#Graham Broadbent

[movie--posters]

[denimbex1986]

'The British director on the power of crying and how he crafted his heartbreaking new film, All of Us Strangers.

Andrew Haigh is a veteran of film and television, having directed projects including Weekend, 45 Years, Looking and The North Water. His work is defined by an expert eye for detail and profound sensitivity – in All of Us Strangers, he excavates familial and queer trauma to create a powerful, tender, ghostly romance, starring Andrew Scott, Paul Mescal, Claire Foy and Jamie Bell.

LWLies: Every person I’ve spoken to about All of Us Strangers has had quite an intense emotional reaction to it. How aware of that potential are you when you’re making a film?

Haigh: It’s funny, because I used to get emotional writing the script, and then making a film, there are moments when you feel the emotion that’s coming back at you. I’m a pretty emotional person, I’m constantly crying. But then when I watched the assembly that Jonathan [Alberts, editor] had done, I was a wreck. And I know that he’d been a wreck editing it.

The more you work on a film, for months and months, you aren’t sure. You wonder if you’ve got rid of the emotion within the piece, if you’ve ruined it. When the film was finished, I hoped that people would have a reaction to it, and that it would feel like a genuine emotional reaction rather than a manipulative one.

I wanted to unpick the pain that we all carry around, in the hope that at the end, there is some catharsis. I find crying so cathartic. Every time I cry my eyes I feel so much better. I remember when Jonathan was cutting the dailies, and it was just one of the scenes about halfway through, of Harry and Adam in bed talking. I came in and Jonathan was just in floods. I said, “What’s the matter?!” It wasn’t a big emotional scene but he was a wreck.

I think that’s representative of how grief works, too. Sometimes it’s the small things that set you off, and it’s not always the things that make sense. 

It’s always the little things, and it’s the same whether it’s grief or anything in your past. I think grief is not always just about someone you’ve lost, it’s about things that you’ve lost. It’s time that you’ve lost, it’s relationships that you’ve lost, it’s love affairs that you’ve lost. Our whole lives are essentially dealing with time moving on and us losing things. I wanted the film to be about that – so the mother is just as upset that she has lost the time with her son because those things are so fragile. I’m a pretty melancholic person, and so I often think about all of those little moments in life that have been so important and are now just distant memories. They are essentially ghosts.

It’s strange, I’m currently going through a lot of video footage from when I was a kid, so I’m having a very similar experience. It brings up so many strange emotions, excavating the past. Thinking about the people that aren’t in your life now.

Yeah – and the emotion that you have for someone once they are gone, whether that’s because they’ve died or they’re just not in your life..that emotion is still there. It’s strange how that works. Fear doesn’t last the same way. No other emotion does. But love is always there. Somehow it’s both a little bit cheesy and kind of magical at the same time. Love is the thing that remains.

Were you familiar with Taichi Yamada’s novel Strangers before you were approached about the project?

No, I hadn’t heard of it – Graham [Broadbent] and Sarah [Harvey], the producers, sent it to me. They knew me, and they asked what I was interested in doing, so I said “I’m kind of interested in doing some kind of ghost story.’ Even though this isn’t that exactly. But they sent me this very traditional ghost story, and the thing that I loved was this idea in the novel of meeting your parents again. I thought that was a fascinating way to start looking into love, grief, parental responsibility, all of those things. I very quickly knew I wanted to make the love affair between two men, and I didn’t want the ghosts in the story to be malevolent, in the way they sort of are in the book.

I felt like, Oh God, I can finally talk about queerness and family in a way that I think is very complicated, and do it within a way that these two things can be interconnected and wound up together. I feel like that is a thing about being queer. It is complicated within a family dynamic. It’s getting better every day, although not for everyone. But it was certainly so complicated for me, growing up.

I’m interested to know how much you thought about the connection between All of Us Strangers and your previous work, particularly 45 Years and Weekend, because there are overlapping themes. 

Yeah, and I don’t mind it being sort of repeating, because I think my interests are always my interests. So the things I’m trying to articulate, I’m often going back on myself to try and find new ways to express something I’ve looked at before. I quite like that idea. But my biggest concern, actually, in the beginning, was that people were going to think this film is just Weekend with Ghosts. But even though I don’t think the film is that, everything that you do is always in relationship to what you’ve done before. For me anyway. It’s like picking up a conversation, there’s something that you’ve already sort of talked about, but you realise you want to talk about a little bit more, and in a slightly different way.

