#DUNE NOT IN ADAPTED SCREENPLAY?!?

[snazzycicada]

Me everyday all the way through the oscars knowing Dune only has 5 nominations

[evild3ad]

yep 😬

[regulus-lantsov]

Oh my god I just love how everyone accepted that Denis Villeneuve is the standart for adaptation T°T

[chinchillasorchildren]

"We had it all. But we fucked it all up. Nothing can happen to us now. The catastrophe is behind us. We're bored shitless."

2024 Golden Chinchillas

Best Adapted Screenplay

Winner: The Beast (Bertrand Bonello) / Based on the novella "The Beast in the Jungle" by Henry James

Nominees

Dune Part 2 (Denis Villeneuve & Jon Spaihts)

Hit Man (Richard Linklater & Glen Powell)

Last Summer (Catherine Breillat)

Nickel Boys (RaMell Ross & Joslyn Barnes)

Queer (Justin Kuritzkes)

The Room Next Door (Pedro Almodovar)

[fuckyeahisawthat]

Re-skimmed through a bunch of Dune Messiah last night because why not and now I am having thoughts:

The thing that sticks with me most is the tone. It's melancholy, it's eerie, it's unsettled and weird. Cannot think of a more pitch-perfect director for it than Denis Villeneuve. He's gonna nail it.

There is...not that much...actual story? Denis has referred to it in interviews as "a small book" and I'm like my guy it is 350 pages. But there are actually not that many plot beats. It's just that every. single. scene. is WILDLY overwritten. The real challenge of adapting Dune is not the giant worms or the dense complicated worldbuilding or the fact that actors have to say the name "Duncan Idaho" repeatedly with a straight face. It's that there are pages and pages and PAGES of internal monologue that have to be externalized somehow for film.

After a re-skim my gut instinct for "how much story goes in a feature film" is that if you just wrote out the dialogue and action that happens in every scene in the book in screenplay format you'd end up with...maybe about an hour of material? Which is great, actually, because it means there is room to add stuff. Like a whole new independent plotline for Chani if they decide to do that.

It may seem insane to add things to an adaptation of what's notoriously one of the wordiest series in classic sci-fi but it's worth remembering that they added quite a bit to Dune Part Two. Most of the first hour of the movie--almost everything before the worm ride except for Jessica drinking the Water of Life--is stuff that isn't in the book. And it's the best part of the movie essential to making the movie work as well as it does. Yes, they also cut elements from both parts (the dinner scene, the whole plotline where Gurney thinks Jessica is a Harkonnen spy, Thufir Hawat's fate, Leto II the Elder, murder toddler Alia) but I understand why each of those elements was cut or changed in the service of cinematic storytelling.

There's an interview (can't remember which one) with Jon Spaihts, the other co-writer of the scripts along with Denis, where he talks about how Dune is like a stage play, with so many of what would be the big action set pieces happening off-page. I kept thinking about that comparison while reviewing Dune Messiah because in addition to the scenes that do exist being wordy and internal as fuck, an absolutely insane list of major events/reveals/emotionally significant moments happen off-page. The list of things that we don't actually see in the main action of the story, that we're only told about after they happen, includes:

Chani finding out Irulan has been secretly dosing her with birth control for YEARS

People trying to capture a sandworm and take it off planet

Chani and Paul finding out Chani is pregnant after 12 years of trying to conceive

Paul flying an ornithopter carrying his extremely-about-to-go-into-labor partner while blind

CHANI DYING (first time reading I did NOT know this was coming and damn near threw my Kindle across the room at the way the information was delivered)

Alia executing a bunch of people including a Bene Gesserit Reverend Mother

Paul walking into the desert at the end

You could add all these moments into a scene-for-scene film adaptation of the book and probably still have room to add more material.

The other thing that jumps out is that Paul doesn't really...govern...much. Like there's this whole subgenre of post-Dune/Dune Messiah-era fic that's just some combination of Paul, Chani, Irulan and sometimes Feyd traipsing around the palace having feelings while vague politics happens in the background, but I forgot that Dune Messiah is actually kinda like that??

There is a whole thread of Paul feeling kind of abstractly bad about being Space Hitler but he does not, in fact, actually do anything about it. And like yes both bureaucracies and religious movements can grow to have a life of their own that seems beyond the control of any one person. But also my dude you are the Emperor of the Known Universe. Someone is signing those space checks for the Endless War budget. You are not powerless here.

