The Los Angeles Critics LOVE actresses, and Sandra Hüller most of all.
Many bristled (and still do) when some awards bodies started changing their acting awards to genderless categories. One of the principal complaints was that this would mean fewer artists awarded and that men would dominate. Or, in the LAFCA's case, a new name on the same system since having two winners each for Lead and Supporting meant they could go on giving prizes equivalent to the gendered divide of yore. That happened last year when Blanchett and Nighy took the Lead, Quan and de Leon Supporting. This year, however, the Los Angeles Film Critics Association decided to forego tradition altogether. Their four acting prizes went to women, making this their first edition without a single male actor among the honorees.
Come discover the complete set of winners and a lot of statistics, after the jump…
BEST FILM
THE ZONE OF INTEREST
Runner-up: OPPENHEIMER
Since the awards started in 1975 and not counting this year, 52 different titles won the LAFCA's Best Film award. Of those, 44 scored Best Picture nominations from AMPAS, or 85%. However, only twelve of the Los Angeles Critics' favorites scored the Oscar, or 23%. In 1985, Brazil was their first winner not to get a Best Picture Oscar nomination. Last year, their vote ended in a tie between Tár and Everything Everywhere All At Once. All this to say that, despite my early doubts, The Zone of Interest might be the awards player others have been saying.
Also, this group adores Alexander Payne, having already given him Best Film three times before, for About Schmidt, Sideways, and The Descendants. Their lack of love for The Holdovers beyond Randolph is atypical of them.
BEST DIRECTOR
Jonathan Glazer, THE ZONE OF INTEREST
Runner-Up: Yorgos Lanthimos, POOR THINGS
The correlation between the LAFCA Director honors and the Oscars is similar to their Best Picture record. Forty-four of their 51 winners secured a nomination from AMPAS, and 18 won. Statistically, 86% score the nod, while 35% win. In 1985, Terry Gilliam was their first winner not to get a Best Director Oscar nomination, and Jane Campion's The Power of the Dog marked the last time they completely matched with the Academy. One wonders if Glazer will join the likes of Debra Granick, who took the LAFCA prize for Leave No Trace but got no love from the Oscar voters.
Overall, this was a good day for Glazer, who also won with the Boston critics. These two groups rarely agree when it comes to directing excellence. Indeed, whenever they picked the same person, the artist scored an Oscar nomination. If he misses, it'll be a first.
BEST LEAD PERFORMANCE
Sandra Hüller, ANATOMY OF A FALL and THE ZONE OF INTEREST & Emma Stone, POOR THINGS
Runners-up: Andrew Scott, ALL OF US STRANGERS & Jeffrey Wright, AMERICAN FICTION
So, these results make for some obstacles in our numbers-heavy analysis. Let's start with the women.
Prior to this year, 40 of the LAFCA's 54 Best Actress winners were also Oscar-nominated, and 17 won. Statistically, that means 74% and 31%, respectively.
Right off the bat, the Association wasn't interested in awarding actresses lined up for Oscar glory. Their first-ever winner was Florinda Bolkan in A Brief Vacation. Moreover, the Academy and Los Angeles critics sometimes have differing views on categorization. Though Mercedes Ruehl and Patricia Arquette won Best Actress from the LAFCA, they both went on to win the Supporting Actress Oscar. In another case, Moore won for her body of work in 2002, which included The Hours. Later, she'd score an additional Oscar nomination for it in Best Supporting Actress.
The last time one of their winners also took the Oscar was Olivia Colman in 2018.
In contrast with its sister category, Best Actor at the LAFCA was always closely tied to Oscar hopeful names. The first time one of their winners didn't get the Academy's nomination was in 1987, with Steve Martin in Roxanne. But even then, he tied with Jack Nicholson, who went on to be nominated for Ironweed. So, the actual first time their Best Actor picks were snubbed altogether was in 2000, with Michael Douglas in the Wonder Boys.