You’ve talked a little bit about bringing your own personal experience into the film. How do you find that process of weaving your own personal experience into an adaptation?

Yes, I felt like I had to. For some reason, I felt like I didn’t want to make the film unless it was personal. There was stuff I wanted to talk about in terms of queerness and how I feel about family and its complications, what it can mean to be a child and a parent. I wrote a lot during the pandemic – I kind of threw myself into trying to make it feel as close to something I understood as possible while making sure it wasn’t autobiographical. So there’s lots of me in it, but there’s also lots of me that isn’t in it. When I gave the script to people, they’d said “I feel like you’ve written this about me. I feel like you’ve told my life story.” Whether it’s about the loss of parents or the separation from family, or whether it’s about queerness…they’re taking something from it. And that was always what I hoped that it would feel like. It’s personal to me, but I want it to feel personal to everyone.

You have such a wonderfully curated collection of 80s music in All of Us Strangers. Was this directly plucked from your own experience?

Oh yeah, those choices were definitely personal. I love The Pet Shop Boys, I’ve loved them from their first album onwards back in 1985, and Frankie Goes To Hollywood. If you open the vinyl now, it’s so gay! You pull out this bit of paper, and they’re wearing like leather underwear and you’re like “How did this exist in 1983?” Those songs were so important to me. But pop music in general is a way for especially repressed British people to express themselves – the old pop songs especially expressed the things that we can’t say in very blatant terms. I think weirdly my politics was forged by pop music. I listen to a Housemartins song now, and I can tell they’re a bunch of socialists, you can feel it. Everything was passionate in those days, especially in pop music.

The film begins with a sunrise and ends with a night sky which lingers, and I loved that parallel. How early did you have that ending in your head?

I think it was there from the beginning if I’m honest – but I’m also aware that the ending won’t work for everybody. For me, it’s like I needed the ending to transcend a sense of reality. When I was a kid growing up I genuinely thought that I would never be able to find love. I couldn’t even see spending my life with another man as a possibility. And I wanted in the end to make love have this almost cosmic importance. Like the idea that love is so fundamentally important and enormous. Someone said something to me that I hadn’t quite realised – stars die billions of years ago, and the light is still there millions of years later. It’s like we said before; love is this thing that can be long gone, but it’s still there. And you can find it again. And again. And again. It’s always there.'

[colinfarrellupdates]

Colin Farrell, Brendan Gleeson, Kerry Condon, Martin McDonagh and Graham Broadbent at the 79th Venice International Film Festival for "The Banshees of Inisherin"

September 05, 2022

Photos by Giulia Parmigiani

[usuallywisestarlight]

Colin Farrell, Kerry Condon, Graham Broadbent, Martin McDonagh y Brendan Gleeson en el festival de Venecia con "The Banshees Of Inisherin”.  Foto ©M. Angeles Salvador

Colin Farrell, Kerry Condon, Graham Broadbent, Martin McDonagh y Brendan Gleeson en el festival de Venecia con "The Banshees Of Inisherin”. Foto ©M. Angeles Salvador

[milliondollarbaby87]

European Premiere for WICKED LITTLE LETTERS

Last night saw the European Premiere for Wicked Little Letters take place in London and it is a film that I cannot wait to see! Luckily Cineworld have a preview screening for Unlimited customers on Monday night. LONDON, ENGLAND – FEBRUARY 13: Jessie Buckley attends the “Wicked Little Letters” European Premiere at Odeon Luxe Leicester Square on February 13, 2024 in London, England. The film will…

[badgaymovies]

The Banshees of Inisherin (2022)

The Banshees of Inisherin by #MartinMcDonagh starring #ColinFarrell and #BrendanGleeson, " the film’s pleasures are too great to resist and none of its risky ventures are forgiven with any difficulty,"

MARTIN McDONAGH Bil’s rating (out of 5): BBBB Ireland/United Kingdom/USA, 2022. Blueprint Pictures, Film 4, Fox Searchlight Pictures, Metropolitan Films International. Screenplay by Martin McDonagh. Cinematography by Ben Davis. Produced by Graham Broadbent, Peter Czernin, Martin McDonagh. Music by Carter Burwell. Production Design by Tim Devine, Christine Fitzgerald, Paul Ghirardeni. Costume…

