Oscar Nominees 2024: Full List

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Actor in a Leading Role

Nominees

Bradley Cooper

Maestro

 

Colman Domingo

Rustin

 

Paul Giamatti

The Holdovers

 

Cillian Murphy

Oppenheimer

 

Jeffrey Wright

American Fiction

 

Actor in a Supporting Role

Nominees

Sterling K. Brown

American Fiction

 

Robert De Niro

Killers of the Flower Moon

 

Robert Downey Jr.

Oppenheimer

 

Ryan Gosling

Barbie

 

Mark Ruffalo

Poor Things

 

Actress in a Leading Role

Nominees

Annette Bening

Nyad

 

Lily Gladstone

Killers of the Flower Moon

 

Sandra Hüller

Anatomy of a Fall

 

Carey Mulligan

Maestro

 

Emma Stone

Poor Things

 

Actress in a Supporting Role

Nominees

Emily Blunt

Oppenheimer

 

Danielle Brooks

The Color Purple

 

America Ferrera

Barbie

 

Jodie Foster

Nyad

 

Da'Vine Joy Randolph

The Holdovers

 

Animated Feature Film

Nominees

The Boy and the Heron

Hayao Miyazaki and Toshio Suzuki

 

Elemental

Peter Sohn and Denise Ream

 

Nimona

Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary

 

Robot Dreams

Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz

 

Spider-Man: Across the Spider-Verse

Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal

 

Cinematography

Nominees

El Conde

Edward Lachman

 

Killers of the Flower Moon

Rodrigo Prieto

 

Maestro

Matthew Libatique

 

Oppenheimer

Hoyte van Hoytema

 

Poor Things

Robbie Ryan

 

Costume Design

Nominees

Barbie

Jacqueline Durran

 

Killers of the Flower Moon

Jacqueline West

 

Napoleon

Janty Yates and Dave Crossman

 

Oppenheimer

Ellen Mirojnick

 

Poor Things

Holly Waddington

 

Directing

Nominees

Anatomy of a Fall

Justine Triet

 

Killers of the Flower Moon

Martin Scorsese

 

Oppenheimer

Christopher Nolan

 

Poor Things

Yorgos Lanthimos

 

The Zone of Interest

Jonathan Glazer

 

Documentary Feature Film

Nominees

Bobi Wine: The People's President

Moses Bwayo, Christopher Sharp and John Battsek

 

The Eternal Memory

Maite Alberdi

 

Four Daughters

Kaouther Ben Hania and Nadim Cheikhrouha

 

To Kill a Tiger

Nisha Pahuja, Cornelia Principe and David Oppenheim

 

20 Days in Mariupol

Mstyslav Chernov, Michelle Mizner and Raney Aronson-Rath

 

Documentary Short Film

Nominees

The ABCs of Book Banning

Sheila Nevins and Trish Adlesic

 

The Barber of Little Rock

John Hoffman and Christine Turner

 

Island in Between

S. Leo Chiang and Jean Tsien

 

The Last Repair Shop

Ben Proudfoot and Kris Bowers

 

Nǎi Nai & Wài Pó

Sean Wang and Sam Davis

 

Film Editing

Nominees

Anatomy of a Fall

Laurent Sénéchal

 

The Holdovers

Kevin Tent

 

Killers of the Flower Moon

Thelma Schoonmaker

 

Oppenheimer

Jennifer Lame

 

Poor Things

Yorgos Mavropsaridis

 

International Feature Film

Nominees

Io Capitano

Italy

 

Perfect Days

Japan

 

Society of the Snow

Spain

 

The Teachers' Lounge

Germany

 

The Zone of Interest

United Kingdom

 

Makeup and Hairstyling

Nominees

Golda

Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue

 

Maestro

Kazu Hiro, Kay Georgiou and Lori McCoy-Bell

 

Oppenheimer

Luisa Abel

 

Poor Things

Nadia Stacey, Mark Coulier and Josh Weston

 

Society of the Snow

Ana López-Puigcerver, David Martí and Montse Ribé

 

Music (Original Score)

Nominees

American Fiction

Laura Karpman

 

Indiana Jones and the Dial of Destiny

John Williams

 

Killers of the Flower Moon

Robbie Robertson

 

Oppenheimer

Ludwig Göransson

 

