“Sinners” and “Wicked” lead the Oscar shortlists

by Cláudio Alves

Despite poor reviews WICKED: FOR GOOD is beloved by the industry. | © Universal Pictures

The Oscar shortlists announcement is an occasion that many a pundit anticipates, sometimes fears. Because it’s a day when narratives change, some consolidate, some emerge, while others crumble into nothingness. Three years ago, the shortlists were the first hint of just how big All Quiet on the Western Front was about to become, for example. For the 98th Academy Awards, there is no surprise champion, as Sinners and Wicked: For Good earn the most categories in a year when Casting and Cinematography are also among the shortlisted races. More surprisingly is Sirât’s surge, a cinematography selection full of antithetical picks and a Best International Film race where ten out of fifteen finalists arrive from outside of Europe, a rarity that should be celebrated.

Without further ado, here are the Oscar shortlists with some commentary…

Best Casting 

• FRANKENSTEIN, Robin D. Cook
• HAMNET, Nina Gold
• MARTY SUPREME, Jennifer Venditti
• ONE BATTLE AFTER ANOTHER, Cassandra Kulukundis
• THE SECRET AGENT, Gabriel Domingues
• SENTIMENTAL VALUE, Yngvill Kolset Haga & Avy Kaufman
• SINNERS, Francine Maisler
• SIRÂT, Nadia Acimi, Luis Bértolo & Maria Rodrigo
• WEAPONS, Allison Jones
• WICKED: FOR GOOD, Tiffany Little Canfield & Bernard Tesley 

We are witnessing the birth of a new Oscar category, the Best Casting prize, and the race is already dominated by Best Picture hopefuls. However, some surprises shake this predicament up, at least a little bit. Consider the presence of three non-English-language productions, including Sirât, whose cast is mostly composed of non-professional actors playing characters who even share their names. And then there’s Weapons, a good harbinger for those of us rooting for an Amy Madigan nomination. Sadly, some absences jump out, too. Wake Up Dead Man is finally making some noise and garnering buzz, but is it too little too late? Netflix’s release plans may have sabotaged the film’s awards potential, as it couldn’t even score here despite an all-star cast and a couple of performances that ought to be in the running. Speaking of Netflix, this is also bad news for Jay Kelly and A House of Dynamite. Frankenstein is really their best bet this year.

As a final note, let’s all cheer for Nina Gold, a veritable legend among casting directors who might finally be acknowledged by the Academy. Is she feeling the same as Edith Head way back in 1948 when the Best Costume Design category was first introduced?

Best Cinematography

• BALLAD OF A SMALL PLAYER, James Friend
• BUGONIA, Robbie Ryan
• DIE MY LOVE, Seamus McGarvey
• F1, Claudio Miranda
• FRANKENSTEIN, Dan Laustsen
• HAMNET, Lukasz Zal
• MARTY SUPREME, Darius Khondji
• NOUVELLE VAGUE, David Chambille
• ONE BATTLE AFTER ANOTHER, Michael Bauman
• SENTIMENTAL VALUE, Kasper Tuxen
• SINNERS, Autumn Durals Arkapaw
• SIRÂT, Mauro Herce
• SONG SUNG BLUE, Amy Vincent
• SOUND OF FALLING, Fabian Gamper
• TRAIN DREAMS, Adolpho Veloso
• WICKED: FOR GOOD, Alice Brooks 

What a wacky list! On the one hand, you have a slew of unexpected additions whose auteuristic pedigree didn’t scream Oscar. Sure, one might say Die My Love made it here out of a genuine love of this branch for McGarvey, but that doesn’t explain Herce and Gamper, who probably got here solely through how legitimately impressive and eye-catching their work is. Speaking of old favorites, Friend isn’t a surprising pick when you consider he’s a previous winner, even if Ballad of a Small Player seemed bound to be forgotten just a few days ago. On the other hand, Nouvelle Vague continues to surprise as the season heats up.

