieu Fichet, Niels Barletta for Animal Kingdom

    David Rit, Gwennole le Borgne, Oliver Touche, Cyril Holtz, Niels Barletta for The Three Musketeers (Part 1: D’Artagnan / Part 2: Milady

    Best Cinematography

    Slivion Beaufils for Anatomy of a Fall

    Jonathan Ricquebourg for The Taste of Things

    Patrick Ghiringhelli for The Goldman Case

    Davio Cailley for Animal Kingdom

    Nicolas Bolduc for The Three Musketeers (Part 1: D’Artagnan / Part 2: Milady)

    Best Editing

    Laurent Sénéchal for Anatomy of a Fall

    Francis Vesin for All Your Faces

    Valérie Loiseleux for Little Girl Blue

    Yann Dedet for The Goldman Case

    Lilian Corbeille for Animal Kingdom

    Best Costume Design

    Jürgen Doering for Jeanne du Barry

    Pascaline Chavanne for The Crime is Mine

    Tran Nu Yên Khê for The Taste of Things

    Ariane Daurat for Animal Kingdom

    Thierry Delettre for The Three Musketeers (Part 1: D’Artagnan / Part 2: Milady)

    Best Production Design

    Emmanuelle Ouplay for Anatomy of a Fall

    Angelo Zamparutti for Jeanne du Barry

    Toma Baquéni for The Taste of Things

    Julia Lemaire for Animal Kingdom

    Stéphane Taillasson for The Three Musketeers (Part 1: D’Artagnan / Part 2: Milady)

    Best Visual Effects

    Thomas Duval for Acid

    Lise Fischer, Cédric Fayolle for The Mountain

    Cyrille Bonjean, Bruno Sommier, Jean-Louis Autret for Animal Kingdom

    Olivier Cauwet for The Three Musketeers (Part 1: D’Artagnan / Part 2: Milady)

    Léo Ewald for Vermin

    Best Short Film

    L’Attente directed by Alice Douard, produced by Marie Boitard, Alice Douaro

    Bolero directed by Nans Laborde-Jourdaa, produced by Margaux Lorier

    Rapide directed by Paul Rigoux, produced by Anne Luthaud

    Les Silencieux directed by Basile Vuillemin, produced by Thomas Guent Ch

    Best Animated Feature

    No Dogs or Italians Allowed directed by Alain Ughetto, produced by Alexandre Cornu, Jean-François Le Corre, Mathieu Courtois

    Chicken for Linda! directed by Chiara Malta, Sébastien Laudenbach, produced by Marc Irmer, Emmanuel-Alain Raynal, Pierre Baussaron

    Mars Express directed by Jérémie Périn, produced by Didier Creste

    Best Documentary

    Atlantic Bar directed by Fanny Molins, produced by Chloé Servel, Nicolas Tiry

    Four Daughters directed by Kaouther Ben Hania, produced by Nadim Cheikhrouha

    Little Girl Blue directed by Mona Achache, produced by Laetitia Gonzalez, Yaël Fogiel

    Our Body directed by Claire Simon, produced by Kristina Larsen

    On the Adamant directed by Nicolas Philibert, produced by Miléna Poylo, Gilles Sacuto, Céline Loiseau

    Best First Feature

    Bernadette directed by Léa Domenach, produced by Antoine Rein, Fabrice Goldstein

    Junkyard Dog directed by Jean-Baptiste Ourand, produced by Anaïs Bertrand

    The Rapture directed by Iris Kaltenbäck, produced by Alice Bloch, Thierry de Clermont-Tonnerre

    Vermin directed by Sébastien Vanicek, produced by Harry Tordjman

    Vincent Must Die directed by Stephan Casting, produced by Thierry Lounas, Claire Bonnefoy

    Best Foreign Film

    Kidnapped directed by Marco Bellocchio

    Fallen Leaves directed by Aki Kaurismaki

    Oppenheimer directed by Christopher Nolan

    Perfect Days directed by Wim Wenders

    The Nature of Love directed by Monia Chokri

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    Georg Szalai

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  • Barack And Michelle Obama Brutally Snubbed By The Oscars

    Barack And Michelle Obama Brutally Snubbed By The Oscars

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    Opinion

    Source YouTube: CBS Sunday Mornings, Jay Shetty Podcast

    Barack and Michelle Obama were humiliated on Tuesday morning when the Oscar nominations came out and their documentary American Symphony was snubbed.

