#Lesley Paterson

[isabelleneville]

@perioddramasource: PERIOD DRAMA APPRECIATION WEEK

Day Five: Favourite Period Drama Film - Anne of a Thousand Days (1969)

[themakeupbrush]

What kind of 2012 prom outfit is this

[dweemeister]

All Quiet on the Western Front (2022, Germany)

As a film buff, I retain a preference to reading a book first before seeing its adaptation. But with how many movies I see in a year – sometimes not realizing that a movie is a literary adaptation before starting it – and given how many original source materials are out-of-print or little-read (let alone how slow a reader I am), this is often too difficult a proposition. I make an attempt, however possible, to learn about the themes of an adapted book I was not able to read before heading into a film write-up. Strict fidelity to the text is not a requirement; yet a film adaptation should adhere to the spirit of the text. Any significant changes to that requires the change be done with artistic intelligence and sensitivity. Especially when the adapted book in question is significant in a peoples’ or a nation’s consciousness. Published in 1929, All Quiet on the Western Front by Erich Maria Remarque is a landmark novel in anti-war literature and remains – for its depiction of World War I on the bodies and minds of the young men sent to fight it – an important part of modern Germany’s sociopolitical identity.

Lewis Milestone’s 1930 film adaptation at Universal with Lew Ayres was the first cinematic masterpiece following the introduction of synchronized sound and the era of the silent film. Now steps in Edward Berger’s German-language adaptation for Netflix, starring Felix Kammerer, in hopes of reminding viewers that Im Westen nichts Neues (roughly “Nothing New in the West”) is, despite its universal appeal, fundamentally a German story.  Berger’s All Quiet is a stupendous technical masterpiece – harrowing visual and sound effects, overflowing with blood and mud. It is among the most technically accomplished war movies this side of Saving Private Ryan (1998). Along the way, Berger’s All Quiet tries for too much, and betrays the characterizations and the intent of Remarque’s novel. With some of its violent scenes shot too aesthetically pleasing alongside an offensive and disrespectful electronic score, 2022’s All Quiet casts the French civilians and soldiers as “the enemy” rather than fellow victims. It veers perilously close to fetishizing the violence within.

Before a brief synopsis, it seems appropriate to reproduce Remarque’s epigraph to All Quiet on the Western Front here:

This book is to be neither an accusation nor a confession, and least of all an adventure, for death is not an adventure to those who stand face to face with it. It will try simply to tell of a generation of men who, even though they may have escaped shells, were destroyed by the war.

It is 1917, and the Great War has been plodding along for three years. Along with his friends Ludwig Behm (Adrian Grünewald), Albert Kropp (Aaron Hilmer), and Franz Müller (Koritz Klaus), student Paul Bäumer (Kammerer) enlists in the Imperial German Army. They all receive uniforms that, unbeknownst to them, belonged to German soldiers killed in action. Skipping almost entirely over basic training, Paul and his friends deploy to the Western Front, on the French side of the Belgium/France border. There, they befriend Stanislaus “Kat” Katczinsky (Albrecht Schuch) and Tjaden Stackfleet (Edin Hasanovic), who are several years older and have been fighting since close to the war’s beginning. These young men muddle on in drenched trenches, freezing weather, and their comrades’ horrific deaths. Parallel to the plight of Paul and his fellow soldiers is German politician Matthias Erzberger (Daniel Brühl), who secretly travels by train to the Forest of Compiègne to negotiate with French General Ferdinand Foch (Thibault de Montalembert) an armistice.

Also featuring in this film are Devid Striesow as the so-villainous-he-must-be-a-moustache-twirler General Friedrichs, as well as Andreas Döhler and Sebastian Hülk as two German officers.

