Jenny Beavan
CRUELLA

Sometimes Most Costumes are also Best Costumes. Here they absolutely had to be. Best: the garbage dress.

Bob Morgan and Jacqueline West
DUNE

 A mix of influences and expertly delinated worlds/factions. Also just alien enough. Best: Anything Lady Jessica

Malgosia Turzanska
THE GREEN KNIGHT

Jacqueline Durran
SPENCER

To quote Cláudio, this is a "celebration of period specificities that's still in service of an abstract mood" Best: That greenish down with suffocating pearl necklace.

Derica Cole Washington
ZOLA

From an earlier post: Every character's personality is differentiated in ways both stylish, colorful, or absurd (or all three) yet all are clearly born from the same seedy titty-bar / nocturnal world. 

Finalists: Paul Tazewell for West Side Story, Mary Zophres for The Tragedy of Macbeth

Semi-Finalists: Kirsty Cameron for Power of the Dog, Edward K Gibbon for The Lost Daughter, Mark Bridges for Licorice Pizza , Mitchell Travers for In the Heights, Jacqueline Durran & Massimo Cantini Parrini for Cyrano

Greig Fraser
DUNE

 The quality of light Fraser commands and how attuned his images are to narrative emotion. What a master.

Andrew Droz Palermo
THE GREEN KNIGHT

Surreal and atmospheric. A world that contains both history and myth, and little hope of seeing the difference.

Edu Grau
PASSING

 For the tight framing, abstracting black and white, and its emotional expressiveness. [INTERVIEW]

Ari Wegner
POWER OF THE DOG

 Arid yet somehow sensual. You can feel the heat and the chill of nature (human) and seasons.

Bruno Delbonnel
THE TRAGEDY OF MACBETH

Heightened daringly unreal lighting, in digital black and white.

Finalists: Ari Wegner for Zola, Michael Englert for Never Gonna Snow Again, and Claire Mathon for Spencer

Semi-Finalists: Carolina Costa for Dance of the 41, Sean Bobbitt for Judas and the Black Messiah, Ruben Impens for Titane,  and Janusz Kaminski for West Side Story

Steve Saklad
BARB AND STAR GO TO VISTA DEL MAR

To quote our teammate Mark this is expertly calibrated "delirious joyful alt-reality" from its seashell beds to its villianous HQs and showroom couches.

Patrice Vermette
DUNE

The grandiosity and severity of these sets is really something. As is their foreboding emptiness as if you're not expected to survive / won't be staying long.

Adam Stockhausen
THE FRENCH DISPATCH

Florencia Martin
LICORICE PIZZA

It's often been described as a "vibes" movie and that lives or dies by theyou-are-there time-travelling of the sets in their 70s tacky glory:  low-ceiling rooms, wood panelling, and  waterbed and pinball pleasures.

Stefan Dechant
THE TRAGEDY OF MACBETH

An imposingly stylized vision from Dechant, the architecture as abstract as the black and white cinematography and more threatenign than the Lord & Lady themselves.

Finalists: I desperately wanted room for Adam Stockhausen's beautiful work from drug store to gymnasiums and fire escapes of West Side Story, Nelson Coates's dreamy nostalgic color and especially the "Patience & Faith" segment of  In the Heights, and Jade Healy for the medieval halls and lush enchanted lairs of The Green Knight

Semi-Finalists: Jade Healy for The Green Knight, Tamara Deverell for Nightmare Alley, Fiona Crombe for Cruella, Carmine Guarino for Hand of God, Grant Major for Power of the Dog 

Myron Kerstein
IN THE HEIGHTS

Polished setpieces, and fluid spectacle, the editing amplifies but doesnt obfuscate.

Peter Sciberras
POWER OF THE DOG

So many cuts are breathtakingly smart and suggestive. A miracle of sustained tension and character work.

Sarah Broshar & Michael Kahn
WEST SIDE STORY

Stylish, propulsive, spectacle whether that's performance or grand movie-movie visions.

Olivier Bugge Coutée
WORST PERSON IN THE WORLD

Joi McMillion
ZOLA

Finalists: Myron Kerstein & Andrew Weisblum for tick tick BOOM!, Affonso Gonçalves & Adam Kurnitz for The Velvet Underground, Joe Walker for Dune

Semi-Finalists: Jean Christophe Bouzy for Titane, David Lowery for The Green Knight, Soledad Salfate for Dance of the 41, Jennifer Vecchiarello for C'mon C'mon

DUNE

The infamous sandworms are only glimpsed briefly but no matter: the visual effects provide both spectacle and world-building

ETERNALS

For the delicate iight tracing energy powers, those colossal Celestial intrusions, and the best big screen depiction of "super speed" yet.

FREE GUY

GODZILLA VS KONG

 This series has been a wow, visually, from the start. The human drama may be absent or lacking but those two beast going at it... thrills. 

THE GREEN KNIGHT

Fantastical hallucinations and sorcery or real happenings and visions: It's all pitched somewhere inbetween. 

Finalists: Best "Supporting Visual Effects" to The Tragedy of Macbeth  for the tripled witches and her reflective pools, and all the eery out of time and placeness... like the whole movie is taking place in a fog dimension, there are abundant fun visual effects if all visions and powers that we've seen before remixed again in Spider-Man No Way Home,  another revisit that's self-aware about its own 'greatest hits' showmanship: The Matrix Resurrections.

Semi Finalists: Shang-Chi, Black Widow, No Time To Die, and The Suicide Squad

CRUELLA

Resourceful multi-tasking wigs, and statement makeup -- after the Costumes the makeup and hair IS the show here.

DUNE

 From the follow the leader bald Harkonnens to the wealthy House Atreides to the spiced-eyes it's all very memorable.

THE FRENCH DISPATCH

Fun character work in multiple periods. That wispy moustache on a young try-hard revolutionary? Perfect.

THE GREEN KNIGHT

 The severed head is fantastical, iconic. But the heads still attached are beautifully styled, too.

TITANE

 Whether its broken noses, lurid autoshow feminity, or elaborate titular scarring this nihilistic French thriller delivers.

Finalists: Modern makeup and hairstyling rarely gets credit but Zola understands its assignment and its milieu. And how about that one hazel eye on "X"?, Despite some cheeky rounded overstatement, it's hard to fault The Eyes of Tammy Faye of all things of 'overstatement' and much of the work is fine and convincing.

Semi Finalists: West Side Story, Electrical Life of Louis Wain, Dance of the 41, Barb and Star Go To Vista Del Mar, and The Suicide Squad