[badmovieihave]

Bad movie I have Nicholas Nickleby

[2ndaryprotocol]

#otd Martin Scorsese’s ‘Gangs Of New York’ hit theaters this day 20 years ago. 🗡👊🏼🔥

“𝚆𝚑𝚎𝚗 𝚢𝚘𝚞 𝚔𝚒𝚕𝚕 𝚊 𝚔𝚒𝚗𝚐, 𝚢𝚘𝚞 𝚍𝚘𝚗'𝚝 𝚜𝚝𝚊𝚋 𝚑𝚒𝚖 𝚒𝚗 𝚝𝚑𝚎 𝚍𝚊𝚛𝚔. 𝚈𝚘𝚞 𝚔𝚒𝚕𝚕 𝚑𝚒𝚖 𝚠𝚑𝚎𝚛𝚎 𝚝𝚑𝚎 𝚎𝚗𝚝𝚒𝚛𝚎 𝚌𝚘𝚞𝚛𝚝 𝚌𝚊𝚗 𝚠𝚊𝚝𝚌𝚑 𝚑𝚒𝚖 𝚍𝚒𝚎.”

[letterboxd-loggd]

Little Voice (1998) Mark Herman

December 20th 2022

[ulrichgebert]

"Ist ja kein so guter Film" sagt der Tobi, meinen Wir-wollen-diese-anstrengend-besessenen-Scorsese-Filme-mal-etwas-wohlwollender-beurteilen-Ansatz gleich unterwandernd, und er hat insofern natürlich recht, als das massive Bestreben um historische Akkuratesse und präzise Akzente offensichtlich ein bisschen auf Kosten der Dramaturgie ging. Die Leute wollen einem auch nicht recht ans Herz wachsen, und es geht überhaupt nie so friedlich zu wie auf dem Bild oben. Aber die Vorfälle an sich sind ziemlich interessant, dass in New York, das ja oft als Gegensatz dazu verwendet wird, auch mal Zustände wie im wilden Westen herrschen ist lustig, für neuere Epen fand ich die Musik ausnahmsweise clever und wohlüberlegt, und ich kann mich im Gegensatz zu Tobi, der nie irgendjemanden erkennt, nebenher noch ein bisschen mit Starspotting unterhalten. Insofern hat es mir eigentlich besser gefallen, als ich erwartet hatte, aber wenn man ehrlich ist, ist es kein so richtig guter Film.

[ilikethisacompletelynormalamount]

44th London Critics' Circle Film Awards 2024 – Winners Room

LONDON, ENGLAND - FEBRUARY 04: Sarah Harvey, Andrew Scott, Andrew Haigh, Graham Broadbent, Kahleen Crawford and Paul Mescal at the 44th London Critics' Circle Film Awards 2024 Winners Room at The May Fair Hotel on February 04, 2024 in London, England. (Photo by Gareth Cattermole/Getty Images)

🎥 WJConnolly

[shegottosayit]

The 44th London Critics' Circle Film Awards 2024 Winners/ (L to R) Sarah Harvey, Andrew Scott, Andrew Haigh, Graham Broadbent, Kahleen Crawford and Paul Mescal, winners for "All Of Us Strangers"

[denimbex1986]

'Note: The following article contains discussion of themes including suicide and drug addiction.

All of Us Strangers delivers one devastating plot twist, so get the tissues ready.

Andrew Scott and Paul Mescal's beautiful and heartbreaking movie, one of this year's strongest awards contenders and already one of the best movies of 2024, is out now in cinemas.

Based on Taichi Yamada’s novel Strangers, the story follows screenwriter Adam (Andrew Scott) as he revisits his childhood home and reunites with his parents (Claire Foy and Jamie Bell), who died 30 years ago in a car accident. Whether they are ghosts or just products of Adam's imagination is one of the film's biggest enigmas.

While dealing with his family trauma, Adam also starts a relationship with his neighbour Harry (Paul Mescal), who ends up delivering the most shocking surprise in the story.

We delve into the ending of All of Us Strangers, and its intentionally unresolved mysteries.

Major spoilers follow.