But then we get to matters of taste and how ludicrous I personally find some of these choices. What is Wicked doing here? I had conformed myself to Dan “enemy of cinema” Laustsen being a Best Cinematography nominee, but Alice Brooks wasn’t on my bingo card, and now maybe I should start fearing what’s to come on Oscar nomination morning. The same could be said about Song Sung Blue’s Amy Vincent.

The biggest shocks, as far as absences are concerned, must be Avatar: Fire and Ash, The Testament of Ann Lee and The Secret Agent. They’ve all been campaigning hard, with much fanfare about Fastvold’s 70mm lensing and Avatar’s technological experimentation with high-frame rate. I’m especially saddened by the end of Evgenia Alexandronova’s Oscar dreams, both because of the beauty of her work on the Brazilian submission and the fact that Neon actually tried to get her some well-deserved recognition with various industry screenings and articles on big outlets. And then there’s Jay Kelly, for which many had predicted would be embraced by the industry after critics gave it the cold shoulder – guess not.

Best Makeup and Hairstyling 

• THE ALTO KNIGHTS
• FRANKENSTEIN
• KOKUHO
• MARTY SUPREME
• NUREMBERG
• ONE BATTLE AFTER ANOTHER
• SINNERS
• THE SMASHING MACHINE
• THE UGLY STEPSISTER
• WICKED: FOR GOOD

One of the most unpredictable of Academy branches strikes again, rising Nuremberg from the dead while ignoring some widely predicted pictures like Weapons and Bugonia, 28 Years Later and Superman. I’m also rather surprised by the lack of Christy here, since many on its makeup team are Academy favorites.

As ever, there are a couple of international titles and, as ever, I’m delighted by their inclusion. The Ugly Stepsister delivers The Substance-style body horror with a Victoriana spin, while Kokuho should be catnip for this branch with its elaborate kabuki makeup, crossdressing and extensive aging effects to encompass a narrative that spans half a century. Either of them would make incredible nominees, and I’ll be rooting for them, even though they’re facing off against mighty competition.

Best Visual Effects 

• AVATAR: FIRE AND ASH
• THE ELECTRIC STATE
• F1
• FRANKENSTEIN
• JURASSIC WORLD: REBIRTH 
• THE LOST BUS
• SINNERS
• SUPERMAN
• TRON: ARES
• WICKED: FOR GOOD

Surprising absences include How to Train Your Dragon, The Fantastic Four, Mission: Impossible, the new Predator and Thunderbolts. After years of having a default slot in these VFX shortlists, the Marvel Cinematic Universe has fallen from grace a great deal. Still, none of the presumed frontrunners are missing. This still feels very much like Avatar’s to lose, with Wicked and F1 trailing behind as likely nominees, and then a free-for-all between Frankenstein, Sinners and Superman for those last two slots.

Best Original Score

• AVATAR: FIRE AND ASH, Simon Franglen
• BUGONIA, Jerskin Fendrix
• CAPTAIN AMERICA: BRAVE NEW WORLD, Laura Karpman
• DIANE WARREN: RELENTLESS, Lesley Barber
• F1, Hans Zimmer
• FRANKENSTEIN, Alexandre Desplat
• HAMNET, Max Richter
• HEDDA, Hildur Guonadottir 
• A HOUSE OF DYNAMITE, Volker Bertelmann
• JAY KELLY, Nicholas Britell
• MARTY SUPREME, Daniel Lopatin
• NUREMBERG, Brian Tyler
• ONE BATTLE AFTER ANOTHER, Jonny Greenwood
• SINNERS, Ludwig Göransson 
• SIRÂT, Kangding Ray 
• TRAIN DREAMS, Bryce Dressner 
• TRON: ARES, Trent Reznor & Atticus Ross
• TRUTH AND TREASON, Aaron Zigman
• WAKE UP DEAD MAN: A KNIVES OUT MYSTERY, Nathan Johnson
• WICKED: FOR GOOD, John Powell & Stephen Schwartz 

I still think it’s insane that Wicked is allowed to compete here. Even some of the most ostensibly original material – take Glinda’s wedding march, for example – is full of echoes and leitmotifs established by the stage show’s tunes. But speaking of musicals, let’s all mourn The Testament of Ann Lee, whose chances for some Oscar recognition are dwindling by the second. Good luck to those still holding on to Seyfried as a nominee. Not saying she doesn’t deserve the plaudits, but, so far, the industry seems awfully uninterested in Mona Fastvold’s Shaker biopic.