    American Symphony Snubbed By Oscars

    Deadline reported that American Symphony had been widely considered to be the frontrunner to win the Oscar for Best Documentary Feature, which should come as no surprise given how obsessed the liberal world of Hollywood is with the Obamas.

    When nominations were announced on Tuesday morning, however, the Obama-produced American Symphony was nowhere to be found, as the five films that were instead nominated were National Geographic’s Bobi Wine: The People’s President, The Eternal Memory, Four Daughters, To Kill a Tiger, and 20 Days in Mariupol.

    The Obamas produced American Symphony, which was directed by Matthew Heineman and tells the story of the Grammy-winning musician Jon Batiste and his wife Suleika Jaouad. Check out a trailer for the movie in the video below.

    Related: Michelle And Barack Obama Admit They Are ‘Terrified’ That Trump Will Win In 2024

    Michelle Campaigned For Movie

    Michelle had been campaigning hard for her film, even appearing in Louisiana at a special Netflix screening of the movie last month.

    “I’m beyond thrilled to be here in Nawlins with all y’all!” Michelle said at the event. “My husband, he’s not here. He says, ‘Hey.’ There is no better place to lift up this work than in the city where music is at the heart of everything, because music is at the heart of this film.”

    “This film is about so much more than one man’s meteoric ascent,” she continued. “It is the story of two souls, Jon and Suleika, two souls on parallel paths. Alongside Suleika’s courageous battle with leukemia, we see the fuller story behind Jon’s Grammy wins and that Carnegie Hall performance [in May 2022], the harmony and dissidence that lifts them both up, yet tears them both down in their journey. We see how art and music can be a source of healing.”

    Find out more about this in the video below.

    Related: Michelle Obama And Tom Hanks Party On Steven Spielberg’s Super-Yacht That Burns 700 Liters Of Fossil Fuel Per Hour

    Michelle Doubles Down

    During her speech, Michelle also described Baptiste as a close personal friend.

    “Jon says music, for him, is more than entertainment. It’s a spiritual practice. He says he believes a song or an album is made and almost has a radar to find the person when they need it most. Ain’t that the thing?” she stated. “We also learn that the victories we see in public aren’t usually the whole story, even with famous people. And even if the extreme highs and lows don’t necessarily balance each other out, then at the very least they can exist together in an imperfectly beautiful way.”

    “These are exactly the kind of stories and storytellers that Barack and I hoped to partner with when we started our production company,” Michelle concluded.

    American Symphony had been considered the frontrunner for the Oscar after winning a slew of other awards that include Best Music Documentary and Best Score at the recent Critics’ Choice Documentary Awards as well as audience awards at the Montclair Film Festival, Virginia Film Festival, Woodstock Film Festival, and Philadelphia Film Festival. Unfortunately for the Obamas, however, the Oscars clearly did not see their movie as being up to par.

    The Obamas are used to the liberal elites of Hollywood fawning over them as if they are royalty, so being snubbed by the Oscars has to have come as a major shock to them. If they truly want to make it big in Hollywood, perhaps they should focus a little less on publicly bashing Donald Trump, and a little more on making movies that are actually good!

    Now is the time to support and share the sources you trust.
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    An Ivy leaguer, proud conservative millennial, history lover, writer, and lifelong New Englander, James specializes in the intersection of… More about James Conrad

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  • See All the Actors Nominated for a 2024 Oscar

    See All the Actors Nominated for a 2024 Oscar

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  • Oscars 2024 Nominations: The Most Shocking Snubs and Surprises

    Oscars 2024 Nominations: The Most Shocking Snubs and Surprises

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    One of the only certainties of Oscar season is that voters will upend months of prognosticating from pundits by doing whatever they feel like doing when the time comes to fill out their ballots. As always, the bewildering snubs—no directing love for Greta Gerwig? Really?—were accompanied by some extremely pleasant surprises. Leonardo DiCaprio’s loss, you might say, was Colman Domingo’s gain. Here, VF weighs in on the things that nobody—or next to nobody—saw coming.