All of Us Strangers ending explained

After sharing some soul-healing moments together, Adam's parents realise it's time to say goodbye. Adam is getting too consumed by this ghostly reality, and he needs to make peace with their deaths and move on.

After sharing one last meal full of nostalgic memories, they disappear.

Adam might be sad, but he has also come out stronger from this experience. He even finds himself brave enough to go knock on Harry's door. Adam has never been in his apartment before, and we're about to find out why.

After opening the suspiciously unlocked door, Adam is hit by a strong smell coming from the place. When he looks in the bedroom, he finds Harry's dead body. He appears to have died a while ago, given the state of decomposition of the body.

The 'dead all along' trope has never been so devastating.

Harry's ghost shows up in the apartment as if nothing has happened, but he quickly catches up. "I’m in there, aren’t I?" he asks Adam, right before he melts completely at the realisation of his own passing.

Adam consoles him as he leads him back to his own flat.

They lie in bed, Adam folding his arm around Harry. 'The Power of Love' by Frankie Goes to Hollywood (the same song that was playing on TV the first time they met) starts playing in the background.

The camera pulls away from them. They become a glowing light getting smaller and smaller, and soon they are surrounded by a constellation of other star-like lights.

In an interview with Digital Spy, director Andrew Haigh explained what this ending means, and why it didn't need to be a happy ending.

"There is a way in which this film could have ended on a very optimistic, joyful note. To me, that would have been a little bit simplistic in terms of what the story is trying to unpick and understand, which is about the actual nature, the essence of love, and what is important within that."

In an interview with EW, producer Graham Broadbent argued it can be a "more optimistic" interpretation of the ending of the movie.

"There's something in Andrew's filmmaking. Although it's a sad story, there's something kinder and gentler and more beautiful, more generous. People might perceive the end of the film as being sad, but I think when you watch it again and again, you see it's actually more optimistic."

What happens to Harry in All of Us Strangers?

There are several questions surrounding Harry's death in All of Us Strangers.

One is in relation to the cause of death. Although it's not explicitly revealed, the drugs and alcohol that Adam finds in the living area in the reveal scene would suggest an overdose.

Another question, perhaps more critical, is when exactly Harry dies in the timeline of the story. Is it before or after starting a relationship with Adam? It's not 100% clear, so there are a couple of theories.

The most likely explanation is that Harry died by suicide the night he knocked on Adam's door, therefore before their relationship went from neighbours to lovers.

When Harry shows up at Adam's door with a bottle of whiskey, he is most probably alive. He is a lonely young man looking for company and human connection, but Adam is wary and rejects his proposition.

"I was so scared that night. I just needed to not be alone," Harry's ghost recalls later on, when his body is found.

There is also a theory that points at the elevator scene (when Adam tries to flirt with Harry, regretting his earlier rejection) being the last time we see him alive. This doesn't really feed into Adam's ghostly fantasy, given Harry's lack of interest, so this could still be the real Harry. He could have died after that cold encounter.

The decomposition of the body makes it clear it's been some time since he passed. So, when did Harry die then?

Harry wearing his pink sweatshirt both on the night they met and in the big reveal scene might make us lean more towards the first theory — that Harry died on that same night

However, there is another theory — what if Harry never really existed?

Maybe he was a product of Adam's imagination from the very beginning. And that leads us to another possible interpretation of All of Us Strangers.

Is Adam dead in All of Us Strangers?

It's unclear what is real and what is not in All of Us Strangers, so it's all theories at this point.

The movie can be interpreted as a paranormal story where ghosts are real and Adam happens to be able to see them. We can also think Adam is dead too by the end of the movie, and that last scene means he is joining Harry in an otherworldly realm.

And the movie can also be interpreted as a fever dream full of regrets, trauma and loneliness.

In one scene, Adam asks his mother: "Is this real?" She responds: "Does it feel real?"

After all, it's not important if Adam's journey is real or not, as long as it touches deep in his soul, as long as it helps him find a way back from the grief that has been eating him alive.

In a similar way for viewers, it doesn't matter if the events we see in the movie are real or not, but how they make us feel.

In an episode of EW's Awardist podcast, actor Andrew Scott revealed he sees the movie as a dream. "You wake up from a very, very potent dream and you can feel so sad; you can wake up with floods of tears; you can wake up screaming; you can wake up laughing. I don't think you go, 'What happened in the dream? Let's rewind it.'"