The one thing that really, clearly drives Paul to actively do things in the plot is not feeling guilty about having unleashed catastrophic religious war on the universe. It is protecting his family. Chani, Alia, his unborn children, and you could probably throw in Duncan by the end. That is what motivates him to act at key moments, and to want to hold on to power. And hey, y'know, if I'd experienced almost everyone I'd ever known getting murdered in a single night, I would probably get a bit intense about that too! It makes sense from a character point of view!

I'm very curious to see how these threads interweave with each other in the film, because the Villeneuve films put a lot of emphasis on Paul's agency and the fact that he may be constrained by shitty circumstances thousands of years in the making, but he still makes choices within that context. I can't see the narrative allowing film!Paul to get away with the same Poor Little Dictator routine as in the book. There are a few ways they could play this but I think the most interesting one is kinda the way they started going at the end of Part Two. Which is that as soon as you start reaching for that kind of power, then power becomes its own end and you will end up doing increasingly horrific things to maintain it. I think it would be quite interesting if the film shows us Paul not just being like "woe is me" but actively choosing to make the world worse because his trauma-driven fear of losing the people he loves makes him cling ever more desperately to power for its own sake.

If they went this route I think it would make Paul's decision at the end hit even harder. FWIW I actually really like Paul walking off into the desert at the end of the book. I think it brings things full circle with his relationship to the Fremen and creates this beautiful arc going back to the duel with Jamis. He first won a place among the Fremen through respecting their customs even though he really did not want to fight and kill someone he had no beef with. And by respecting the Fremen custom of the blind walking off into the desert, he proves himself to be fully Fremen and protects his children not by making them heirs to the throne but by making them Fremen.

And yeah, to a modern audience here on Earth it can look like "Paul conveniently fucks off and doesn't have to raise his newly-motherless children." And we can have a whole discussion about the unexamined ableism of the idea of someone who's gone blind voluntarily choosing death so as to "not be a burden" on their community. But neither of those readings is really the point here. Within the logic of Fremen cultural values, where the survival of the group as a whole is more important than the life of any one individual ("your water belongs to the tribe" etc.) Paul's choice is a willing and intentional self-sacrifice (see also: fedaykin) that wins him huge respect. There's a line in the book about Paul that's like "He would be one of them forever now" and damn if that didn't give me shivers. Like!! The political-symbolic implications!!! Which maybe I'm particularly attuned to because I just wrote a whole fic about what does it mean for an outsider to become Fremen but hmm something something Paul's final* act not being an exercise of Imperial power but an expression of kinship with an oppressed group and that being the thing that's needed to keep his family safe even if he is not physically present with them...IT IS RICH SYMBOLIC TERRITORY.

(*Yes yes I know about events in the next book. Shush.)

This kind of stuff is why I tend to think Chani may start out in a very different place in the story but the end will still be pretty close to what's in the book. It's too thematically powerful and tragic to go any other way.

But also...if they change things around enough that she is still alive at the end of the movie...I won't be sad about it.

[lesterwillington]

We Need a Lovecraft Musical (or play, I would not mind a play)