Poor Things

Jerskin Fendrix

 

Music (Original Song)

Nominees

The Fire Inside

from Flamin' Hot; Music and Lyric by Diane Warren

 

I'm Just Ken

from Barbie; Music and Lyric by Mark Ronson and Andrew Wyatt

 

It Never Went Away

from American Symphony; Music and Lyric by Jon Batiste and Dan Wilson

 

Wahzhazhe (A Song For My People)

from Killers of the Flower Moon; Music and Lyric by Scott George

 

What Was I Made For?

from Barbie; Music and Lyric by Billie Eilish and Finneas O'Connell

 

Best Picture

Nominees

American Fiction

Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson, Producers

 

Anatomy of a Fall

Marie-Ange Luciani and David Thion, Producers

 

Barbie

David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers

 

The Holdovers

Mark Johnson, Producer

 

Killers of the Flower Moon

Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi, Producers

 

Maestro

Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger, Producers

 

Oppenheimer

Emma Thomas, Charles Roven and Christopher Nolan, Producers

 

Past Lives

David Hinojosa, Christine Vachon and Pamela Koffler, Producers

 

Poor Things

Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone, Producers

 

The Zone of Interest

James Wilson, Producer

 

Production Design

Nominees

Barbie

Production Design: Sarah Greenwood; Set Decoration: Katie Spencer

 

Killers of the Flower Moon

Production Design: Jack Fisk; Set Decoration: Adam Willis

 

Napoleon

Production Design: Arthur Max; Set Decoration: Elli Griff

 

Oppenheimer

Production Design: Ruth De Jong; Set Decoration: Claire Kaufman

 

Poor Things

Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek

 

Animated Short Film

Nominees

Letter to a Pig

Tal Kantor and Amit R. Gicelter

 

Ninety-Five Senses

Jerusha Hess and Jared Hess

 

Our Uniform

Yegane Moghaddam

 

Pachyderme

Stéphanie Clément and Marc Rius

 

WAR IS OVER! Inspired by the Music of John & Yoko

Dave Mullins and Brad Booker

 

Live Action Short Film

Nominees

The After

Misan Harriman and Nicky Bentham

 

Invincible

Vincent René-Lortie and Samuel Caron

 

Knight of Fortune

Lasse Lyskjær Noer and Christian Norlyk

 

Red, White and Blue

Nazrin Choudhury and Sara McFarlane

 

The Wonderful Story of Henry Sugar

Wes Anderson and Steven Rales

 

Sound

Nominees

The Creator

Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich and Dean Zupancic

 

Maestro

Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich and Dean Zupancic

 

Mission: Impossible - Dead Reckoning Part One

Chris Munro, James H. Mather, Chris Burdon and Mark Taylor

 

Oppenheimer

Willie Burton, Richard King, Gary A. Rizzo and Kevin O'Connell

 

The Zone of Interest

Tarn Willers and Johnnie Burn

 

Visual Effects

Nominees

The Creator

Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould

 

Godzilla Minus One

Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima

 

Guardians of the Galaxy Vol. 3

Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek

 

Mission: Impossible - Dead Reckoning Part One

Alex Wuttke, Simone Coco, Jeff Sutherland and Neil Corbould

 

Napoleon

Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould

 

Writing (Adapted Screenplay)

Nominees

American Fiction

Written for the screen by Cord Jefferson

 

Barbie

Written by Greta Gerwig & Noah Baumbach

 

Oppenheimer

Written for the screen by Christopher Nolan

 

Poor Things

Screenplay by Tony McNamara

 

The Zone of Interest

Written by Jonathan Glazer

 

Writing (Original Screenplay)

Nominees

Anatomy of a Fall

Screenplay - Justine Triet and Arthur Harari

 

The Holdovers

Written by David Hemingson

 

Maestro

Written by Bradley Cooper & Josh Singer

 

May December

Screenplay by Samy Burch; Story by Samy Burch & Alex Mechanik

 

Past Lives

Written by Celine Song

 

 

FILM CRITICISM IS...

Welcome!

Groupthink doesn't live here, critical thought does.This ad-free website is dedicated to Agnès Varda and to Luis Buñuel.

Get cool rewards when you click on the button to pledge your support through Patreon.

Thanks a lot acorns!