"We try desperately to understand it, but I think Andrew's achievement is that he directs us towards the feeling, rather than the logic of what the feeling might be. The most important thing, and the most difficult thing to do, is making the audience genuinely moved."

In an interview with EW, Andrew Haigh shared his view on what the movie really means.

"In many ways, the whole film to me was a love letter saying, it's okay. It's quite hard. You've all been through some stuff, but you can move on from this and you can find love," he explained.

"You might lose it again, but you might find it again. That to me is an optimistic outcome in some strange sense, that you can just keep finding love even when it vanishes. And it doesn't vanish forever. That's important to me. That's where it is all about love at the end."'

[michaelsheenpt]

Michael Sheen’s Best Roles Show Why He’s a National Treasure

After his rallying cry to the Welsh football team, and now a part in the newly announced Wagatha Christie drama, we celebrate the roles that have made Michael Sheen such a beloved actor.

Michael Sheen recently went viral for an epic ‘pre-match’ speech to the Welsh football team on A League of Their Own – so much so that he was actually invited to address the Welsh World Cup squad for real – but anyone who’s seen a Michael Sheen role won’t have been remotely surprised he had such a rousing monologue in him.

The man has range, charisma, and an extraordinary talent for channelling the characteristics of real people without resorting to impersonation. He’s also clearly game for anything, as the news he’ll be playing Coleen Rooney’s lawyer in Channel 4’s newly announced courtroom drama Vardy v Rooney shows. Here’s our pick of Sheen’s best on-screen performances to date:

Quiz

Throughout his career, Sheen has been unmatched in his terrifyingly accurate depictions of real-life figures, and his portrayal of Chris Tarrant in this ITV drama about the Who Wants to Be a Millionaire? cheating scandal is the epitome of his talent in this area. Uncanny to the point of actual witchcraft, it’s easy to spend the whole three episodes so mesmerised by Sheen’s genius that you forget about Matthew Macfadyen’s coughing Major altogether.

The Damned United

You’d think it would be tricky to stand out in a film when you’re alongside acting greats like Jim Broadbent, Stephen Graham and Timothy Spall, but The Damned United gives Sheen one of his finest roles as controversial football manager Brian Clough. Another spot-on example of capturing the essence of a well-known personality, we see the story of Clough’s tumultuous 44-day reign as manager of Leeds United in 1974, including – as you can see above – a pre-match address that doesn’t quite have the same magic as his recent one.

Good Omens

When Sheen met Tennant in this on-screen adaptation of the Neil Gaiman and Terry Pratchett novel, something truly magical happened. Good Omens is a comic delight with an all-star cast including Miranda Richardson, Jon Hamm, Daniel Mays and Anna Maxwell Martin, but the show’s real USP is the exceptional partnership between Michael Sheen and David Tennant as angel Aziraphale and demon Crowley respectively. Want news of season two? Read our report from the Good Omens NY Comic Con panel.

Frost/Nixon

A razor-sharp portrayal of the infamous interviews in 1977, Frost/Nixon sees Sheen taking on the role of legendary broadcaster David Frost, an undertaking that he yet again nails with breathtaking accuracy without resorting to mimicry. This is one of Sheen’s greatest performances, and yet he somewhat criminally missed out on any major Best Actor nominations thanks to his co-star Frank Langella’s extraordinary portrayal of President Nixon (Langella was nominated for the Best Actor Oscar, BAFTA and Golden Globe).

Staged

If there’s one upside to the global pandemic, it’s Staged. David Tennant and Michael Sheen reunited as an epic double-act in this satirical lockdown comedy, playing self-mocking fictional versions of themselves as they rehearse a play over Zoom. It’s a rare opportunity to see them playing alongside their real-life wives, Georgia Tennant and Anna Lundberg, who expertly and comically manage their spouses’ fragile egos and childish bickering. There are also jaw-dropping cameos from the likes of Whoopi Goldberg, Judi Dench and Samuel L Jackson. 

Twilight: New Moon

An appearance in the Twilight movies might seem a bit left-field for Michael Sheen, but the man’s got range. He plays Aro, the leader of an ancient Italian vampire coven. His role isn’t the most meaty of his career, but it shows that he can play just about any genre, somehow even including a vampire-themed fantasy romance mainly aimed at teenage girls. And, yet again, he gets to do a pretty rousing speech.