    Surprise: America Ferrera Stands Out in Barbie

    Her performance was all-around great, but that monologue! You know the one. Director Greta Gerwig told VF that the impassioned “always/never” speech, which she co-wrote with her co-parent Noah Baumach, “does not exist as it does without America. It’s hers by right, more than anyone else. That scene still really touches me. I see some of my friends’ teenage girls who don’t think they’re good enough, but they’re so beautiful and so smart and you just want them to know.” Ferrera has said that Gerwig enlisted her to help write the now-infamous monologue. “Some of what we talked about made it into the script. The line, ‘Always be grateful’ came out of that conversation with Greta,” Ferrera told The New York Times. “She expounded on it adding, ‘But never forget that the system is rigged.’”

    Snub: Margot Robbie Misses, as Does Barbie Below-the-Line

    Tempering the excitement of Ferrera’s deserved nod, Greta Gerwig’s comical cultural juggernaut missed out on editing, sound, and director, as well as best actress for Margot Robbie (though she’s nominated as a producer for it in the best picture category). Was it genre bias, gender bias, or promotion fatigue? (And can the first and last things be explained by the middle thing? Maybe …) Gerwig’s achievement in busting the box office with the highest grossing film directed by a woman—$1.5 billion worldwide—did not translate into a nomination for the director, who has three previous nods: for directing Lady Bird (another historic nod for a woman), for writing its original screenplay, and for writing the adapted screenplay of Little Women). But all is not lost for the doll film that launched a thousand think pieces: Ryan Gosling earned an expected supporting nomination, songs by Billie Eilish and Mark Ronson did too, and Gerwig and her partner Baumbach—who tied the knot amid Barbie’s press push—were recognized in adapted screenplay.

    Surprise: Sterling K. Brown Snags a Supporting Slot for American Fiction

    As Cliff Ellison, the brother reluctantly drawn back into the fold of his family after a tragedy, Brown brings both subversive energy and relatable pathos to Cord Jefferson’s debut feature. Cliff’s got his own shit going on, but once he shows up, we can’t get enough of him. Brown’s SAG nomination for best supporting actor—as well as the cast’s richly deserved ensemble nod—put him on the radar for more awards love this season, and now the three-time Emmy winner has got his first Oscar nomination, one of five for American Fiction.

    Snub: Leo Loses Out as Killers of the Flower Moon Wilts—A Little

    Lily Gladstone secured a best actress nomination, Martin Scorsese unsurprisingly got a best director nod, and Killers found a place in the best picture category. But Leonardo DiCaprio’s failure to secure a nomination for best actor landed as both a surprise and a snub, as did the film’s miss for adapted screenplay, considering how much was made of Scorsese and Eric Roth’s adaptation of David Grann’s 2017 bestselling history of the murders of Osage tribe members over their oil-rich Oklahoma land. Oscar race onlookers noticed that DiCaprio leaned in to Gladstone’s campaign, instead of flogging himself, and he still notched a nomination for producing the movie. Leo lives!

    Snub: Bradley Cooper Gets No Love for Directing Maestro

    Mr. Cooper has plenty of things to be thrilled about this morning: His labor of love Maestro was nominated for seven Oscars, and his own personal tally now stands at a seriously impressive 12. Still, it’s baffling that the actual maestro behind Maestro didn’t get nominated for best director, just as Gerwig’s vision for Barbie went unrecognized in the same category. It may be that voters knew that Maestro (and Barbie) would do just fine all in all, and decided to give the edge to the directors of gripping smaller movies, like Anatomy of a Fall and The Zone of Interest.  

    Surprise: Colman Domingo Rises in Rustin

    There are many reasons to be thankful for Colman Domingo’s best actor nomination: that it acknowledges a great actor’s great performance (and a milestone: his first time as No. 1 on the call sheet); that it will bring more attention to the life and work of civil rights activist Bayard Rustin, an openly gay man whose contributions to the movement were marginalized because of his sexuality, but whose story is now being told with an openly gay actor in the role; and that it will give us more opportunities to enjoy Domingo’s stellar red-carpet game, which has been winning hearts and minds all season. (Who else could pull off a mustard Valentino Haute Couture suit with a gold coat?) In December, appearing on VF’s Little Gold Men podcast, he said this about Rustin: “Those rare times you get as an artist to really pour everything you have into it—all your skills and all the things you’ve been doing in the theater and television as a writer, as a director, as a producer, to create this film—it called on everything that I had.” Looks like the Academy voters noticed. (By the way, he’s terrific as Mister in The Color Purple too.)