I love eldritch horror and weird fiction and I love musicals so I might sound biased, but I need this to happen. Technically, there are a few that exist, but I can find very little detail about them. So, what I'm asking the universe for is some sort of Lovecraft stage musical adaptation (preferably something from the Cthulhu Mythos) that recieves a major professional production somewhere in the world (like off-west end or off-broadway or chicago or something, I would love regular west end and regular broadway but I am trying to manage expectations here, kinda). Also, we just need more mainstream horror theater stuff in general. There isn't much of it, and what does exist mostly have been financial and critical failures. Now, you may be asking, "aren't Lovecraft's works famously unadaptable? why not just leave them as short stories and novels? also he was a pretty bad dude should we even be adapting his work at all?", and to that I say: 1. HA, if you really think that, you are a COWARD, a FOOL, and a SCOUNDREL! People thought Dune was unadaptable and now it is a critically acclaimed franchise with at least 2 movies as well as an upcoming tv show and a third movie in development. So, people that say things like that are dumb. Plus, that's mostly in reference to film adaptations anyway, which I can understand for Lovecraft's works. He mostly relies on the audience's imagination for the horror, he tries to get them to fear something they can barely begin to understand. It's hard to translate that into film because film is inherently a visual medium (mostly). However, theater almost always relies on the audience visualizing more than what is really on stage, so I think it fits Lovecraft's works perfectly, especially because of how short most of them are. You can really take your time to flesh out the world and characters if you wanted to. Or just do like, a one-act thing. That woks too. 2. I understand leaving them as their original works, but I think the theatrical experience can elevate the experience of the written works or at least get the audience to see them in a new light. I think an ideal theatrical adaptation would leave the audience extremely unsettled, but wanting more. And they can get more by reading Lovecraft. So, I don't think it's too much of a problem. 3. I'm terribly sorry but like 95% of old, white guy authors were bad people and I think it's reasonable to be able enjoy and appreciate what they made while also condemning who they were. Plus, it's not like Lovecraft or his estate is making any money off this because his works are public domain babyyyy. But yes I need this to happen desperately and I'm afraid it won't. I'm heavily considering trying to make something myself (because the works are public domain and I am a writer), but I have a lot on my plate right now (including an In Trousers screenplay that I have mentioned in a post or two) so I have no idea when I'd be able to really work on it and try to fully realize it. Plus, I have zero connections in the theater world so getting a major production for it would be extremely hard. I still think it's cool, though. Let me know what you guys think. Is it possible? Or are his works better left as they are?

[maxdibert]

The most annoying thing about HOTD is that the book versions of Alicent and Rhaenyra are not at all the show’s clueless peace loving ladies constantly horrified at the violence of the men around them. Book Alicent knows from the second she gives birth to a son that she either puts him on the throne or her whole family dies, and schemes accordingly. Book Rhaenyra has absolutely zero intention of doing the sensible thing and backing down on her right to rule in order to avoid dragon civil war. Soon enough they’re all-in on inflicting maximum harm to each other for revenge. The show has neutered them both to the point of uselessness. Alicent should’ve been an iconic as Cersei!

It’s such a shame how female characters are treated in that franchise when it comes to TV adaptations. And it surprises me because HBO has other incredible series with amazing female characters. Look at Dune: The Sisterhood Prophecy or The Penguin, for example. Sofia Falcone was a fantastic discovery—her character was so well-developed, and at no point was she reduced to being pathologized or judged by the narrative as the stereotypical "woman who can’t control her emotions/manage her anger." It was a joy to see her in every episode. HBO is also responsible for adapting My Brilliant Friend, based on the Italian series of novels whose protagonists might be two of the most intense, complex, and tumultuous female characters I’ve ever read about. It’s literally one of my favorite sagas and a stunning portrayal of the social, political, cultural, psychological, sexual, and emotional violence women endure. A masterpiece, honestly. And the adaptation? Absolutely brilliant. I’ve genuinely cried over how incredibly well-made it is. Even though it can’t cover everything the books delve into, the screenplay perfectly captures the essence of every significant moment. It’s a work of art in its own right.

I don’t know if it’s something tied to the executive producers, but I haven’t read House of the Dragon yet, although I have read A Song of Ice and Fire. And literally all the women lose so much in their adaptation to the screen. Especially in the later seasons—it’s an absolute disaster in terms of how they handle the most important female characters. Apart from Sansa, every other character spirals downhill compared to their book versions.

It fascinates me that Martin writes such complex, morally gray female characters and gives the screenwriters so much to work with, yet they completely drop the ball. It’s honestly infuriating.

[msfangirlgonewild]

2025 Oscar Winners:

• Best Picture: “Anora”

• Best Director: Sean Baker, “Anora”

• Best Actress: Mikey Madison, “Anora”

• Best Actor: Adrien Brody, “The Brutalist”

• Best Cinematography: “The Brutalist”

• Best Original Score: “The Brutalist”

• Best Editing: Sean Baker, “Anora”

• Best Original Screenplay: “Anora”

• Best Adapted Screenplay: “Conclave”

• Best Costume Design: “Wicked”

• Best Production Design: “Wicked”

• Best Makeup and Hairstyling: “The Substance”

• Best Sound: “Dune: Part Two”

• Best Visual Effects: “Dune: Part Two”