30 Rock

The delightfully ridiculous (and amusingly named) role of Wesley Snipes is one of Liz Lemon’s ill-fated love interests over the course of four episodes. Deeply irritating, contrary and full of disdain for Liz, you’d think Wesley would be completely unlikeable, and yet the hilarious back-and-forth between the couple is richly funny and Sheen plays his role to comic perfection. It’s worth watching for the perfect delivery of the line ‘I can’t suffer through the London Olympics – we’re not prepared, Liz’ alone.

The Queen

Michael Sheen has portrayed former British Prime Minister Tony Blair on no fewer than three occasions in his career. The first was in movie The Deal, the most recent in TV movie The Special Relationship, but his best-known and arguably best portrayal of Blair is in The Queen. Close your eyes, and you’d have no trouble believing you were listening to the real deal – but please don’t actually close your eyes, or you’ll miss out on his spot-on and often very comical physical tics and expressions, too.

Passengers 

Sheen takes on a supporting role in this sci-fi romance movie starring Chris Pratt and Jennifer Lawrence, playing a sophisticated and erudite android bartender called Arthur. Passengers may not have been a hit with the critics, but Sheen is a scene-stealing highlight every time he’s on screen.

Masters of Sex

His portrayal of Dr. William Masters in this American period drama earned Sheen a Golden Globes nomination for Best Performance by an Actor in a Television Series. Often as seductive as the name suggests, Masters of Sex tells the partially true stories of two pioneering researchers of human sexuality during the 1950s, and ran for four series until it was cancelled in 2016. Sheen stars alongside Lizzie Caplan, and the two have an electric partnership, both earning critical acclaim. And yes, as you’ll see in the clip above, Michael Sheen gets to do another pretty good speech.

Prodigal Son: Playing an unnervingly charming serial killer is a new direction for Sheen, and he takes on Dr. Martin Whitley with pizzazz, adding disarming comedy to the two series of this thriller.

The Good Fight: Roland Blum is a riot of a character, allowing Sheen to shine as an outrageous, no-filter lawyer that is equal parts hilarious and terrifying.

Underworld: This action horror film sees Sheen take on the role of Lucian, the leader of the Lycans, and he later also starred in the film’s prequel Underworld: Rise of the Lycans.

Doctor Who: Sheen’s voice only made a very brief appearance during Matt Smith’s reign, as a malevolent entity called House in The Doctor’s Wife, an episode penned by none other than Neil Gaiman.

Written by:

Laura Vickers-Green

Source

[cristalconnors]

BEST PICTURE

THE NOMINEES ARE:

5. THE BANSHEES OF INISHERIN, dir. Martin McDonagh

Produced by Graham Broadbent, Peter Czernin, and Martin McDonagh

4. NOPE, dir. Jordan Peele

Produced by Ian Cooper and Jordan Peele

3. GREAT FREEDOM, dir. Sebastian Meise

Produced by Benny Drechsel, Sabine Moser, and Oliver Neumann

2. SAINT OMER, dir. Alice Diop

Produced by Toufik Ayadi and Christophe Barral

AND THE CRISTAL GOES TO...

1. TÁR, dir. Todd Field

Produced by Todd Field, Scott Lambert, and Alexandra Milchan

[filmspun]

2023 Oscar nominations :

Best Picture

“All Quiet on the Western Front,” Malte Grunert, Producer

“Avatar: The Way of Water,” James Cameron and Jon Landau, Producers

“The Banshees of Inisherin,” Graham Broadbent, Pete Czernin and Martin McDonagh, Producers

“Elvis,” Baz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick and Schuyler Weiss, Producers

“Everything Everywhere All at Once,” Daniel Kwan, Daniel Scheinert and Jonathan Wang, Producers

“The Fabelmans,” Kristie Macosko Krieger, Steven Spielberg and Tony Kushner, Producers

“Tár,” Todd Field, Alexandra Milchan and Scott Lambert, Producers

“Top Gun: Maverick,” Tom Cruise, Christopher McQuarrie, David Ellison and Jerry Bruckheimer, Producers