    Snub: Saltburn Gets Smoked

    Emerald Fennell’s vicious satire of upper-class life (and working-class ambition?) was blanked across the board, missing a semi-expected nod for best original screenplay as well as hoped-for nominations for actor Barry Keoghan and supporting actor Jacob Elordi that may have been realer in the minds of fans than they ever were among Academy voters. Was this film just too misanthropic for fundamentally sentimental voters, or was there just too much competition in this surprisingly stacked year? Everyone involved will have plenty of time to ponder the possibilities.

    Surprise: The Teachers’ Lounge Is in Session

    Ilker Çatak’s gripping film about a German school quickly devolving into The Crucible didn’t seem to have much heat going into the voting period, but it grabbed a well-deserved nomination in the best international film category. Germany’s official Oscars entry follows a sixth-grade teacher played with startling purpose and humanity by Leonie Benesch as she navigates a minefield of suspicions and defends her students not just from their peers but from teachers and parents.

    Snub: Time Runs Out for May December

    Julianne Moore, Natalie Portman, and Charles Melton didn’t rank for May December, but a movie revisiting (however artfully) the Mary Kay Letourneau and Vili Fualaau relationship—which started with Letourneau’s arrest for raping Fualaau when he was only 12—was always gonna go down with some icky shivers. Imagine a film with the genders reversed? You can’t. Wait, no—Stanley Kubrick’s Lolita. Which, come to think of it, was nominated for best adapted screenplay. Perhaps it was inevitable, then, that original screenplay (written by Samy Burch) would be the only category where Todd Haynes’s well-regarded film ended up being recognized.

    Snub: American Symphony Goes Silent

    Matthew Heineman’s documentary is about art, love, life, and death, for starters, but apparently Oscar voters wanted…. more? American Symphony tells the story of Jon Batiste’s quest to write a symphony just as he and his life partner, author Suleika Jaouad, discover that the latter’s cancer has returned. Batiste told VF that agreeing to such an unusually candid film required a leap of faith: “It felt like it was much bigger than us. And even though it was more than we had bargained for going in, it felt as though this is what the spirit was leading us to do. It was a work of God that we had to complete to the end.”

    Sad: Greta Lee Runs Out of Lives

    Celine Song’s wildly impressive debut, Past Lives, received two nominations, for best picture and best original screenplay. We would have loved to see Lee’s exquisitely nuanced lead performance recognized as well. As Nora, a New York City playwright who reunites with her childhood best friend from Korea, Lee impeccably calibrates humor, affection, love, and regret on the way to the film’s cathartic emotional climax. Her absence here isn’t technically a snub (this year’s best actress category includes some legitimately fierce contenders), nor is it a surprise, just an occasion for a moment of sadness for what might have been. Which, come to think of it, is what Past Lives is all about.

    Sad: Super Mario Bros. Gets Lemons, Not Lemonade

    OK, maybe a movie based on a Nintendo game was never going to win best picture (it’s not like it’s about something serious, like dolls!), but Jack Black’s virally fruitful “Peaches”? Hear it once and you’ll sing it, along with your five-year-old, a billion times. A disappointing day for everyone who likes their nominations with a side of delight.

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  • Oscars 2024 Nominations: Documentary To Kill a Tiger on violence against women in India gets a nod at the Academy

    Oscars 2024 Nominations: Documentary To Kill a Tiger on violence against women in India gets a nod at the Academy

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    To Kill a Tiger, a riveting Canadian documentary crafted by Nisha Pahuja, has made its majestic roar at the Oscars by securing a nomination in the Best Documentary Feature Film category of the 96th Academy Awards. With the backdrop set in Jharkhand, India, this sobering story revolves around a family relentlessly seeking justice for their 13-year-old daughter, a victim of a brutal rape crime by three men. The cinematic narration delves deep into the societal and legal obstacles faced by the affected family, shining a spotlight on the culturally embedded issues that turn a blind eye to violence against women. Also Read – Oscars 2024 Nominees: Bradley Cooper, Emma Stone and others nominated; Barbie, Oppenheimer dominate the list