This All Quiet on the Western Front occasionally frames its violent scenes as too painterly, the combat infrequently choreographed too closely to action movies (e.g., 2017’s Dunkirk is sometimes more of a suspense movie than it is a war movie and Sam Mendes’ 1917 from 2019 is an aesthetic challenge and action movie first, war film second). The opening moments are a dolly shot that linger over a patchwork of corpses strewn about No Man’s Land, with the dull rattle of machine gun fire occasionally disturbing the soil. There is an almost gawking approach to how cinematographer James Friend hovers over the bodies. One character’s death is shrouded in a blinding angelic light – applying too picturesque a technique for a non-fantastical moment.  Some exceptions to this voyeuristic, perhaps fetishistic approach to framing warfare appears, including the frightening emergence of French tanks through a cloud of gas. Berger succeeds in displaying war for all its brutality. The film’s sheen, however, comes off as too aggressive and its camerawork reflecting a Netflix-esque polish.

The most glaring misstep from the screenplay by Berger, Ian Stokell, and Lesley Paterson is to include any perspectives not involving Paul and his most immediate comrades. Depicting the insights of Erzberger, Foch, and the fictional General Friedrichs removes one of the central pillars of why All Quiet on the Western Front was such a revolutionary piece of literature. Remarque’s novel, at a time when “anti-war” narrative art was in its infancy, was one of the first war narratives that concentrated entirely on common soldiers – not the officers that commanded them or the politicians that guided them.

Before focusing on Paul and his friends, let us get the officers and politicians out of the way first. The insertion of the armistice negotiations and Gen. Friedrichs’ beliefs over politicians selling the Germany army out – more on this fiction shortly – stunts Paul and his friends’ respective character growths. And despite a decent performance from Brühl, these scenes (except for the final time the elite appear) play out repetitively: Erzberger pleads to Foch for a ceasefire, Foch demands a conditional surrender that will heavily punish Germany, and Erzberger mulls over the terms of surrender. This is all distracting from the common soldiers’ experiences, and provides as much cinematic or educational value as an amateur historical reenactment.

Berger’s stated justification for including these scenes – and letting them drag on too long in the film’s second half – is reasonable. Over the last decade, the actions of far right political groups in Germany have become more visible. These contemporary groups espouse the myths that some in 1920s and ‘30s Germany used to justify the nation’s actions leading up to World War II – all which monolithized and exploited German WWI trauma to serve repugnant purposes. The emotional imbalance of the Erzberger*/Foch scenes paints France and the Allies as an unforgiving “other”, as well as the war’s eventual “victors” (the Allies did prevail in WWI, but Remarque sees no winners in warfare).  For a work never meant to be an accusation and written in between the World Wars, the proto-fascist Gen. Friedrichs spits out an early form of the stab-in-the-back conspiracy theory‡. His behavior and appearance, eerily reminiscent of Allied propaganda of Germans as “the Hun”, casts him as the film’s obvious villain. These decisions all provide Berger’s All Quiet with a juxtaposition of morality more appropriate in a WWII movie than one for the Great War.

Beyond the implications of historical morality, Berger, Stokell, and Paterson’s screenplay undermines, at almost every juncture, Remarque’s critiques of the nationalism that began World War I. The decision to have Paul and his friends join the military in 1917 rather than 1914 (as it is in the book) makes it more difficult to have Paul and his friends to have conversations about the nature and the origins of this war. Instead, the screenplay keeps such dialogue to a minimum. As a result, Berger relies on cinematographer James Friend (in his first motion picture of note) to show us close-ups of Paul’s face to reveal his thoughts. In his film debut, Felix Kammerer is doing all he can with his facial and physical acting, but after a certain point this take on Paul results in him being an empty vessel.

Indeed, in Remarque’s book, Paul Bäumer is very much a reactive rather than proactive character. But that does not mean he is without deep introspection, as he is in this 2022 adaptation. Rather than someone who slowly realizes the nationalistic folly of WWI (“We loved our country as much as they; we went courageously into every action; but also we distinguished the false from true, we had suddenly learned to see.”), muses on how wars begin, and is anything but resigned to war’s inevitability, Kammerer’s Paul emotes and says nothing about these aspects of the war. Any critique from nationalism comes not from Paul in this adaptation, but from Gen. Friedrichs’ cartoonishly villainous behavior and Paul’s teachers in the film’s opening minutes. Paul and his friends are no battlefield geniuses, nor are they intellectuals. But the monotony of war – in the absence and presence of violence – grants them knowledge no classroom can give, wisdom that no elder can impart.