“Triangle of Sadness,” Erik Hemmendorff and Philippe Bober, Producers

“Women Talking,” Dede Gardner, Jeremy Kleiner and Frances McDormand, Producers

Best Director 

Martin McDonagh (“The Banshees of Inisherin”) 

Daniel Kwan, Daniel Scheinert (“Everything Everywhere All at Once”) 

Steven Spielberg (“The Fabelmans”) 

Todd Field (“Tár”) 

Ruben Östlund (“Triangle of Sadness”)

Best Lead Actor

Austin Butler (“Elvis”) 

Colin Farrell (“The Banshees of Inisherin”) 

Brendan Fraser (“The Whale”) 

Paul Mescal (“Aftersun”) 

Bill Nighy (“Living”) 

Best Lead Actress

Cate Blanchett (“Tár”) 

Ana de Armas (“Blonde”) 

Andrea Riseborough (“To Leslie”)

Michelle Williams (“The Fabelmans”) 

Michelle Yeoh (“Everything Everywhere All at Once”)

Best Supporting Actor

Brendan Gleeson (“The Banshees of Inisherin”) 

Brian Tyree Henry (“Causeway”) 

Judd Hirsch (“The Fabelmans”)

Barry Keoghan (“The Banshees of Inisherin”) 

Ke Huy Quan (“Everything Everywhere All at Once”) 

Best Supporting Actress

Angela Bassett (“Black Panther: Wakanda Forever”) 

Hong Chau (“The Whale”) 

Kerry Condon (“The Banshees of Inisherin”) 

Jamie Lee Curtis (“Everything Everywhere All at Once”) 

Stephanie Hsu (“Everything Everywhere All at Once”)

Best Adapted Screenplay

“All Quiet on the Western Front,” Screenplay by Edward Berger, Lesley Paterson & Ian Stokell

“Glass Onion: A Knives Out Mystery,” Written by Rian Johnson

“Living,” Written by Kazuo Ishiguro

“Top Gun: Maverick,” Screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie; Story by Peter Craig and Justin Marks

“Women Talking,” Screenplay by Sarah Polley

Best Original Screenplay

“The Banshees of Inisherin,” Written by Martin McDonagh

“Everything Everywhere All at Once,” Written by Daniel Kwan & Daniel Scheinert

“The Fabelmans,” Written by Steven Spielberg & Tony Kushner

“Tár,” Written by Todd Field

“Triangle of Sadness,” Written by Ruben Östlund

All Quiet on the Western Front”, James Friend

“Bardo, False Chronicle of a Handful of Truths,” Darius Khondji

“Elvis,” Mandy Walker

“Empire of Light,” Roger Deakins

“Tár,” Florian Hoffmeister

Best Documentary Feature Film 

“All That Breathes,” Shaunak Sen, Aman Mann and Teddy Leifer

“All the Beauty and the Bloodshed,” Laura Poitras, Howard Gertler, John Lyons, Nan Goldin and Yoni Golijov

“Fire of Love,” Sara Dosa, Shane Boris and Ina Fichman

“A House Made of Splinters,” Simon Lereng Wilmont and Monica Hellström

“Navalny,” Daniel Roher, Odessa Rae, Diane Becker, Melanie Miller and Shane Boris

Best Documentary Short Film 

“The Elephant Whisperers,” Kartiki Gonsalves and Guneet Monga

“Haulout,” Evgenia Arbugaeva and Maxim Arbugaev

“How Do You Measure a Year?” Jay Rosenblatt

“The Martha Mitchell Effect,” Anne Alvergue and Beth Levison

“Stranger at the Gate,” Joshua Seftel and Conall Jones

Best Film Editing

“The Banshees of Inisherin,” Mikkel E.G. Nielsen

“Elvis,” Matt Villa and Jonathan Redmond

“Everything Everywhere All at Once,” Paul Rogers

“Tár,” Monika Willi

“Top Gun: Maverick,” Eddie Hamilton

Best International Feature Film 

“All Quiet on the Western Front” (Germany) 

“Argentina, 1985” (Argentina) 

“Close” (Belgium)

“EO” (Poland) 

“The Quiet Girl” (Ireland) 

Best Original Song 

“Applause” from “Tell It Like a Woman,” Music and Lyric by Diane Warren

“Hold My Hand” from “Top Gun: Maverick,” Music and Lyric by Lady Gaga and BloodPop