    BollywoodLife brings to you all the latest entertainment news updates. Join us on WhatsApp. Also Read – Oscars 2024: Leonardo DiCaprio out of the race for Best Actor for Killers Of The Flower Moon? Fans pin hope on his next big project

    To Kill a Tiger won hearts

    The documentary first aired its social dilemma to the audience at the Toronto International Film Festival on September 10, 2022, cinching the title of Best Canadian Film. It further racked up laurels such as the Inspiring Voices and Perspectives award at the Cinéfest Sudbury International Film Festival and two Canadian Screen Awards for Best Feature Length Documentary and Best Editing in a Documentary. Praise for To Kill a Tiger echoed from critics at Stir, CityNews, and Northern Stars, while comedian and producer Mindy Kaling hailed it as a “triumph” to be witnessed by all. Also Read – Dunki at Oscars 2024: Shah Rukh Khan, Rajkumar Hirani planning to submit the film for main categories?

    Amongst the group of 15 movies that progressed in the Documentary Feature Film category out of the eligible 167 films at the Oscars, To Kill a Tiger marks its presence. Joining the list are other engaging narratives like American Symphony, Apolonia, Beyond Utopia, Bobi Wine: The People’s President, Desperate Souls, Dark City and the Legend of Midnight Cowboy, and more remarkable documentaries.

    About Oscars 2024

    The Oscars 2024 red carpet will unroll on Sunday, March 10, 2024, at the Dolby Theatre in Hollywood, Los Angeles, California as the 96th Academy Awards unfurls. Telecasted live on ABC and universally across 200+ territories, the event will have comedian Jimmy Kimmel as the host for the fourth time. The production chair occupied by Raj Kapoor and Katy Mullan and directorial reins held by Hamish Hamilton. As actors Zazie Beetz and Jack Quaid reveal the nominees in various categories such as Best Picture and Best Actress on January 23, 2024, “To Kill A Tiger” is set to compete with awaited cinema pieces like Killers of the Flower Moon, and Barbie.

    The societal mirror that To Kill a Tiger is, highlights the deep-seated issue of sexual violence against women, prevalent not just in India but globally. Beyond being a mere film, it’s a call for change and a manifesto challenging the rampant social evil. Lauded, celebrated, and a potential history-maker at the Oscars; To Kill a Tiger is indeed a movie with a mission.

    Stay tuned to BollywoodLife for the latest scoops and updates from Bollywood, Hollywood, South, TV and Web-Series.
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  • Oscar Nominations 2024: See the Full List Here

    Oscar Nominations 2024: See the Full List Here

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    A historic nomination for Lily Gladstone. Thirteen noms for Oppenheimer and 11 for Poor Things. A trio of noms for Bradley Cooper, bringing his lifetime total to 12, though he (and Greta Gerwig) were both snubbed for best director. 

    Announced by Zazie Beetz and Jack Quaid live from the Samuel Goldwyn Theater, the Oscar nominations 2024 brings big news for many of the most significant films of the past year. Heading into nominations morning films including Oppenheimer, Barbie, Killers of the Flower Moon, Poor Things, and The Holdovers all looked strong, with major wins at the Critics Choice Awards and Golden Globes and support from the guilds of directors, actors, and producers who make up a huge part of the Academy’s voting body. But there were so many other contenders hoping to join them, from fellow best picture hopefuls like Maestro and Past Lives to animated blockbusters ranging from The Boy and the Heron to Teenage Mutant Ninja Turtles: Mutant Mayhem.

    Who made the final cut? Read below for a full list of this year’s Oscar nominations, and then head over to our list of the 2024 Oscar nomination snubs and surprises.  

    BEST PICTURE

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

    BEST DIRECTOR

    Jonathan Glazer, The Zone of Interest
    Yorgos Lanthimos, Poor Things
    Christopher Nolan, Oppenheimer
    Martin Scorsese, Killers of the Flower Moon
    Justine Triet, Anatomy of a Fall

    BEST ACTRESS

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

    BEST ACTOR 

    Bradley Cooper, Maestro
    Colman Domingo, Rustin
    Paul Giamatti, The Holdovers
    Cillian Murphy, Oppenheimer
    Jeffrey Wright, American Fiction