But I was just talking about the MCU at the Oscars, and this Best Original Score shortlist surprises on that front, too. Michael Giacchino was being heavily pushed by Disney as a contender here, with Son Lux’s work in Thunderbolts as the superhero alternative. And yet, the critically panned Captain America was the only one to show up among the music branch’s picks. A bizarre turn of events, and one I can’t say I’m especially happy about. In contrast, the voting composers love Netflix more than any other branch, recognizing such titles as A House of Dynamite, Jay Kelly and Wake Up Dead Man, which were otherwise absent from any of these lists.

Best Original Song 

• “As Alive As You Need Me To Be” from TRON: ARES
• “Dear Me” from DIANE WARREN: RELENTLESS
• “Dream As One” from AVATAR: FIRE AND ASH
• “Drive” from F1
• “Dying to Live” from BILLY IDOL SHOULD BE DEAD
• “The Girl in the Bubble” from WICKED: FOR GOOD
• “Golden” from KPOP DEMON HUNTERS 
• “Highest 2 Lowest” from HIGHEST 2 LOWEST 
• “I Lied to You” from SINNERS 
• “Last Time (I Seen the Sun)” from SINNERS
• “No Place Like Home” from WICKED: FOR GOOD
• “Our Love” from THE BALLAD OF WALLIS ISLAND
• “Salt Then Sour Then Sweet” from COME SEE ME IN THE GOOD LIGHT 
• “Sweet Dreams Of Joy” from VIVA VERDI!
• “Train Dreams” from TRAIN DREAMS

At this point, this category seems predicated on two inevitabilities – “Golden” will win and “Dear Me” will deliver the obligatory Diane Warren nomination. Indeed, the music branch’s obsession with that woman is so intense that they even shortlisted her documentary for score. At this point, I wonder if this nonsense will continue even if, someday, she wins the damned thing. Alas, for the 98th Academy Awards, the KPop Demon Hunters tune feels as sure a thing as “Let It Go” was back in 2013. 

In other news, it’s interesting to see which films managed to get multiple submissions shortlisted, and which lost a couple of their contenders along the way. Good news for Sinners and Wicked: For Good, while F1 shows signs of weakness.

Best Sound

• AVATAR: FIRE AND ASH
• F1
• FRANKENSTEIN
• MISSION: IMPOSSIBLE – THE FINAL RECKONING
• ONE BATTLE AFTER ANOTHER
• SINNERS
• SIRÂT 
• SPRINGSTEEN: DELIVER ME FROM NOWHERE
• SUPERMAN
• WICKED: FOR GOOD

No love for Marty Supreme feels a tad surprising, considering how much the sound design plays into that film’s sensorial overloading design. Other notable absences include Warfare, Tron: Ares and Johnnir Burns’ various eligible titles. The Zone of Interest sound designer had himself a busy year, with 28 Years Later, Bugonia and Hamnet under his belt, yet none of them could get into the shortlist. 

Even so, a lot of the expected contenders are present, with Sirât confirming itself as the international title with the most mentions across these shortlists. Yes, even more than Sentimental Value.

Best International Film

• Argentina, BELÉN
• Brazil, THE SECRET AGENT
• France, IT WAS JUST AN ACCIDENT
• Germany, SOUND OF FALLING
• India, HOMEBOUND 
• Iraq, THE PRESIDENT’S CAKE 
• Japan, KOKUHO
• Jordan, ALL THAT’S LEFT OF YOU
• Norway, SENTIMENTAL VALUE 
• Palestine, PALESTINE 36
• South Korea, NO OTHER CHOICE
• Spain, SIRÂT
• Switzerland, LATE SHIFT
• Taiwan, LEFT-HANDED GIRL
• Tunisia, THE VOICE OF HIND RAJAB 

Like every year, there’s so much to say about this selection that a few scant comments here feel insufficient. First of all, rest assured that, before nomination morning, every one of these titles will have been reviewed at The Film Experience. Moreover, I might touch on a few of the un-shortlisted contenders that deserved to be here, the Philippines’ Magellan chief among them. That country remains the only one out of the original eleven that first submitted which has yet to be nominated. Portugal also holds a sad record, with the most submissions ever without a nomination, not even a shortlist mention.