“Lift Me Up” from “Black Panther: Wakanda Forever,” Music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; Lyric by Tems and Ryan Coogler

“Naatu Naatu” from “RRR,” Music by M.M. Keeravaani; Lyric by Chandrabose  

“This Is a Life” from “Everything Everywhere All at Once,” Music by Ryan Lott, David Byrne and Mitski; Lyric by Ryan Lott and David Byrne 

Best Production Design 

“All Quiet on the Western Front,” Production Design: Christian M. Goldbeck; Set Decoration: Ernestine Hipper

“Avatar: The Way of Water,” Production Design: Dylan Cole and Ben Procter; Set Decoration: Vanessa Cole

“Babylon,” Production Design: Florencia Martin; Set Decoration: Anthony Carlino

“Elvis,” Production Design: Catherine Martin and Karen Murphy; Set Decoration: Bev Dunn

“The Fabelmans,” Production Design: Rick Carter; Set Decoration: Karen O’Hara

Best Visual Effects

“All Quiet on the Western Front,” Frank Petzold, Viktor Müller, Markus Frank and Kamil Jafar

“Avatar: The Way of Water,” Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett

“The Batman,” Dan Lemmon, Russell Earl, Anders Langlands and Dominic Tuohy

“Black Panther: Wakanda Forever,” Geoffrey Baumann, Craig Hammack, R. Christopher White and Dan Sudick

“Top Gun: Maverick,” Ryan Tudhope, Seth Hill, Bryan Litson and Scott R. Fisher

Best Animated Feature Film 

“Guillermo del Toro’s Pinocchio,” Guillermo del Toro, Mark Gustafson, Gary Ungar and Alex Bulkley

“Marcel the Shell With Shoes On,” Dean Fleischer Camp, Elisabeth Holm, Andrew Goldman, Caroline Kaplan and Paul Mezey

“Puss in Boots: The Last Wish,” Joel Crawford and Mark Swift

“The Sea Beast,” Chris Williams and Jed Schlanger

“Turning Red,” Domee Shi and Lindsey Collins

Best Animated Short Film

“The Boy, the Mole, the Fox and the Horse,” Charlie Mackesy and Matthew Freud

“The Flying Sailor,” Amanda Forbis and Wendy Tilby

“Ice Merchants,” João Gonzalez and Bruno Caetano

“My Year of Dicks,” Sara Gunnarsdóttir and Pamela Ribon

“An Ostrich Told Me the World Is Fake and I Think I Believe It,” Lachlan Pendragon

Best Costume Design 

“Babylon,” Mary Zophres

“Black Panther: Wakanda Forever,” Ruth Carter

“Elvis,” Catherine Martin

“Everything Everywhere All at Once,” Shirley Kurata

“Mrs. Harris Goes to Paris,” Jenny Beavan

Best Live Action Short

“An Irish Goodbye,” Tom Berkeley and Ross White

“Ivalu,” Anders Walter and Rebecca Pruzan

“Le Pupille,” Alice Rohrwacher and Alfonso Cuarón

“Night Ride,” Eirik Tveiten and Gaute Lid Larssen

“The Red Suitcase,” Cyrus Neshvad

Best Makeup and Hairstyling 

“All Quiet on the Western Front,” Heike Merker and Linda Eisenhamerová

“The Batman,” Naomi Donne, Mike Marino and Mike Fontaine

“Black Panther: Wakanda Forever,” Camille Friend and Joel Harlow

“Elvis,” Mark Coulier, Jason Baird and Aldo Signoretti

The Whale,” Adrien Morot, Judy Chin and Anne Marie Bradley

Best Original Score 

“All Quiet on the Western Front,” Volker Bertelmann

“Babylon,” Justin Hurwitz

“The Banshees of Inisherin,” Carter Burwell

“Everything Everywhere All at Once,” Son Lux

“The Fabelmans,” John Williams

Best Sound

“All Quiet on the Western Front,” Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel and Stefan Korte

“Avatar: The Way of Water,” Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers and Michael Hedges

“The Batman,” Stuart Wilson, William Files, Douglas Murray and Andy Nelson

“Elvis,” David Lee, Wayne Pashley, Andy Nelson and Michael Keller

“Top Gun: Maverick,” Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon and Mark Taylor