Despite their runner-up status, All this could mean good things for Scott and Wright. In total, 43 of 52 LAFCA winners scored Oscar nominations, and 18 won. Statistically, that's 83% and 34%. Scott could benefit from this spotlight like Bill Nighy did last year. As for Wright, he has been exceptionally consistent in the season's first few weeks. Then again, if he hopes to win the big prize, one should note that the LAFCA's last victor to get the Oscar was Colin Firth in 2010.
BEST SUPPORTING PERFORMANCE
Rachel McAdams, ARE YOU THERE GOD? IT'S ME, MARGARET. & Da'Vine Joy Randolph, THE HOLDOVERS
Runners-up: Lily Gladstone, KILLERS OF THE FLOWER MOON & Ryan Gosling, BARBIE
The Supporting acting prizes were only implemented in 1977, for the awards' third year. Like with the leads, let's start by talking about the women first since no male actor won anything from the LAFCA this year apart from honorable mentions.
Thirty-seven of the 49 supporting actresses who won this prize went on to be part of the Oscar lineup, and 18 won. Statistically, that comes up to 76% and 38%, respectively. In 2015, Alicia Vikander won the LAFCA award, but for Ex Machina instead of The Danish Girl. Dolly De Leon, last year's victor, is also the most recent name to be then snubbed by AMPAS. The same fate may await McAdams, but Randolph is the current frontrunner for the Oscar, having won every award in the season so far.
Another interesting tidbit is that Lily Gladstone, demoted to supporting by the Association, is a previous winner here, having taken this award in 2016 for Certain Women. Her loss means all of the LAFCA 2023 acting champions are first-time awardees.
Now, regarding the men, 33 out of 49 previous winners scored Oscar nominations. Fourteen took their glory to the Dolby stage. That means 67% got the Academy's nomination and 29% won. This should be good for Gosling, the de facto Supporting Actor winner, if the past gender-divided system was still in place.
BEST SCREENPLAY
Andrew Haigh, ALL OF US STRANGERS
Runner-up: Samy Burch, MAY DECEMBER
Out of 49 previous winners, only four of the LAFCA's favorite screenplays failed to score an Oscar nomination. Seventeen of the lucky 45, went on to win the Academy's little golden man. Statistically, this means a 92% nomination rate and 35% victories. Andrew Haigh has been lurking at the margins of the season so far, making a bigger splash with independent-focused awards. So, this is an excellent get for him and a signal that he may be fated for a first Oscar nomination in a few months.
Promising Young Woman was the last LAFCA winner to take the Oscar. About Schmidt is their most recent victor whose luck didn't translate to AMPAS whatsoever. Remember what I said about the Los Angeles critics loving Payne?
BEST EDITING
Laurent Sénéchal, ANATOMY OF A FALL
Runner-up: Jonathan Alberts, ALL OF US STRANGERS
This award has only been in effect since 2012, making it the most recent category in LAFCA history, give or take the rebranded acting races. Out of 11 winners, six scored Oscar nominations, and two won. That amounts to 55% and 18%, respectively. Still, it should be noted that their taste has differed from AMPAS's for the last couple of years.
In other words, let's celebrate Sénéchal's brilliance without necessarily thinking her a lock for Oscar gold. The same goes for Alberts' cutting of All of Us Strangers.
BEST CINEMATOGRAPHY
Robbie Ryan, POOR THINGS
Runner-up: Rodrigo Prieto, KILLERS OF THE FLOWER MOON & BARBIE
From 52 previous LAFCA winners, 38 scored Oscar nominations, and 17 took the prize. Statistically, that's 73% and 45%.
As with other categories, the closeness to AMPAS' taste peaked in the 1980s and has decreased since. That being said, Robbie Ryan's switch from antique-looking monochrome to a full-color explosion in newly created Kodak stock should impress the Academy's Cinematography branch. But, of course, Oppenheimer remains the frontrunner in that race.