    BEST SUPPORTING ACTRESS

    Emily Blunt, Oppenheimer
    Danielle Brooks, The Color Purple
    America Ferrera, Barbie
    Jodie Foster, Nyad
    Da’Vine Joy Randolph, The Holdovers

    BEST SUPPORTING ACTOR

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

    BEST ORIGINAL SCREENPLAY

    Justine Triet and Arthur Harari, Anatomy of a Fall
    David Hemingson, The Holdovers
    Bradley Cooper and Josh Singer, Maestro
    Samy Burch, May December
    Celine Song, Past Lives

    BEST ADAPTED SCREENPLAY

    Cord Jefferson, American Fiction
    Greta Gerwig and Noah Baumbach, Barbie
    Tony McNamara, Poor Things
    Christopher Nolan, Oppenheimer
    Jonathan Glazer, The Zone of Interest

    BEST INTERNATIONAL FEATURE

    Io Capitano, Italy
    Perfect Days, Japan
    Society of the Snow, Spain
    The Teacher’s Lounge, Germany
    The Zone of Interest, United Kingdom

    BEST ANIMATED FEATURE

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

    BEST DOCUMENTARY FEATURE

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

    BEST CINEMATOGRAPHY

    El Conde
    Killers of the Flower Moon
    Maestro
    Oppenheimer
    Poor Things

    BEST EDITING

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

    BEST COSTUME DESIGN

    Barbie
    Killers of the Flower Moon
    Napoleon
    Oppenheimer
    Poor Things

    BEST HAIR AND MAKEUP 

    Golda
    Maestro
    Oppenheimer
    Poor Things
    Society of the Snow

    BEST SOUND

    The Creator
    Maestro
    Mission: Impossible—Dead Reckoning Part One
    Oppenheimer
    The Zone of Interest

    BEST VISUAL EFFECTS

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

    BEST PRODUCTION DESIGN

    Barbie
    Killers of the Flower Moon
    Napoleon
    Oppenheimer
    Poor Things

    BEST ORIGINAL SONG

    “What Was I Made For?”, Billie Eilish and Finneas, Barbie
    “I’m Just Ken,” Mark Ronson and Andrew Wyatt, Barbie
    “The Fire Inside,” Diane Warren, Flamin’ Hot
    “It Never Went Away,” Jon Batiste, American Symphony
    “Wahzhazhe (A Song for My People),” Osage Tribal Singers, Killers of the Flower Moon

    BEST ORIGINAL SCORE

    American Fiction
    Indiana Jones and the Dial of Destiny
    Killers of the Flower Moon
    Oppenheimer
    Poor Things

    BEST LIVE-ACTION SHORT

    The After
    Invincible
    Knight of Fortune
    Red, White and Blue
    The Wonderful Story of Henry Sugar

    BEST ANIMATED SHORT

    Letter to a Pig
    Ninety-Five Senses
    Our Uniform
    Pachyderme
    War Is Over! Inspired by the Music of John & Yoko

    BEST DOCUMENTARY SHORT

    The ABCs of Book Banning
    The Barber of Little Rock
    Island in Between
    The Last Repair Shop
    Nai Nai & Wai Po

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  • Oscar Nominations 2024: See Our Final Predictions

    Oscar Nominations 2024: See Our Final Predictions

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    When the Oscar nominations 2024 are announced on Tuesday, January 23, from the Samuel Goldwyn Theater in Los Angeles, so many of the biggest film stories of 2023 will get their latest, most thrilling twist. Can Barbie and Oppenheimer ride their box office dominance to equally huge Oscar nomination tallies? Can Cord Jefferson and Celine Song pull off the exceedingly rare feat of getting best-picture nominations for their first-ever features? And hey, how will the Teenage Mutant Ninja Turtles fare?

    One thing’s for certain: Oscar records will be broken, surprises will be in store, and we’ll be here to watch it all happen. Read below for a complete list of our Oscar predictions.

    BEST PICTURE

    American Fiction

    Anatomy of a Fall

    Barbie

    The Holdovers

    Killers of the Flower Moon

    Maestro

    Past Lives

    Poor Things

    Oppenheimer

    The Zone of Interest

    Usually, we would warn ourselves against predicting that the Oscars will choose the same 10 films as the Producers Guild of America, an organization that often makes room for a rogue blockbuster (Black Panther: Wakanda Forever, Crazy Rich Asians, Deadpool) that doesn’t end up on the Academy’s final list. But this year the producers zagged in the other direction, including international offerings Anatomy of a Fall and The Zone of Interest, which suggests those films are in an even stronger position than we thought to edge out more populist Hollywood productions like The Color Purple and Air.