Notably, all three films directly about Palestine made the list, with each approaching the matter through distinct strategies, which I’ll discuss at a later date. For now, let’s just say it’s remarkable how we have reflections of occupation as distinct as a mix of documentary and fiction skirting experimental idioms (The Voice of Hind Rajab), in contrast with a movie copying the tenets of the British period epic to point the finger at British colonialism (Palestine 36).

That being said, it’s possible that none of those Palestinian stories make the final lineup. Before today, many considered Sirât as the weakest of Neon’s five-pronged attack on the Best International Film Oscar. We can’t say that anymore, making it a strong possibility that, for the first time in Academy history, a single category is dominated by just one distributor.

Best Documentary Feature

• THE ALABAMA SOLUTION
• APOCALYPSE IN THE TROPICS
• COEXISTENCE, MY ASS!
• COME SEE ME IN THE GOOD LIGHT
• COVER-UP
• CUTTING THROUGH ROCKS
• FOLKTALES
• HOLDING LIAT
• MR. NOBODY AGAINST PUTIN
• MISTRESS DISPELLER
• MY UNDESIRABLE FRIENDS: PART 1 – LAST AIR IN MOSCOW
• THE PERFECT NEIGHBOR
• SEEDS
• 2000 METERS TO ANDRIIVKA
• YANUNI 

Two Best International Film submissions failed to make the cut in the other category but show up here – Mr. Nobody Against Putin and 2000 Meters to Andriivka – while another misses the two races altogether despite winning the top prize from the International Documentary Association – The Tale of Sylian. Another notable absences are Peck’s Orwell: 2+2=5 and Put Your Soul on Your Hand and Walk, two of the year’s most awarded documentaries. Some more mainstream snubs are Deaf President Now!, Becoming Led Zeppelin, Pavements and My Mom Jayne. It should be noted, however, that this branch is particularly allergic to biographical docs, which can often dominate the pre-shortlist season and skew pundits’ perspective on the race.

It’s rather incredible to note how far Julia Loktev’s My Undesirable Friends has come. I guess her success here is a testament to the importance of early-season critical awards, as it’s hard to imagine this five-hour deliberately inconclusive mammoth registering with the Academy voters if not for the spotlight it received last month from such organizations as the Gotham Awards and the NYFCC. Sadly, the same didn't happen to Afternoons of Solitude, an even more audacious work of non-fiction cinema.

Having seen very little of the final selection, I can’t say much about the short film shortlists. So, I’ll leave them here without further comment, apart from a note that Brazilian cinema did remarkably well this season, with contenders in multiple categories beyond International Film – look at Apocalypse in the Tropics in Best Documentary Feature and Amarela in Best Live-Action Short! 

Best Documentary Short Film 

• ALL THE EMPTY ROOMS
• ALL THE WALLS CAME DOWN
• ARMED ONLY WITH A CAMERA: THE LIFE AND DEATH OF BRENT RENAUD
• BAD HOSTAGE
• CASHING OUT 
• CHASING TIME
• CHILDREN NO MORE: WERE AND ARE GONE
• CLASSROOM 4
• THE DEVIL IS BUSY
• HEARTBEAT
• LAST DAYS ON LAKE TRINITY
• ON HEALING LAND, BIRDS PERCH
• PERFECTLY A STRANGENESS
• ROVINA’S CHOICE
• WE WERE THE SCENERY

