By Laura Rooney laura@moviecitynews.com

Oscar Nominees – By Film

45 Years
1 Nomination
  • Actress in a Leading Role – Charlotte Rampling
The 100-Year-Old Man Who Climbed out the Window and Disappeared
1 Nomination
  • Makeup and Hairstyling – Love Larson and Eva von Bahr
Amy
1 Nomination
  • Documentary (Feature) – Asif Kapadia and James Gay-Rees
Anomalisa
1 Nomination
  • Animated Feature Film – Charlie Kaufman, Duke Johnson and Rosa Tran
Ave Maria
1 Nomination
Short Film (Live Action) – Basil Khalil and Eric Dupont
Bear Story
1 Nomination
  • Short Film (Animated) – Gabriel Osorio and Pato Escala
The Big Short
5 Nominations

  • Directing – Adam McKay
  • Best Picture – Brad Pitt, Dede Gardner and Jeremy Kleiner, Producers
  • Actor in a Supporting Role – Christian Bale
  • Film Editing – Hank Corwin
  • Writing (Adapted Screenplay) – Screenplay by Charles Randolph and Adam McKay
Body Team 12
1 Nomination
  • Documentary (Short Subject) – David Darg and Bryn Mooser
Boy and the World
1 Nomination
  • Animated Feature Film – Alê Abreu
Bridge of Spies
6 Nominations
  • Sound Mixing – Andy Nelson, Gary Rydstrom and Drew Kunin
  • Actor in a Supporting Role – Mark Rylance
  • Production Design – Production Design: Adam Stockhausen; Set Decoration: Rena DeAngelo and Bernhard Henrich
  • Best Picture – Steven Spielberg, Marc Platt and Kristie Macosko Krieger, Producers
  • Music (Original Score) – Thomas Newman
  • Writing (Original Screenplay) – Written by Matt Charman and Ethan Coen & Joel Coen
Brooklyn
3 Nominations
  • Best Picture – Finola Dwyer and Amanda Posey, Producers
  • Actress in a Leading Role – Saoirse Ronan
  • Writing (Adapted Screenplay) – Screenplay by Nick Hornby
Carol
6 Nominations
  • Music (Original Score) – Carter Burwell
  • Actress in a Leading Role – Cate Blanchett
  • Cinematography – Ed Lachman
  • Actress in a Supporting Role – Rooney Mara
  • Costume Design – Sandy Powell
  • Writing (Adapted Screenplay) – Screenplay by Phyllis Nagy
Cartel Land
1 Nomination
  • Documentary (Feature) – Matthew Heineman and Tom Yellin
Chau, beyond the Lines
1 Nomination
  • Documentary (Short Subject) – Courtney Marsh and Jerry Franck
Cinderella
1 Nomination
  • Costume Design – Sandy Powell
Claude Lanzmann: Spectres of the Shoah
1 Nomination
  • Documentary (Short Subject) – Adam Benzine
Creed
1 Nomination
  • Actor in a Supporting Role – Sylvester Stallone
The Danish Girl
4 Nominations
  • Actress in a Supporting Role – Alicia Vikander
  • Actor in a Leading Role – Eddie Redmayne
  • Costume Design – Paco Delgado
  • Production Design – Production Design: Eve Stewart; Set Decoration: Michael Standish
Day One
1 Nomination
  • Short Film (Live Action) – Henry Hughes
Embrace of the Serpent
1 Nomination
  • Foreign Language Film – Colombia
Everything Will Be Okay (Alles Wird Gut)
1 Nomination
  • Short Film (Live Action) – Patrick Vollrath
Ex Machina
2 Nominations
  • Visual Effects – Andrew Whitehurst, Paul Norris, Mark Ardington and Sara Bennett
  • Writing (Original Screenplay) – Written by Alex Garland
Fifty Shades of Grey
1 Nomination
  • Music (Original Song) – “Earned It” from Fifty Shades of Grey; Music and Lyric by Abel Tesfaye, Ahmad Balshe, Jason Daheala Quenneville and Stephan Moccio
A Girl in the River: The Price of Forgiveness
1 Nomination
  • Documentary (Short Subject) – Sharmeen Obaid-Chinoy
The Hateful Eight
3 Nominations
  • Music (Original Score) – Ennio Morricone
  • Actress in a Supporting Role – Jennifer Jason Leigh
  • Cinematography – Robert Richardson
The Hunting Ground
1 Nomination
  • Music (Original Song) – “Til It Happens To You” from The Hunting Ground; Music and Lyric by Diane Warren and Lady Gaga
Inside Out
2 Nominations
  • Animated Feature Film – Pete Docter and Jonas Rivera
  • Writing (Original Screenplay) – Screenplay by Pete Docter, Meg LeFauve, Josh Cooley; Original story by Pete Docter, Ronnie del Carmen
Joy
1 Nomination
  • Actress in a Leading Role – Jennifer Lawrence
Last Day of Freedom
1 Nomination
  • Documentary (Short Subject) – Dee Hibbert-Jones and Nomi Talisman
The Look of Silence
1 Nomination
  • Documentary (Feature) – Joshua Oppenheimer and Signe Byrge Sørensen
Mad Max: Fury Road
10 Nominations
  • Visual Effects – Andrew Jackson, Tom Wood, Dan Oliver and Andy Williams
  • Sound Mixing – Chris Jenkins, Gregg Rudloff and Ben Osmo
  • Best Picture – Doug Mitchell and George Miller, Producers
  • Directing – George Miller
  • Costume Design – Jenny Beavan
  • Cinematography – John Seale
  • Makeup and Hairstyling – Lesley Vanderwalt, Elka Wardega and Damian Martin
  • Film Editing – Margaret Sixel
  • Sound Editing – Mark Mangini and David White
  • Production Design – Production Design: Colin Gibson; Set Decoration: Lisa Thompson
The Martian
7 Nominations
  • Actor in a Leading Role – Matt Damon
  • Sound Editing – Oliver Tarney
  • Sound Mixing – Paul Massey, Mark Taylor and Mac Ruth
  • Production Design – Production Design: Arthur Max; Set Decoration: Celia Bobak
  • Visual Effects – Richard Stammers, Anders Langlands, Chris Lawrence and Steven Warner
  • Writing (Adapted Screenplay) – Screenplay by Drew Goddard
  • Best Picture – Simon Kinberg, Ridley Scott, Michael Schaefer and Mark Huffam, Producers
Mustang
1 Nomination
  • Foreign Language Film – France
Prologue
1 Nomination
  • Short Film (Animated) – Richard Williams and Imogen Sutton
Racing Extinction
1 Nomination
  • Music (Original Song) – “Manta Ray” from Racing Extinction; Music by J. Ralph, Lyric by Antony Hegarty
 