    But that’s what’s happening near the bottom of the lineup; let’s start at the top. Oppenheimer is holding firm to its presumed-front-runner status following its high-profile wins at the Golden Globes and Critics Choice Awards, and though it still has a road to travel to a win, a nomination is assured. Same goes for its summer box office twin, Barbie, and Killers of the Flower Moon, both of which have had strong showings with every imaginable precursor. If we’re making a top five of this category, we’ll round it out with Poor Things—the Globe comedy winner over Barbie, and a PGA and Directors Guild nominee—and American Fiction, which got a major boost from its SAG ensemble nomination.

    From there we have some strong contenders with a few caveats that shouldn’t keep them out of this 10. The Holdovers has been warmly received all season, and star Da’Vine Joy Randolph is steamrolling the supporting-actress category; its small but mighty ensemble missed the top SAG nomination, but we can’t imagine the film missing out here. Maestro has been driven more by buzz for its lead performances than by director Bradley Cooper’s achievements, but a film this gorgeously mounted and moving ought to get a best-picture inclusion too. And Past Lives has been steady as the season’s heartfelt indie that could, with that Producers Guild nomination proving it has the attention of a wide swath of the industry.

    Which brings us back to where we started. Palme d’Or winner Anatomy of a Fall has been a strong contender from its Cannes premiere, which makes it very likely to follow fellow Palme winners Triangle of Sadness and Parasite into this lineup. That leaves just a single slot—just one!—that’s felt up for grabs for weeks now. It really comes down to looking at the PGA industry support for The Zone of Interest versus the SAG industry support for The Color Purple, which earned a best-ensemble nomination. In this case, we’re just going with our gut—and with what Oscar voters around Los Angeles keep emphasizing—and predicting that Zone rounds out the 10. —Katey Rich

    BEST DIRECTOR

    Jonathan Glazer, The Zone of Interest

    Yorgos Lanthimos, Poor Things

    Christopher Nolan, Oppenheimer

    Martin Scorsese, Killers of the Flower Moon

    Justine Triet, Anatomy of a Fall

    This is a very competitive year at the Oscars, with major films coming from major directors. Christopher Nolan, Martin Scorsese, Greta Gerwig, Yorgos Lanthimos, Alexander Payne—these five have all been nominated in this category before, make up the group recognized this year by the DGA, and arguably represent the strongest contenders for best picture right now. So, easy enough to predict, right? Not so fast. Few Academy branches are as predictably unpredictable as that of the directors, and indeed, it feels unlikely that this international-skewing group will recognize five American films, however popular they prove to be in the overall nominations.

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  • Too Early 2024 Grammy Predictions

    Too Early 2024 Grammy Predictions

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    The end of the year calls for reflection — hence our 2023 Popdust Music Awards, celebrating all of the great music we heard last year. And now, the beginning of the year indicates a time of anticipation. For that, we have our
    2024 Artists to Watch, which also means that Awards Season is right around the corner.

    Starting with the Golden Globes on January 7, we are about to experience countless red carpet shots, couples debuts (
    still waiting for you, Sabrina Carpenter and Barry Keoghan), and teary-eyed acceptance speeches.

    While there are the BAFTAs, the Emmys, the Oscars, and the SAG Awards, my speciality is music. And there is no bigger mecca for musicians than
    the GRAMMY Awards. Held on February 4, 2024, and hosted by comedian Trevor Noah, the GRAMMYs are music’s biggest night.

    Awards Season brings out everyone’s inner critic. Suddenly, we think we know more than the Recording Academy. Every year, there are viral moments and scandalous decisions. The Recording Academy ultimately outrages the general public in some way or another — and inevitably, fandoms will take to apps like X to become the next Joan Rivers.

    It’s a delicious time of year when your favorite celebrities are forced out of hiding and into the spotlight, and we can’t wait. To get everyone in the spirit of judgment, here are
    some way-too-early GRAMMY predictions for the year!