BEST PRODUCTION DESIGN
Sarah Greenwood, BARBIE
Runner-up: Shona Heath and James Price, POOR THINGS
This category was implemented in 1993, and since then, 23 of its 31 victors got Oscar nominations to add to their LAFCA prizes. Fourteen of them even won. Statistically, that's 74% and 45%. Barbie is a fun addition to their scenographic canon, playing with the same kind of candy-colored artifice that saw Barb & Star Go to Vista Del Mar snatch itself a win.
BEST MUSIC
Mica Levi, THE ZONE OF INTEREST
Runner-up: Mark Ronson and Andrew Wyatt, BARBIE
This award was implemented in 1990 and has honored 41 films before this year. While some of these films didn't get Best Original Score nominations, a few got into Best Song. In the case of Once, Crazy Heart and RRR, they even won the Oscar. I counted every title that earned any music nomination or win from AMPAS.
The results are 18 films nominated for an Oscar and nine victorious, or 44% and 22%, respectively. Mica Levi's ominous score is an odd fit for the Academy's taste, though they're a previous nominee for Jackie. They are also a past LAFCA champion, having won for Glazer's Under the Skin in 2014. One should note that the voters made a point of highlighting the contribution of sound designer Jonnie Burn to the composer's work.
BEST ANIMATED FILM
THE BOY AND THE HERON
Runner-up: ROBOT DREAMS
The LAFCA implemented this award in 1989, way before the Academy did the same in 2001. For these numerical purposes, I only counted the years when both organizations gave the prize. Of those 23 winners, 21 got Oscar nominations, and 10 won the big one. Statistically, that's 91% and 43%. This is great for Hayao Miyazaki, who had previously won for Spirited Away. He also won the Academy Award for that same film. Combined with its box-office success, The Boy and the Heron seems like a bigger threat to take the Oscar every day that passes. Watch out, Spider-man!
BEST DOCUMENTARY FILM
MENUS-PLAISIRS – LES TROISGROS
Runner-up: THE ETERNAL MEMORY
This award was implemented in 1989, resulting in 36 victors before this year. Twenty scored Oscar nominations, and 12 won – 56% and 33%, respectively. Unlike other LAFCA prizes, this one has recently shown a bigger tie to AMPAS' taste. Indeed, eight of its last ten winners got on the Oscar ballot, and the other two made it to the shortlist phase of AMPAS' voting. Frederick Wiseman fans everywhere rejoice, for he might achieve his first competitive Oscar nomination this year.
BEST FOREIGN LANGUAGE FILM
ANATOMY OF A FALL
Runner-up: TÓTEM
Since the Academy's submission process is so different from the LAFCA eligibility rules, one can't compare this category directly to the Best International Film Oscar. So, for this write-up, I counted every film that got any recognition from AMPAS. That takes us to 23 out of their previous 52 winners getting into an Oscar ballot of some sort and ten winners. Statistically, that's 44% and 19%, respectively.
Another quirk from the Association is that they never give this and the Best Film prize to the same title anymore. The voting is built so it doesn't happen, so The Zone of Interest couldn't take it. Anatomy of a Fall is still an inspired, if unsurprising, champion, and it's likely to score a couple of Oscar nods. However, it will not be in the Best International Film race since it's not France's submission. That would be The Taste of Things.
In other news, congratulations to Tótem for coming so close to the win. The Mexican Oscar submission is looking more and more likely as a potential nominee. It'd be highly deserved, as Lila Avilés' latest feature is one of the year's best and most devastating watches.
Along with these categories, the LAFCA also awarded Celine Song their New Generation Prize. Wang Bing's Youth (Spring) was selected for the Douglas Edwards Experimental Film Award, while Polish director Agnieszka Holland was the recipient of this year's Career Achievement Award.
What do you make of the LAFCA winners? Regardless of their effect on the Oscar race, which victories made you happiest?