Berger, Stokell, and Paterson have the gall to delete entirely arguably the most critical passage in the book: Paul’s return home after being granted time for rest and recreation. After a lengthy spell fighting in the trenches, Paul’s leave completes his development as a naïve and adventure-seeking student to a detached, disillusioned man. Nationalism manipulates his father and others – mostly older men – into believing the justness of the conflict, that serving one’s country in warfare is glorious.

By contrast, Lewis Milestone’s 1930 adaptation takes Paul’s reunion with his teacher a step further than the book. In that version, instead of a chance encounter at a parade ground, Paul visits his teacher during class, with his newest students a rapt audience. The scene that follows is not subtle. But in the context of Milestone’s adaptation, the film earns it. As Paul, Lew Ayres refuses to gift his former teacher the heroic narrative he requests – paraphrasing Horace, decrying nationalism, and simply stating: “We try not to be killed; sometimes we are. That’s all.” One figures these are the words, delivered in sullen fury, by WWI’s veterans. Berger’s adaptation again leans too heavily on Kammerer to relate any semblance of the above ideas. There is no analogue scene to juxtapose the behavioral and psychological differences between battlefront and homefront, no character or even a faraway figure for Paul to verbally challenge. Kammerer’s Paul does undergo a behavioral and cognitive shift by the conclusion of 2022’s All Quiet. Yet, his transformation is not nearly as dramatic as the narrative needs it to be. These failures all stem from a screenplay that might as well have been titled something else. It is damningly incurious about Paul and his friends.

Major movie studio film scores are moving in a particular direction: amelodic, electronic, experimental, metallic, and minimalistic. It seems, by how awards voting bodies and audiences are reacting to such music, what I am about to write paints me more of an outlier than ever.

Composer Volker Bertelmann (also known as his stage name Hauschka; 2016’s Lion) concocts an anachronistic score that includes all these elements. Devoid entirely of recognizable melody (droning strings), Bertelmann’s score has one repetitive three-note idea – I refuse to call this a motif, as it lacks any sense of development from its first to final appearances – that damages and dominates the movie. Inserted in strangely timed moments and meant to intensify dread, Bertelmann’s idea begins from the root note (B♭), up a minor third (D♭), then descends a minor sixth (F). Bertelmann plays these three notes fortissimo, with synthesizer mimicking blaring brass – trust me, you know the sound and you may know its worst practitioners. When recurring underneath the strings, the idea modulates. Memorable as it may be, this metallic sound is more appropriate for hyping young men before a battle or at a rave rather than suggesting dread. Even worse: this is disruptive music. There is a healthy balance to when music should or should not accompany the imagery onscreen. One should notice music in a movie, and it should empower – but not completely overshadow – the emotions and ideas in respect to a certain scene. Bertelmann’s interruptions appear mostly in calms before the proverbial storms. These are the moments the characters and the audience should collect themselves before the killing restarts. Thus, his three-note idea abuses and instantly overstays its welcome.

Is there a place for such colorless, obnoxious, and offensively manipulative music in film? Certainly. Just not in anything entitled All Quiet on the Western Front.

On its surface, a German-language film adaptation of All Quiet on the Western Front would restore a cultural and linguistic authenticity to Remarque’s text, one of the most important literary works in German history. To some extent, Berger succeeds. His All Quiet is a technical wonder, but its human interest is nil. Remarque’s prose is not the most accomplished, but his subjective descriptions of trench warfare and his characters’ philosophizing in moments of boredom and quiet were unlike anything almost any Western reader ever encountered. We, the readers, grow alongside Paul and his friends. In 1930, the viewers saw a small group of friends – Milestone’s adaptation is unique in that Paul does not truly emerge as the main character until halfway through the film – see their youth and optimism pummeled away with each shelling and charge. A humanity remains, but tenuously. Berger’s adaptation treads an easier path by inserting a reenactment of the armistice negotiations and expediting Paul’s characterization by immediately dismantling his inwardness and sense of hope.

