Oscar Volley: Is an upset possible in "Best Editing"?

It’s that time again! Lynn Lee and Eurocheese discuss the Oscar race for Best Editing.

the Best Editing nominees

LYNN: Happy peak Oscar season, Eurocheese! Excited to discuss the editing category with you. Overall, this is a strong if relatively unsurprising lineup. I, for one, am absolutely delighted Sentimental Value made it in – that final scene in itself deserves all of the awards. And I can see the merits in the other selections, even if the Academy once again went with all Best Picture nominees (yawn). But then it’s been almost a decade since they included any non-BP nominees. So I will just sit in the corner and shed my own quiet tear for the unsung A House of Dynamite, which deserved more awards love in general but in this category in particular. At least the BAFTAs recognized that!

What are your thoughts on the nominees? And do you think the winner will also win Best Picture (for the fourth year in a row)?

Click to read more ...

In conversation with "Sound of Falling"'s Evelyn Rack

Voting for the Oscar shortlists is ongoing, including in the Best International Film category. Here's Eurocheese talking with Evelyn Rack, the extraordinary editor of Germany's Sound of Falling...

SOUND OF FALLING (2025) Mascha Schilinski | © MUBI

(Please note - this interview contains SPOILERS in you haven't seen the film.)

EUROCHEESE: Congratulations on Sound of Falling. I was able to catch it at AFI fest this year – it was my favorite film at the festival. It such a unique viewing experience – so different from anything that I've seen in a long time, and I'm really excited to get to talk to you about it today. First of all, I just wanted to find out a little bit about how the project came to you. 

EVELYN RACK: The producer Maren Schmitt approached me – we had worked on other projects before and she told me listen Eva, I have this amazing script from this awesome director; you have to come on board, I know you're the right one. So she sent me the script, I opened it, and on the first page before anything else there was a quote from Bresson: “I'd rather have people feel a film before understanding it.” My heart skipped a beat because I feel like it's exactly my editing approach on every film that I edit, that I seek to really feel a film rather than understanding it...

Click to read more ...

The first Guild Nominations are here!

by Cláudio Alves

THE SUBSTANCE continues to be a hit with precursors. A rare feat for horror cinema.

So far, the season has been dominated by critics' awards, which, while worthy of attention, don't offer great help when it comes to predicting the Oscars. After all, AMPAS is formed by industry people rather than critics. So, the guilds are a better indicator of what might be a hit with the Academy and, at long last, we're starting to see the first guild nominations. These past few days, the American Cinema Editors (ACE) and the Makeup Artist & Hair Stylist Guild (MUHS) announced their yearly honors. The Producers Guild of America (PGA) also announced their documentary contenders. Let's see what we can deduce from the results so far…

Click to read more ...

Oscar Volley: Best Editing is Now Best Picture-lite

Team Experience is discussing each Oscar category as we head into the precursors. Here's Ben and Abe to talk Film Editing...

The Trinity Explosion editing from Oppenheimer

BEN: Abe, it's time for another talk about one of the most confounding categories at the Oscars...Best Editing!

Last year, I talked about this category with Nick Taylor and we talked specifically about how non-Best Picture nominees don't show up in this category, no matter how special their editing might be. Last year, they went 5/5 again. They even went with a nominee (The Banshees of Inisherin) with relatively unremarkable editing.

Why do you think the Academy is so apprehensive to care about the craft of the actual editing process?...

Click to read more ...

Oscar Volleys: Best Film Editing might be a nailbiter this year

Team Experience is discussing each Oscar category in the lead up to the ceremony.  Here's Ben Miller and Eurocheese to talk Best Editing

Ben Miller: Well Eurocheese, we're back again.  Pre-nominations, Nick Taylor and I talked about Best Editing being more of an alternative Best Picture lineup.  Low-and-behold, all five Editing nominees are also up for Best Picture. Before we get to talking about the actual nominees, let's pour one out for films that should have gotten a notice in this category.   Personally, I thought the editing in All Quiet on the Western Front was pretty spectacular.  When it comes to coherent action sequences, my main gripe is a sense of place and atmosphere.  For a while, any action or war film was edited with insanity and incoherence.  God bless George Miller because Mad Max: Fury Road showed a first-class way to convey clear, heart-pumping action without throwing you out of sorts.  All Quiet isn't renowned for its action sequences, but when it shows up, it is crystal clear about direction, orientation, and presence.  

What film did you personally want in the lineup, no matter how unrealistic?

Click to read more ...