• Best Animated Feature: “Flow”

• Best Animated Short: “In the Shadow of the Cypress”

• Best Live-Action Short: “I’m Not a Robot”

• Best Documentary Feature: “No Other Land”

• Best Documentary Short: “The Only Girl in the Orchestra”

• Best International Feature: “I’m Still Here”

• Best Supporting Actor: Kieran Culkin, “A Real Pain”

• Best Supporting Actress: Zoe Saldana, “Emilia Pérez”

• Best Original Song: El Mal, “Emilia Pérez”

------------------------

The 97th Academy Awards | 2025

[angelo-tiger-woods]

Part 3 - Incoming Text for Halle Berry (@halleberry) and 50 Cent (@50cent) and Connie Orlando (@connieorlando) and Draya Michele (@drayamichele) and Eiza Gonzalez (@eizagonzalez):

Question:

What is “World Building” in literature and screenwriting? Provide a thorough explanation of its definition, significance, key elements, and how it differs between novels and screenwriting. Additionally, explain techniques for effective world building and give examples from notable works.

Here is the Wikipedia link for “World building”:

World Building on Wikipedia - (click on the blue link)

ChatGPT Answer:

Understanding World Building in Literature and Screenwriting

Definition of World Building

World building is the process of constructing a detailed, immersive universe within a narrative, whether it’s for a novel, screenplay, video game, or any other form of storytelling. It involves creating the physical, social, cultural, historical, and even metaphysical elements of a world to serve as the backdrop for the story. This world can range from realistic settings, like 19th-century England in Pride and Prejudice, to fantastical universes, like Middle-earth in The Lord of the Rings or the futuristic dystopia of Blade Runner.

World building provides the foundation for a story, offering context for characters’ actions, motivations, and the narrative’s events. It is a way to immerse the audience in the story, making them feel that the world exists beyond the specific events or characters presented.

Importance of World Building

Immersion and Engagement A well-built world allows readers or viewers to lose themselves in the narrative. By offering a richly detailed setting, creators can make audiences feel as though they are stepping into a fully realized universe, enhancing their emotional connection to the story.

Contextualizing the Story World building gives meaning to the actions of characters and the progression of the plot. For instance, the political intrigue in Game of Thrones is only compelling because of the meticulously crafted social hierarchies, historical rivalries, and cultural nuances of Westeros.

Creating Unique Narratives A distinct world enables unique storytelling opportunities. The laws of physics, social norms, and even the geography of the world can shape how the story unfolds. For example, the magical system in J.K. Rowling’s Harry Potter series is a key driver of the narrative, defining what is possible and influencing characters’ choices.

Key Elements of World Building

Physical Setting

Geography, climate, and natural features define the physical scope of the world.

For instance, in Dune by Frank Herbert, the desert planet of Arrakis profoundly affects the culture, economy, and politics of its inhabitants.

Cultural Elements

Languages, traditions, religions, and societal norms create a sense of authenticity.

Tolkien’s use of Elvish languages, detailed histories, and mythologies adds layers to Middle-earth.

History and Backstory

A believable world has a past. The events that happened before the main narrative started can add depth to the current story.

George R.R. Martin’s A Song of Ice and Fire series thrives on its intricate histories, like the Targaryen dynasty’s fall.

Rules and Systems

These define how the world operates. In speculative fiction, this might include magic systems, technological advancements, or supernatural laws.

In The Matrix, the rules of the virtual reality world are integral to the plot and action.

Characters’ Place in the World

Characters must interact with their environment in believable ways. How they adapt to or resist the rules of their world helps define their arcs and personalities.

World Building in Screenwriting vs. Novels

In Screenwriting

Visual storytelling: Screenwriters must communicate their world through what the audience can see and hear. This includes production design, dialogue, and action.

Economy of detail: Unlike novels, screenplays are concise. The script must imply the world’s depth, leaving room for directors, production designers, and visual effects teams to flesh it out.

In Novels

Detailed exposition: Authors have the luxury of providing elaborate descriptions and backstory directly to readers.

Internal monologue: In novels, the inner thoughts of characters can reveal nuances of the world in ways that are difficult to replicate on screen.

Techniques for Effective World Building

Start with a Core Concept

Identify the central premise of your world. Is it a futuristic society run by AI? A magical kingdom locked in eternal winter? Build outward from this core idea.