As a document of a generation’s experiences, a critique of that era’s nationalism that led to the conflict, and a common soldier’s processing of the war’s origin and purpose, this is a poor adaptation of Remarque’s novel. It clears the hurdle in anti-war narratives by decrying warfare as ugly. Beyond this basic expectation, it accomplishes little else.

My rating: 6/10

* Erzberger was assassinated by the far-right terrorist organization Organisation Consul (OC) in 1921. The group was disbanded the year after, but its former members were absorbed into the Nazi Party’s Schutzstaffel (SS).

‡ This conspiracy theory was primarily associated with Jews, but the Nazis also extended it to the political elite that negotiated the surrender. And as if it weren’t obvious enough, one of our German characters is stabbed in the back in the film’s concluding minutes.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

[gardenofedenuniverse]

OSCARS 2023 - ARRIVALS.

Please explain...?

[jerichopalms]

#18: All Quiet on the Western Front (2022, dir. by Edward Berger)

[harrison-abbott]

craziness

[bob-the-movie-man-film-reviews]

All Quiet on the Western Front (15): The Destruction of the Innocents.

#onemannsmovies review of "All Quiet on the Western Front" (2022). #allquietmovie. Brutal WW1 saga, justly getting lots of BAFTA noms. 4.5/5.

A One Mann’s Movies review of “All Quiet on the Western Front” (2022). (Original Title: Im Westen nichts Neues) The biggest surprise for me in this year’s BAFTA nominations was the major snub for “The Fabelmans” (as Best Film) and Steven Spielberg (as Best Director). Because I still expect it to WIN the Oscar, for heaven’s sake! But another surprise was that “All Quiet on the Western Front”…

[awardseason]

2023 Oscars — Nominees

Best Picture “All Quiet on the Western Front” “Avatar: The Way of Water” “The Banshees of Inisherin” “Elvis” “Everything Everywhere All at Once” “The Fabelmans” “TÁR” “Top Gun: Maverick” “Triangle of Sadness” “Women Talking”

Best Director Martin McDonagh (“The Banshees of Inisherin”) Dan Kwan and Daniel Scheinert (“Everything Everywhere All at Once”) Steven Spielberg (“The Fabelmans”) Todd Field (“TÁR”) Ruben Östlund (“Triangle of Sadness”)

Best Actress Cate Blanchett (“TÁR”) Ana de Armas (“Blonde”) Andrea Riseborough (“To Leslie”) Michelle Williams (“The Fabelmans”) Michelle Yeoh (“Everything Everywhere All at Once”)

Best Actor Austin Butler (“Elvis”) Colin Farrell (“The Banshees of Inisherin”) Brendan Fraser (“The Whale”) Paul Mescal (“Aftersun”) Bill Nighy (“Living”)

Best Supporting Actress Angela Bassett (“Black Panther: Wakanda Forever”) Hong Chau (“The Whale”) Kerry Condon (“The Banshees of Inisherin”) Stephanie Hsu (“Everything Everywhere All at Once”) Jamie Lee Curtis (“Everything Everywhere All at Once”)

Best Supporting Actor Brendan Gleeson (“The Banshees of Inisherin”) Brian Tyree Henry (“Causeway”) Judd Hirsch (“The Fabelmans”) Barry Keoghan (“The Banshees of Inisherin”) Ke Huy Quan (“Everything Everywhere All at Once”)

Best International Feature Film “All Quiet on the Western Front” (Edward Berger, Germany) “Argentina, 1985” (Santiago Mitre, Argentina) “Close” (Lukas Dhont, Belgium) “EO” (Poland) “The Quiet Girl” (Ireland)