The Revenant
12 Nominations
  • Directing – Alejandro G. Iñárritu
  • Best Picture – Arnon Milchan, Steve Golin, Alejandro G. Iñárritu, Mary Parent and Keith Redmon, Producers
  • Cinematography – Emmanuel Lubezki
  • Costume Design – Jacqueline West
  • Sound Mixing – Jon Taylor, Frank A. Montaño, Randy Thom and Chris Duesterdiek
  • Actor in a Leading Role – Leonardo DiCaprio
  • Sound Editing – Martin Hernandez and Lon Bender
  • Production Design – Production Design: Jack Fisk; Set Decoration: Hamish Purdy
  • Visual Effects – Rich McBride, Matthew Shumway, Jason Smith and Cameron Waldbauer
  • Makeup and Hairstyling – Siân Grigg, Duncan Jarman and Robert Pandini
  • Film Editing – Stephen Mirrione
  • Actor in a Supporting Role – Tom Hardy
Room
4 Nominations
  • Actress in a Leading Role – Brie Larson
  • Best Picture – Ed Guiney, Producer
  • Directing – Lenny Abrahamson
  • Writing (Adapted Screenplay) – Screenplay by Emma Donoghue
Sanjay’s Super Team
1 Nomination
  • Short Film (Animated) – Sanjay Patel and Nicole Grindle
Shaun the Sheep Movie
1 Nomination
  • Animated Feature Film – Mark Burton and Richard Starzak
Shok
1 Nomination
  • Short Film (Live Action) – Jamie Donoughue
Sicario
3 Nominations
  • Sound Editing – Alan Robert Murray
  • Music (Original Score) – Jóhann Jóhannsson
  • Cinematography – Roger Deakins
Son of Saul
1 Nomination
  • Foreign Language Film – Hungary
Spectre
1 Nomination
  • Music (Original Song) – “Writing’s On The Wall” from Spectre; Music and Lyric by Jimmy Napes and Sam Smith
Spotlight
6 Nominations
  • Actor in a Supporting Role – Mark Ruffalo
  • Best Picture – Michael Sugar, Steve Golin, Nicole Rocklin and Blye Pagon Faust, Producers
  • Actress in a Supporting Role – Rachel McAdams
  • Film Editing – Tom McArdle
  • Directing – Tom McCarthy
  • Writing (Original Screenplay) – Written by Josh Singer & Tom McCarthy
Star Wars: The Force Awakens
5 Nominations
  • Sound Mixing – Andy Nelson, Christopher Scarabosio and Stuart Wilson
  • Music (Original Score) – John Williams
  • Film Editing – Maryann Brandon and Mary Jo Markey
  • Sound Editing – Matthew Wood and David Acord
  • Visual Effects – Roger Guyett, Patrick Tubach, Neal Scanlan and Chris Corbould
Steve Jobs
2 Nominations
  • Actress in a Supporting Role – Kate Winslet
  • Actor in a Leading Role – Michael Fassbender
Straight Outta Compton
1 Nomination
  • Writing (Original Screenplay) – Screenplay by Jonathan Herman and Andrea Berloff; Story by S. Leigh Savidge & Alan Wenkus and Andrea Berloff
Stutterer
1 Nomination
  • Short Film (Live Action) – Benjamin Cleary and Serena Armitage
Theeb
1 Nomination
  • Foreign Language Film – Jordan
Trumbo
1 Nomination
  • Actor in a Leading Role – Bryan Cranston
A War
1 Nomination
  • Foreign Language Film – Denmark
We Can’t Live without Cosmos
1 Nomination
  • Short Film (Animated) – Konstantin Bronzit
What Happened, Miss Simone?
1 Nomination
  • Documentary (Feature) – Liz Garbus, Amy Hobby and Justin Wilkes
When Marnie Was There
1 Nomination
  • Animated Feature Film – Hiromasa Yonebayashi and Yoshiaki Nishimura
Winter on Fire: Ukraine’s Fight for Freedom
1 Nomination
  • Documentary (Feature) – Evgeny Afineevsky and Den Tolmor
World of Tomorrow
1 Nomination
  • Short Film (Animated) – Don Hertzfeldt
Youth
1 Nomination
  • Music (Original Song) – “Simple Song #3” from Youth; Music and Lyric by David Lang