Show, Don’t Tell

Instead of explaining how the world works, let the audience discover it through the characters’ actions and dialogue.

Example: In Mad Max: Fury Road, the scarcity of water and fuel is shown through visuals and plot, not exposition.

Consistency is Key

Once rules are established, they must be followed. Breaking the logic of your world can confuse or alienate your audience.

Layer the World Gradually

Introduce details incrementally to avoid overwhelming the audience. Let them piece together the world naturally.

Anchor the Audience

Even in the most fantastical worlds, there should be elements that the audience can relate to—human emotions, universal struggles, or familiar archetypes.

Examples of World Building in Fiction

Literature

Harry Potter by J.K. Rowling: Hogwarts School of Witchcraft and Wizardry, the Ministry of Magic, and wizarding society create a deeply immersive world.

1984 by George Orwell: The oppressive regime of Big Brother and the concept of “doublethink” vividly portray a dystopian society.

Film and Television

Avatar by James Cameron: The lush, alien ecosystem of Pandora is integral to the film’s themes of environmentalism and cultural preservation.

Star Wars: The galaxy far, far away is brought to life through diverse planets, political systems, and a rich mythology.

Conclusion

World building is more than just creating a setting; it’s about designing a universe where every detail, from the grandest cityscape to the smallest custom, serves the story. Whether in novels or screenwriting, effective world building transforms a simple narrative into a living, breathing experience that captivates audiences and leaves a lasting impression.

[mistermistyyy]

Alright, time for my first Oscar's liveblog! I will continually reblog this bost as the show goes on. Here's my wishlist:

Anora best picture and best director

Colman Domingo or Sebastian Sean for best male lead

Mikey Madison or Fernanda Torres for best female lead

Kieran Culkin or Jeremy Strong for best supporting actor

Ariana Grande or Isabella Rosselini for best supporting actress

Best original screenplay A Real Pain

Best adapted screenplay Sing Sing

Best animated feature honestly anything but I'd prefer something other than Inside Out 2

Best ost Wild Robot

Best sound Dune 2

Best sets Nosferatu

Best makeup the Substance

Best costumes Conclave or Wicked

Best editing Anora or Brutalist

Do not let Alien Romulus win best VFX

Do not let Emilia Pérez win a single award

[bisamwilson]

mak's 97th oscar picks

hello! if you've been following me for a while, you might know this is my third straight year of completing what is affectionately known as the oscar's death race (watching every title nominated for an oscar in every category). (you can find my letterboxd with all of my reviews of whatever i watch here, as well as a tag for the 97th oscars specifically here!)

this is an interesting year, as there's no clear front runners in a lot of categories the way there was last year (oppenheimer was simply too much of a behemoth), which means i truly have very little idea how spot on my predictions are this year!

as always, below are my predicted winners, preferred winners, nominees i'd be actively mad if they won, and any snubs i'm still mad about as applicable! best picture

predicted winner: anora

preferred winner: anora

will actively make me angry if it wins: emilia pérez, wicked, the substance, a complete unknown

snubs i'm still mad about: sing sing, a real pain, challengers

best director

predicted winner: sean baker, anora

preferred winner: sean baker, anora

will actively make me angry if they win: jacques audiard, emilia pérez; james mangold, a complete unknown

snubs i'm still mad about: denis villeneuve, dune part two; ramell ross, nickel boys

best actor

predicted winner: adrien brody, the brutalist

preferred winner: colman domingo, sing sing

will actively make me angry if he wins: timothée chalamet, a complete unknown (he was literally better in dune part two!!!!)