Best Adapted Screenplay Edward Berger, Ian Stokell, and Lesley Paterson (“All Quiet on the Western Front”) Rian Johnson (“Glass Onion: A Knives Out Mystery”) Kazuo Ishiguro (“Living”) Ehren Kruger, Christopher McQuarrie, and Eric Warren Singer (“Top Gun: Maverick”) Sarah Polley (“Women Talking”)

Best Original Screenplay Daniel Kwan and Daniel Scheinert (“Everything Everywhere All at Once”) Todd Field (“TÁR”) Tony Kushner and Steven Spielberg (“The Fabelmans”) Martin McDonagh (“The Banshees of Inisherin”) Ruben Östlund (“Triangle of Sadness”)

Best Animated Feature “Guillermo del Toro’s Pinocchio” (ShadowMachine/Netflix) “Marcel the Shell with Shoes On” (A24) “Turning Red” (Pixar/Disney) “Puss in Boots: The Last Wish” (DreamWorks/Universal) “The Sea Beast” (Netflix)

Best Cinematography James Friend (“All Quiet on the Western Front”) Darius Khondji (“Bardo, False Chronicle of a Handful of Truths”) Mandy Walker (“Elvis”) Roger Deakins (“Empire of Light”) Florian Hoffmeister (“Tár”)

Best Visual Effects “Avatar: The Way of Water” (20th Century/Disney) “All Quiet on the Western Front” (Netflix) “The Batman” (Warner Bros.) “Black Panther: Wakanda Forever” (Disney/Marvel) “Top Gun: Maverick” (Paramount)

Best Editing “Elvis” (Warner Bros.) “Everything Everywhere All at Once” (A24) “Top Gun: Maverick” (Paramount) “TÁR” (Focus Features) “The Banshees of Inisherin” (Searchlight Pictures)

Best Production Design “Avatar: The Way of Water” (20th Century Studios/Disney) “All Quiet on the Western Front” (Netflix) “Babylon” (Paramount) “Elvis” (Warner Bros.) “The Fabelmans” (Universal)

Best Makeup and Hairstyling “Elvis” (Warner Bros.) “The Batman” (Warner Bros.) “Black Panther: Wakanda Forever” (Marvel/Disney) “All Quiet on the Western Front” (Netflix) “The Whale” (A24)

Best Costume Design “Elvis” (Warner Bros.) “Black Panther: Wakanda Forever” (Marvel/Disney) “Everything Everywhere All at Once” (A24) “Babylon” (Paramount) “Mrs. Harris Goes to Paris” (Focus Features)

Best Sound “Top Gun: Maverick” (Paramount) “Elvis” (Warner Bros.) “Avatar: The Way of Water” (20th Century/Disney) “All Quiet on the Western Front” (Netflix) “The Batman” (Warner Bros.)

Best Original Song “Hold My Hand” — Lady Gaga (“Top Gun: Maverick”) “Lift Me Up”— Rihanna (“Black Panther: Wakanda Forever”) “Naatu Naatu”— Kaala Bhairava, M.M. Keeravani, and Rahul Sipligunj (“RRR”) “Applause”— Diane Warren (“Tell It Like a Woman”) “This Is a Life”— David Byrne, Ryan Lott, and Mitski (“Everything Everywhere All at Once”)

Best Original Score Justin Hurwitz (“Babylon”) John Williams (“The Fabelmans”) Volker Bertelmann (“All Quiet on the Western Front”) Carter Burwell (“The Banshees of Inisherin”) Son Lux (“Everything Everywhere All at Once”)

Best Documentary Feature “All That Breathes” “All the Beauty and the Bloodshed” “Fire of Love” “A House Made of Splinters” “Navalny”

Best Documentary Short Subject “The Elephant Whisperers” “Haulout” “How Do You Measure a Year?” “The Martha Mitchell Effect” “Stranger at the Gate”