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This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.

“One of the fun things about seeing the new Quentin Tarantino film three months early in Cannes (did I mention this?) is that I know exactly why it’s going to make some people furious, and thus I have time to steel myself for the takes.

Back in July 2017, when it was revealed that Tarantino’s next project was connected to the Manson Family murders, it was condemned in some quarters as an insulting and exploitative stunt. We usually require at least a fig-leaf of compassion for the victims in true-crime adaptations, and even Tarantino partisans like myself – I don’t think he’s made a bad film yet – found ourselves wondering how he might square his more outré stylistic impulses with the depiction of a real mass murder in which five people and one unborn child lost their lives.

After all, it’s one thing to slice off with gusto a fictional policeman’s ear; it’s quite another to linger over the gory details of a massacre that took place within living memory, and which still carries a dread historical significance.

In her essay The White Album, Joan Didion wrote: “Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the murders on Cielo Drive traveled like brushfire through the community, and in a sense this is true.”

Early in Once Upon a Time in Hollywood, as Leonardo DiCaprio and Brad Pitt’s characters drive up the hill towards Leo’s bachelor pad, the camera cranes up gently to reveal a street sign: Cielo Drive. Tarantino understands how charged that name is; he can hear the Molotov cocktails clinking as he shoulders the crate.

As you may have read in the reviews from Cannes, much of the film is taken up with following DiCaprio and Pitt’s characters – a fading TV actor and his long-serving stunt double – as they amusingly go about their lives in Los Angeles, while Margot Robbie’s Sharon Tate is a relatively minor presence. But the spectre of the murders is just over the horizon, and when the night of the 9th finally arrives, you feel the mood in the cinema shift.

No spoilers whatsoever about what transpires on screen. But in the audience, as it became clear how Tarantino was going to handle this extraordinarily loaded moment, the room soured and split, like a pan of cream left too long on the hob. I craned in, amazed, but felt the person beside me recoil in either dismay or disgust.

Two weeks on, I’m convinced that the scene is the boldest and most graphically violent of Tarantino’s career – I had to shield my eyes at one point, found myself involuntarily groaning “oh no” at another – and a dead cert for the most controversial. People will be outraged by it, and with good reason. But in a strange and brilliant way, it takes Didion’s death-of-the-Sixties observation and pushes it through a hellfire-hot catharsis.

Hollywood summoned up this horror, the film seems to be saying, and now it’s Hollywood’s turn to exorcise it. I can’t wait until the release in August, when we can finally talk about why.

~ Robbie Collin