snub i'm still mad about: jesse eisenberg, a real pain

best actress

predicted winner: demi moore, the substance

preferred winner: mikey madison, anora

will actively make me angry if she wins: karla sofía gascón, emilia pérez

snubs i'm still mad about: marianne jean-baptiste, hard truths; saoirse ronan, the outrun; pamela anderson, the last showgirl

best actor in a supporting role

predicted winner: kieran culkin, a real pain

preferred winner: jeremy strong, the apprentice

will actively make me angry if he wins: kieran culkin, a real pain (he's phenomenal but this is BLATANT category fraud); edward norton, a complete unknown; yura borisov, anora

snubs i'm still mad about: clarence maclin, sing sing; denzel washington, gladiator ii; adam pearson, a different man

best actress in a supporting role

predicted winner: zoe saldaña, emilia pérez

preferred winner: isabella rossellini, conclave

will actively make me angry if she wins: zoe saldaña, emilia pérez (category fraud), ariana grande, wicked (category fraud, has the academy never heard of a goddamn co-lead???), monica barbaro, a complete unknown

snubs i'm still mad about: joan chen, didi; toni collette, juror #2; aunjanue ellis-taylor, nickel boys

best original screenplay

predicted winner: anora

preferred winner: a real pain

will actively make me angry if it wins: september 5 (hello zionism the movie), the substance

snub i'm still mad about: a different man

best adapted screenplay

predicted winner: conclave

preferred winner: sing sing

will actively make me angry if it wins: emilia pérez (he wrote this in french and google translated it into spanish!!!!), a complete unknown

best animated feature

predicted winner: flow

preferred winner: the wild robot

will actively make me angry if it wins: memoir of a snail, inside out 2

best international feature

predicted winner: i'm still here (brazil)

preferred winner: i'm still here (brazil)

will actively make me angry if it wins: emilia pérez (france)

snubs i'm still mad about: kneecap (ireland), universal language (canada)

best documentary feature film

predicted winner: no other land

preferred winner: no other land

will actively make me angry if it wins: porcelain war

best documentary short film

predicted winner: i am ready, warden

preferred winner: incident

will actively make me angry if it wins: i am ready, warden

best live action short film

predicted winner: a lien

preferred winner: i'm not a robot

best animated short film

predicted winner: beautiful men

preferred winner: magic candies

will actively make me angry if it wins: beautiful men

best original score

predicted winner: the brutalist

preferred winner: the brutalist

will actively make me angry if it wins: emilia pérez, wicked

snub i'm still mad about: challengers (this should've won the category!!!!)

best original song

predicted winner: "el mal," emilia pérez

preferred winner: "like a bird," sing sing

will actively make me angry if it wins: "mi camino," emilia pérez; "never too late," elton john: never too late (love u elton but this was Not It)

snubs i'm still mad about: "compress/repress," challengers; "sick in the head," kneecap

best sound

predicted winner: dune part two

preferred winner: dune part two

will actively make me angry if it wins: wicked, a complete unknown, emilia pérez

best production design

predicted winner: wicked

preferred winner: the brutalist

will actively make me angry if it wins: nosferatu

best cinematography

predicted winner: the brutalist

preferred winner: the brutalist

will actively make me angry if it wins: emilia pérez, nosferatu, maria

snubs i'm still mad about: conclave, nickel boys (again! one of these should have won the category!)

best makeup and hairstyling

predicted winner: the substance

preferred winner: a different man

will actively make me angry if it wins: emilia pérez, nosferatu

best costume design

predicted winner: wicked

preferred winner: wicked

will actively make me angry if it wins: a complete unknown, nosferatu

snub i'm still mad about: the count of monte cristo

best film editing

predicted winner: conclave

preferred winner: conclave

will make me actively angry if it wins: emilia pérez, wicked

snubs i'm still mad about: challengers, nickel boys (one of these should have won the whole thing. again.)

best visual effects

predicted winner: dune part two

preferred winner: dune part two

will make me actively angry if it wins: better man, alien: romulus

[joeygoeshollywood]

Oscars 2025: My Fantasy Winners and Nominees

Here are my fantasy winners and nominees of this year’s Oscars. Share yours too!

Best Picture

Winner: Sing Sing

Nominees:

Anora The Brutalist Challengers Conclave Dune: Part Two The Seed of the Sacred Fig September 5 Strange Darling The Substance

Best Actor

Winner: Colman Domingo - Sing Sing

Nominees:

Adrien Brody - The Brutalist Timothée Chalamet - A Complete Unknown Ralph Fiennes - Conclave Sebastian Stan - A Different Man

Best Actress

Winner: Demi Moore - The Substance

Nominees:

Pamela Anderson  - The Last Showgirl Mikey Madison - Anora Angelina Jolie  - Maria June Squibb  - Thelma

Best Supporting Actor

Winner: Kieran Culkin - A Real Pain

Nominees:

