By MCN Editor editor@moviecitynews.com

2017 Oscar Nominations

Best Picture
Arrival – Shawn Levy, Dan Levine, Aaron Ryder and David Linde, Producers
Fences – Scott Rudin, Denzel Washington and Todd Black, Producers
Hacksaw Ridge – Bill Mechanic and David Permut, Producers
Hell or High Water – Carla Hacken and Julie Yorn, Producers
Hidden Figures – Donna Gigliotti, Peter Chernin, Jenno Topping, Pharrell Williams and Theodore Melfi, Producers
La La Land – Fred Berger, Jordan Horowitz and Marc Platt, Producers
Lion – Emile Sherman, Iain Canning and Angie Fielder, Producers
Manchester by the Sea – Matt Damon, Kimberly Steward, Chris Moore, Lauren Beck and Kevin J. Walsh, Producers
Moonlight – Adele Romanski, Dede Gardner and Jeremy Kleiner, Producers

Actor in a Leading Role
Casey Affleck – Manchester by the Sea
Andrew Garfield – Hacksaw Ridge
Ryan Gosling – La La Land
Viggo Mortensen – Captain Fantastic
Denzel Washington – Fences

Actor in a Supporting Role
Mahershala Ali – Moonlight
Jeff Bridges – Hell or High Water
Lucas Hedges – Manchester by the Sea
Dev Patel – Lion
Michael Shannon – Nocturnal Animals

Actress in a Leading Role
Isabelle Huppert – Elle
Ruth Negga – Loving
Natalie Portman – Jackie
Emma Stone – La La Land
Meryl Streep – Florence Foster Jenkins

Actress in a Supporting Role
Viola Davis – Fences
Naomie Harris – Moonlight
Nicole Kidman – Lion
Octavia Spencer – Hidden Figures
Michelle Williams – Manchester by the Sea

Animated Feature Film
Kubo and the Two Strings – Travis Knight and Arianne Sutner
Moana – John Musker, Ron Clements and Osnat Shurer
My Life as a Zucchini – Claude Barras and Max Karli
The Red Turtle – Michael Dudok de Wit and Toshio Suzuki
Zootopia – Byron Howard, Rich Moore and Clark Spencer

Cinematography
Arrival – Bradford Young
La La Land – Linus Sandgren
Lion – Greig Fraser
Moonlight – James Laxton
Silence – Rodrigo Prieto

Costume Design
Allied – Joanna Johnston
Fantastic Beasts and Where to Find Them – Colleen Atwood
Florence Foster Jenkins – Consolata Boyle
Jackie – Madeline Fontaine
La La Land – Mary Zophres

Directing
Arrival – Denis Villeneuve
Hacksaw Ridge – Mel Gibson
La La Land – Damien Chazelle
Manchester by the Sea – Kenneth Lonergan
Moonlight – Barry Jenkins

Documentary (Feature)
Fire at Sea – Gianfranco Rosi and Donatella Palermo
I Am Not Your Negro – Raoul Peck, Rémi Grellety and Hébert Peck
Life, Animated – Roger Ross Williams and Julie Goldman
O.J.: Made in America – Ezra Edelman and Caroline Waterlow
13th – Ava DuVernay, Spencer Averick and Howard Barish

Documentary (Short Subject)
Extremis – Dan Krauss
4.1 Miles – Daphne Matziaraki
Joe’s Violin – Kahane Cooperman and Raphaela Neihausen
Watani: My Homeland – Marcel Mettelsiefen and Stephen Ellis
The White Helmets – Orlando von Einsiedel and Joanna Natasegara

Film Editing
Arrival – Joe Walker
Hacksaw Ridge – John Gilbert
Hell or High Water – Jake Roberts
La La Land – Tom Cross
Moonlight – Nat Sanders and Joi McMillon

Foreign Language Film
Land of Mine – Denmark
A Man Called Ove – Sweden
The Salesman – Iran
Tanna – Australia
Toni Erdmann – Germany

Makeup and Hairstyling
A Man Called Ove – Eva von Bahr and Love Larson
Star Trek Beyond – Joel Harlow and Richard Alonzo
Suicide Squad – Alessandro Bertolazzi, Giorgio Gregorini and Christopher Nelson

Music (Original Score)
Jackie – Mica Levi
La La Land – Justin Hurwitz
Lion – Dustin O’Halloran and Hauschka
Moonlight – Nicholas Britell
Passengers – Thomas Newman