    Record Of The Year: “Flowers” by Miley Cyrus

    Any Kid Harpoon song is a classic, and Cyrus’ return from a brief hiatus from music was met with high marks. It was Spotify’s most streamed song in a week ever, spent time at the top of Billboard’s Hot 100, and was the fastest song in Spotify history to reach 1 billion streams.

    Album Of The Year: Midnights by Taylor Swift

    She’s won this coveted award three times already, and it’s impossible to discredit the year of Taylor Swift. She is on track for the highest-grossing tour of all time with the Eras Tour, Midnights is Apple Music’s biggest pop album of all time in terms of first-day streaming, and the album is the reason she was all 10 of Billboard’s Top 10 Songs (the first time all women have dominated the charts ever). Give Swift her flowers.

    Song Of The Year: “A&W” by Lana Del Rey

    Another Jack Antonoff production, Lana Del Rey’s album is a spiritual awakening. With an essence of transcendentalism and a hint of gospel, it’s Lana to her core. “A&W” is hailed Song of the Year by many already, and it’s time we recognize her for the artist she is, was, and always will be.

    Best New Artist: Ice Spice


    I haven’t seen many people rise to the top as quickly as Ice Spice, nor have I seen someone garner such a passionate fanbase. The rapper has hits like “Deli” and collabs with rap queen Nicki Minaj on “Barbie World” and Taylor Swift on “Karma”, not to mention her Munchkin drink at Dunkin Donuts.

    Producer Of The Year (Non-Classical): Jack Antonoff

    Not only is Antonoff the mastermind behind many Taylor Swift albums, including Midnights, but he has Lana Del Rey’s multi-nominated album, “Did you know that there’s a tunnel under Ocean Boulevard?,” under his belt. He can’t miss, and for that, he wins.

    Best Pop Solo Performance: “What Was I Made For? [From The Major Motion Picture Barbie]”

    This song is stunning, productionally perfect, and sonically flawless. Billie and Finneas continue to grow as an unstoppable singer-songwriter duo who can make any song fit any moment.

    Best Pop Vocal Album: GUTS by Olivia Rodrigo

    Olivia Rodrigo wanted to have fun with her sophomore album following the immense pressure and success of her debut, SOUR. With GUTS, we had viral singles yet again that promise Rodrigo is here for the long haul.

    Best Dance/Electronic Recording: “Strong” by Romy + Fred again…

    Developing a cult following in the electronic music world, Fred again… is one of the hottest house dance artists in the world right now. Following a successful bout of live shows and reaching fans on almost every platform imaginable, “Strong” is a winner.

    Best Pop Dance Recording: “Rush” by Troye Sivan

    Troye Sivan understands how to make out-of-the-box pop music, and seals it with one hell of a dance number. He’s the embodiment of a popstar, and “Rush” was just an example of the high precedent he’s set.

    Best Rock Performance: “Not Strong Enough” by boygenius

    Compiled of Phoebe Bridgers, Julien Baker, and Lucy Dacus, boygenius is a supergroup showing the world how to rock again. “Not Strong Enough” showcases what each member brings to the group in one sound synergy.

    Best Rock Album: Starcatcher by Greta Van Fleet

    Hailed as The Next Led Zeppelin, Greta Van Fleet brings you on a journey with their Starcatcher album. Each song a delight, Greta Van Fleet has developed their sound and found their stride.

    Best R&B Performance: “Kill Bill” by SZA

    SOS is one of the best albums of the year, and while I don’t see it winning in the Big 4 due to competitors like Swift, I still think it wins in general. “Kill Bill” was one of the biggest songs and continues to be one of the most viral.

    Best Rap Performance: “Rich Flex” by Drake & 21 Savage

    The saying “I like what Drake likes” holds true for many…and the collaboration album, Her Loss, with 21 Savage was one of the biggest of the year. “Rich Flex” makes sense for two of the biggest rappers out there right now.

    Best Rap Album: Heroes & Villains by Metro Boomin’

    Metro Boomin’ is the rapper and producer responsible for countless hits like Migos’ “Ric Flair Drip”. His Heroes & Villains album is a masterclass for high quality rap, intricate detail in production and songwriting, and straight up hits.

    Watch the 2024 Grammy Awards live on February 4, 2024 at 8 PM EST exclusively on Paramount+!

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    Jai Phillips

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