Nicolas Cage - Longlegs Clarence Maclin - Sing Sing Edward Norton  - A Complete Unknown Denzel Washington  - Gladiator II

Best Supporting Actress

Winner: Natasha Lyonne - His Three Daughters

Nominees:

Jamie Lee Curtis  - The Last Showgirl Danielle Deadwyler - The Piano Lesson  Ariana Grande - Wicked Zoe Saldaña - Emilia Pérez

Best Director

Winner: Brady Corbet - The Brutalist

Nominees:

Sean Baker - Anora Edward Berger - Conclave Greg Kwedar - Sing Sing Denis Villeneuve - Dune: Part Two

Best Original Screenplay

Winner: Anora

Nominees:

The Brutalist A Real Pain The Seed of the Sacred Fig The Substance

Best Adapted Screenplay

Winner: Sing Sing

Nominees:

A Complete Unknown Conclave I'm Still Here Nickel Boys

Best Cinematography

Winner: Dune: Part Two

Nominees:

The Brutalist Maria Nickel Boys Nosferatu

Best Editing

Winner: Challengers

Nominees:

The Brutalist Dune: Part Two September 5 Strange Darling

Best Production Design

Winner: Wicked

Nominees:

The Brutalist Dune: Part Two Gladiator II Nosferatu

Best Costume Design

Winner: Wicked

Nominees:

Dune: Part Two Gladiator II Maria Nosferatu

Best Makeup & Hairstyling

Winner: The Substance

Nominees:

A Different Man Dune: Part Two Sasquatch Sunset Wicked

Best Visual Effects

Winner: Dune: Part Two

Nominees:

Gladiator II Kingdom of the Planet of the Apes Twisters Wicked

Best Score

Winner: Challengers

Nominees:

The Brutalist Dune: Part Two Saturday Night The Wild Robot

Best Original Song

Winner: “Kiss the Sky” - The Wild Robot

Nominees:

“Beautiful That Way” - The Last Showgirl  “Forbidden Road” - Better Man “Like a Bird” - Sing Sing “Piece by Piece” - Piece by Piece

Best Sound

Winner: Dune: Part Two

Nominees:

Alien: Romulus A Complete Unknown Gladiator II Wicked

 

Best Animated Feature

Winner: The Wild Robot

Nominees:

Flow Inside Out 2 Memoir of a Snail Wallace and Gromit: Vengeance Most Fowl

Best International Film

Winner: The Seed of the Sacred Fig (Germany)

Nominees:

Flow (Latvia) I'm Still Here (Brazil)

ORIGINAL CATEGORIES

Best Comedy

Winner: Anora

Nominees:

Babes Between The Temples Dìdi A Different Man Hit Man It's What's Inside My Old Ass A Real Pain Thelma

Best Ensemble

Winner: Conclave

Nominees:

Anora The Brutalist A Complete Unknown Wicked

Best Stunts

Winner: Fall Guy

Nominees:

Deadpool & Wolverine Furiosa: a Mad Max Saga Gladiator II Monkey Man

Best Breakthrough Filmmaker

Winner: JT Mollner - Strange Darling

Nominees:

Minhal Baig - We Grown Now Jesse Eisenberg - A Real Pain Coralie Fargeat - The Substance Megan Park - My Old Ass Dev Patel - Monkey Man Sean Wang - Dìdi

Best Breakthrough Actor

Winner: Jonathan Bailey - Wicked

Nominees:

Ethan Herisse & Brandon Wilson - Nickel Boys Blake Cameron James & Gian Knight Ramirez - We Grown Now Aaron Pierre - Rebel Ridge Isaac Wang - Dìdi

Best Breakthrough Actress

Winner: Mikey Madison - Anora 

Nominees:

Monica Barbaro - A Complete Unknown Willa Fitzgerald - Strange Darling Katy O’Brian - Love Lies Bleeding Maisy Stella - My Old Ass

[bermudianabroad]

Half Baked Oscars Predictions

I've only seen Conclave, Dune II, The Substance, Nosferatu, (and seeing Nickel Boys today) but that's got going to stop me! In the past, I've tried to spread the love around with my predictions, but the Academy does a somewhat boring Big Film Sweep. So I'm factoring that in this time.