Best Animated Short Film 

• AUTOKAR
• BUTTERFLY
• CARDBOARD
• ÉIRU
• FOREVERGREEN
• THE GIRL WHO CRIED PEARLS
• HURIKÁN
• I DIED IN IRPIN
• THE NIGHT BOOTS
• PLAYING GOD
• THE QUINTA’S GHOST
• RETIREMENT PLAN
• THE SHYNESS OF TREES
• SNOW BEAR
• THE THREE SISTERS

Best Live-Action Short Film

• ADO
• AMARELA
• BEYOND SILENCE
• THE BOY WITH WHITE SKIN
• BUTCHER’S STAIN 
• BUTTERFLY ON A WHEEL
• DAD’S NOT HOME
• EXTREMIST
• A FRIEND OF DOROTHY 
• JANE AUSTEN’S PERIOD DRAMA
• PANTYHOSE
• THE PEARL COMB
• ROCK, PAPER, SCISSORS
• THE SINGERS
• TWO PEOPLE EXCHANGING SALIVA

What do you make of this year’s Oscar shortlists? Sound off in the comments.

Comments

[Michael N]

Thanks Claudio! Sirat's showing was truly noteworthy. There are several non-Neon International film contenders that still feel like strong options, so it's hard to imagine Neon sweeping; but at the same time, it feels possible.

I think No Other Choice could go either way -- if the Globes momentum carries it could place well in nominations, or it could fall short and get nothing. Sirat's a true wild card. We've seen other films place well on shortlists but not make it to the big show.

Casting was also fascinating. Best Casting means...Best Cast? Best Ensemble a la SAG? Or just top Best Picture contenders? After the top 6 options, these films are unlikely to be nominated in Casting, but perhaps have a better shot than we thought in Picture:
Sirat
The Secret Agent
Wicked 2
Weapons

Maybe the question is whether this will be a record-breaking year for international films in Best Picture. How many can Neon get in? 3? Can Secret Agent make it?

Documentary continues to be averse to any documentary about a famous person. I thought Orwell 2 + 2 = 5 might make it, but it didn't even crack this shortlist. On Nathanial's current doc predictions list, only 8 of the top 15 made this shortlist! They are holding it down for the art house contingent.

[NATHANIEL R]

as usual these lists are kind of insane. How is WICKED FOR GOOD eligible for casting when there are no new cast members?!?!?!? (seems like they're bending over backwards to disregard intent and even actual rules -- see also the score shortlisting -- AGAIN. Terrible that you can be up for TWO Oscars 20+ years after winning awards for the same thing )

I am so disappointed that one of my favourite animated shorts in MANY years -- that i''m pretty sure *was* eligible isn't shortlisted. THE UNDYING PAIN OF EXISTENCE is utterly hilarious as well as gorgeously animated and cleverly constructed. Far superior to all five of the finalists that I've already seen that made the list. (sigh)

In terms of International Feature Film, I'm sad for Iceland and Morocco since I thought they would both make it.

Best Score is horrible as usual. Captain America's score over Fantastic Four is just... my god it's gross is what it is... Does any branch in the Academy have worst taste than the composers? At this point though I just have to assume that they really hate (on a personal level) Michael Giacchino since he has trouble making shortlists even with very high profile beautiful scores after his early career win for UP.

happy for "Salt then Sour Than Sweet" which is an amazing song but i haven't seen it in context of it's film so my opinion might change. Testament of Ann Lee didn't even land in "Song".

[Mr Ripley79]

I am bored with this season already and a lot of these films,I am only interested in Amy Madigan and the rest quite frankly I can't drum up amy enthusiasm for.

I am also saddened about the death of the great Rob Reiner.

[DAVID S]

Good Lord, this Diane Warren shit needs to stop.

Better yet, just nix the category altogether.

[ajnrules]

After reducing the films submitted by Taiwan I'm missing down to two, it's good to see one of their submissions make the shortlist. Sure, it's probably riding the coattails of the reigning Best Director winner and may not be as strong as some of the previous Taiwan submissions that didn't make the shortlist (still bummed about The Assassin snub ten years later), but it's great to see Taiwan cinema get some recognition.