Your kind generosity keeps the reviews coming!

 

 

It's not called film praise; it's called film criticism for a reason. There's an art to it.

There are plenty of ego-stroking bottom feeders who call themselves film critics, or better yet, reviewers. These reprobates can easily be discovered by noticing the usual suspects whose names constantly show up in movie ads.

In NYC we call them quote whores.

Frequently, these poseurs hide behind a media entity that masks their identity by usurping it with their brand. Nevertheless, if you get a gig writing for the New York Times, you'll automatically earn "Top Critic" status on RottenTomatoes. Corporate is as corporate does.

Roger Ebert has been dead for years, yet somehow RogerEbert.com is still getting credit for reviews being written in 2023. Weird, I know. What a load of bullshit.

A film critic is not a brand; the art of film criticism is much more than that.

I've been a published film critic for 30 years now. Over that time I've written for dozens and dozens of outlets. I've written well over four million words across 4000 film reviews. So what. Note the lack of a question mark.

Now that oxymoronic Social Media has driven the final nail of clickbait into the coffin of any editorial oversight anywhere, I don't write for the same reasons that I once did. Nonetheless, I still write because I am a writer.

The death of the alt weeklies was a canary in the coalmine for more than just honest film criticism, it marked a degradation of American culture and communication.

I have my reasons for doing my job. It's my passion.

Film criticism is a job.

Professional is as the professional does.

Film criticism is not publicity.

Film criticism is not "content;" it is editorial fact.

You have to be a serious person in order to be a film critic, not that you have to take yourself too seriously; don't do that.

There is no such thing as a "good" or "bad" review, only good or bad movies.

Critical thought cannot be swayed by money. You can pay for a review; you cannot pay for the outcome of the critical analyses that it entails.

Film criticism exists to analyze its subject as a work of art, not commerce.

Film criticism is an individual pursuit, not a group activity. If you care what other people think about a specific movie or film, you're fucked.

Filmmakers Jean-Luc Goddard, Francoise Truffault, and Paul Schrader were each film critics before becoming filmmakers. They worked out their initial film theories by writing criticism. There are rich rewards if you're willing to put in the time. Children without siblings are naturals for becoming critics — less distraction.

Social media is a natural enemy to film criticism, and to rational thought for that matter.

The study and analyses of film/movies requires deep focus and concentration, the exact thing that social media rejects.

The value of Cinema rests with the patience to absorb its importance, not to exploit it.

A commercial cannot be a movie, i.e. "Barbie" is not a movie. Neither is "Black Panther." These are commercials made to move product.

All film is political; it is up to the film critic to draw upon research to define its political subtext.

Film criticism is not a club or a meritocracy.

Film criticism is writing, many hours of writing, for many years, if you're lucky.

Film criticism is a study of global sociology.

And endless study and research; if you haven't seen any of a filmmaker's past films, how can you pretend to contemplate the personal context of their latest movie? You can't.

It's none of our damn business how much money your dumb-ass movie made.

The movie industry teamed up with modern clickbait media to shit the bed of movie-going in America.

It's fine for industry professionals to turn into bean counters on their own time, but insulting the public by waving their huge profits under our noses as a merit badge is beyond the pale.

Money does not equal quality, quite the contrary.

Roger Ebert was an awful example of a narcissist passing as a film critic.

Because of the way Ebert fell into his job as a corporate film critic, he did not properly prepare for the task.

Contrary to Ebert's belief that a critic should write about his, her, or their experience of watching a movie (i.e. did it make you cry?) is bullshit.

Just because a movie makes you cry, does not automatically make it a good movie. There are many people who can make you cry, not all of them are good people.

The minimum requirement for any film critic is that he or she watch, and read reviews of the best 100 movies of all time. "John Kobal Presents the Top 100 Movies" (yes, it's a book) is a great place to start.

A love of international Cinema, the diligence to constantly study various aspects of Cinema, and the willingness to sit down to artfully express to the reader a cogent understanding of the movie at hand, are things that cannot be taught.

You've either got it, or you don't.

 

71 FESTIVAL INTERNATIONAL DU FILM DE CANNES — POSTER

One of the many things I love about Cannes is the beautiful poster art the festival's artists consistently come up with. Ah yes, the romantic fantasy of Cinema. Is there anything finer?