Best Film: probably... A Complete Unknown. The academy likes a songster biopic, and they particularly like Bob Dylan.

And as a note to that, probably going to be an A Complete Unknown sweep with Best Director, Best Actor, Best Supporting Actress, and Sound.

As for Costume Design, maybe? They seem to prefer historical over everything else, so Gladiator II might take it.

Make Up and Hairstyling: Wicked, probably. The Substance strikes me as 'too weird' for the academy to be a safe bet. Maybe I'll be surprised.

Best Actress: Fernanda Torres for I'm Still Here.

Best Supporting Actor: Kieren Culkin for A Real Pain.

Original and Adapted Screenplays always struck me as consolation prizes in a way, for the Best Picture nominees who don't win. Even though it's not up for Best Picture, I think Original will go to A Real Pain, Adapted to... A Complete Unknown.

Cinematography: The Brutalist. Though I'd like to see Nickel Boys win it (or Nosferatu).

Editing: think they'll throw Anora a bone (or The Brutalist).

International Feature: I'm Still Here (Brazil).

Animated: Flow

Production Design: Conclave

Original Score: Wicked

Visual Effects: they always seem to go heavy on the CGI so I'm picking Kingdom of the Planet of the Apes lol.

Vibes alone choices for the documentary and animated shorts as I know precisely zero anything about them: Magic Candies, Death By Numbers, I Am Not a Robot.

and boom.

[rebeccalouisaferguson]

Rebecca Ferguson has been cast in Neal Street Productions, Elysian Film Group and Ashland Hill Media Finance’s adaptation of Enid Blyton‘s “The Magic Faraway Tree.”

The film, based on Blyton’s beloved “The Faraway Tree” series, follows the Thompson family as they move to the English countryside and discover a magical tree. The fantastical tree’s residents transport visitors to distant lands, setting the stage for a series of whimsical adventures. Ferguson will play Dame Snap, the story’s terrifying headmistress character. The screenplay is by Simon Farnaby (“Wonka,” “Paddington 2”).

The “Dune” and “Mission: Impossible” actor joins previously announced cast members Andrew Garfield and Claire Foy in the fantasy adventure film. The cast also includes Nicola Coughlan, Nonso Anozie, Jessica Gunning, Dustin Demri Jones, Mark Heap, Oliver Chris, Lenny Henry, Simon Russell Beale, Michael Palin, Jennifer Saunders, Hiran Abeysekera and Pippa Bennett-Warner. Newcomers Delilah Bennett-Cardy, Billie Gadsdon and Phoenix Laroche play the Thompson children.

Ferguson’s 2024 slate includes roles in the “Peaky Blinders” movie opposite Cillian Murphy, “Mercy” with Chris Pratt, and Kathryn Bigelow’s upcoming feature. The second season of her Apple series “Silo,” in which she stars and produces, is set to premiere on Nov. 15.

Director Ben Gregor said: “Rebecca is a towering screen presence, one of the finest actors of her generation, and will be an electrifying addition to our movie.”

[vadergf]

My oscar favourites (based on the ones I've watched / based on my liking of it and not oscar favs)

Best picture: Conclave, Dune 2, Dìdi, A Real Pain

Best actor: Colman Domingo (Sing Sing), Timothee Chalamet (I'd say for Dune 2 but he's more likely to get it for A Complete Unknown, which i haven't seen)

Best actress: Demi Moore (The Substance)

Best director: Denis Villeneuve (Dune 2)

Best supporting actor: Kieran Culkin (A Real Pain), Yuri Borisov (Anora), Clarence Maclin (Sing Sing)

Best supporting actress: Zoe Saldana (Emilia Perez), Joan Chen (Dìdi)

Best screenplay: A Real Pain, Challengers

Best adapted screenplay: Conclave

Best score: Challengers

[thebonerpit]

Catching up on the winners from last night and WOW I am so shocked that Anora basically swept?? I'm not necessarily mad about it because it was a good movie and aside from the Best Director win I wouldn't say it was undeserved (like seriously, that should have been Coralie Fargeat or Brady Corbet for sure) but I'm really surprised how much the Academy apparently loved it.

Glad Dune got some technical awards, and The Substance for Makeup/Hairstyling! Bummed that Conclave only got Adapted Screenplay because like I said it was definitely my Best Picture but oh well.