Music (Original Song)
Audition (The Fools Who Dream) – from La La Land; Music by Justin Hurwitz; Lyric by Benj Pasek and Justin Paul
Can’t Stop The Feeling – from Trolls; Music and Lyric by Justin Timberlake, Max Martin and Karl Johan Schuster
City of Stars – from La La Land; Music by Justin Hurwitz; Lyric by Benj Pasek and Justin Paul
The Empty Chair – from Jim: The James Foley Story; Music and Lyric by J. Ralph and Sting
How Far I’ll Go – from Moana; Music and Lyric by Lin-Manuel Miranda

Production Design
Arrival – Production Design: Patrice Vermette; Set Decoration: Paul Hotte
Fantastic Beasts and Where to Find Them – Production Design: Stuart Craig; Set Decoration: Anna Pinnock
Hail, Caesar! – Production Design: Jess Gonchor; Set Decoration: Nancy Haigh
La La Land – Production Design: David Wasco; Set Decoration: Sandy Reynolds-Wasco
Passengers – Production Design: Guy Hendrix Dyas; Set Decoration: Gene Serdena

Short Film (Animated)
Blind Vaysha – Theodore Ushev
Borrowed Time – Andrew Coats and Lou Hamou-Lhadj
Pear Cider and Cigarettes – Robert Valley and Cara Speller
Pearl – Patrick Osborne
Piper – Alan Barillaro and Marc Sondheimer

Short Film (Live Action)
Ennemis Intérieurs – Sélim Azzazi
La Femme et le TGV – Timo von Gunten and Giacun Caduff
Silent Nights – Aske Bang and Kim Magnusson
Sing – Kristof Deák and Anna Udvardy
Timecode – Juanjo Giménez

Sound Editing
Arrival – Sylvain Bellemare
Deepwater Horizon – Wylie Stateman and Renée Tondelli
Hacksaw Ridge – Robert Mackenzie and Andy Wright
La La Land – Ai-Ling Lee and Mildred Iatrou Morgan
Sully – Alan Robert Murray and Bub Asman

Sound Mixing
Arrival – Bernard Gariépy Strobl and Claude La Haye
Hacksaw Ridge – Kevin O’Connell, Andy Wright, Robert Mackenzie and Peter Grace
La La Land – Andy Nelson, Ai-Ling Lee and Steve A. Morrow
Rogue One: A Star Wars Story – David Parker, Christopher Scarabosio and Stuart Wilson
13 Hours: The Secret Soldiers of Benghazi – Greg P. Russell, Gary Summers, Jeffrey J. Haboush and Mac Ruth

Visual Effects
Deepwater Horizon – Craig Hammack, Jason Snell, Jason Billington and Burt Dalton
Doctor Strange – Stephane Ceretti, Richard Bluff, Vincent Cirelli and Paul Corbould
The Jungle Book – Robert Legato, Adam Valdez, Andrew R. Jones and Dan Lemmon
Kubo and the Two Strings – Steve Emerson, Oliver Jones, Brian McLean and Brad Schiff
Rogue One: A Star Wars Story – John Knoll, Mohen Leo, Hal Hickel and Neil Corbould

Writing (Adapted Screenplay)
Arrival – Screenplay by Eric Heisserer
Fences – Screenplay by August Wilson
Hidden Figures – Screenplay by Allison Schroeder and Theodore Melfi
Lion – Screenplay by Luke Davies
Moonlight – Screenplay by Barry Jenkins; Story by Tarell Alvin McCraney

Writing (Original Screenplay)
Hell or High Water – Written by Taylor Sheridan
La La Land – Written by Damien Chazelle
The Lobster – Written by Yorgos Lanthimos, Efthimis Filippou
Manchester by the Sea – Written by Kenneth Lonergan
20th Century Women – Written by Mike Mills

2 Responses to “2017 Oscar Nominations”

  1. Daniella Isaacs says:

    Poor Amy Adams and Annette Benning (not that I would trade out any of the five who made it–such a strong year), poor Martin Scorsese (Gibson get in but not him!?), poor Simon Helberg…

  2. lockedcut says:

    Manchester weak (no editing), silence snubbed, passengers with two noms, no john Williams or Star Wars and seven actors of color (but only one director of color rather than a precedent shattering multiple) cinematography remains the only category to never have a woman nominated. No Pixar in a year they were eligible

Quote Unquotesee all »

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