Best Live Action Short “An Irish Goodbye” “Ivalu” “Le Pupille” “Night Ride” “The Red Suitcase”

Best Animated Short “The Flying Sailor” “The Boy, the Mole, the Fox and the Horse” “Ice Merchants” “My Year of Dicks” “An Ostrich Told Me the World Is Fake and I Think I Believe It”

[batmanisagatewaydrug]

Now that you’ve done your fave looks from the oscars how about the worst fashion from this year’s Oscars?

thank you so much for enabling my hater tendencies. like I said picking out the worsties isn't NEARLY as fun at the Oscars as it is at the Met Gala because people are taking fewer risks in general, so even the "bad" looks tend to be more "meh" than "go to prison," but here are the ones that I Did Not Care For.

first up an obligatory mention of every man who wore a plain black suit. I'm targeting Austin Butler in particular because he didn't even zhuzh it up with interesting accessories like some of his fellow offenders.

Sabrina Dhowre Elba I'm sorry you're very beautiful but you are literally wearing a greenscreen. someone photoshop a tiger on her ASAP. also what's the little knotted detail? I don't get it.

this isn't totally unforgivable but Florence Pugh is serving dirty napkin on the sidewalk. in a bolder color I think I might have enjoyed this?

I feel bad targeting Elizabeth Banks when she seems to have suffered the wardrobe malfunction of the night but it does just look kind of crumpled and unfinished, especially around the hem.

I hate to shit on a man who's actually trying to do something other than basic black but uuuuuh I'm about to do it several times in a row. I don't like Barry Keoghan's sunburst button things, they look like something that would have been cute on the Stranger Things boys circa season one but not on a Grown Ass Man

I don't know who Paul Mescal is but based on this I'm assuming he's headlining a show in Atlantic City

and Paul Dano is giving us "magician going through a divorce who's desperately trying to hold it together through this bat mitzvah because he needs the money"

absolute rock bottom has got to be whatever is going on with All Quiet on the Western Front producer/screenwriter (?) Lesley Paterson. I compared Salma Hayak's dress to an unconventional materials challenge winner on an early season of Project Runway; Paterson's look is more reminiscent of what happens when designers run out of time and send models down the runway in a poorly cut garment held together with staples and hope. genuinely an eyesore I am sorry Miss Paterson!

[filmspun]

2023 Oscar nominations :

Best Picture

“All Quiet on the Western Front,” Malte Grunert, Producer

“Avatar: The Way of Water,” James Cameron and Jon Landau, Producers

“The Banshees of Inisherin,” Graham Broadbent, Pete Czernin and Martin McDonagh, Producers

“Elvis,” Baz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick and Schuyler Weiss, Producers

“Everything Everywhere All at Once,” Daniel Kwan, Daniel Scheinert and Jonathan Wang, Producers

“The Fabelmans,” Kristie Macosko Krieger, Steven Spielberg and Tony Kushner, Producers

“Tár,” Todd Field, Alexandra Milchan and Scott Lambert, Producers

“Top Gun: Maverick,” Tom Cruise, Christopher McQuarrie, David Ellison and Jerry Bruckheimer, Producers

“Triangle of Sadness,” Erik Hemmendorff and Philippe Bober, Producers

“Women Talking,” Dede Gardner, Jeremy Kleiner and Frances McDormand, Producers

Best Director 

Martin McDonagh (“The Banshees of Inisherin”) 

Daniel Kwan, Daniel Scheinert (“Everything Everywhere All at Once”) 

Steven Spielberg (“The Fabelmans”) 

Todd Field (“Tár”) 

Ruben Östlund (“Triangle of Sadness”)

Best Lead Actor

Austin Butler (“Elvis”) 

Colin Farrell (“The Banshees of Inisherin”) 

Brendan Fraser (“The Whale”) 

Paul Mescal (“Aftersun”) 

Bill Nighy (“Living”) 

Best Lead Actress

Cate Blanchett (“Tár”) 

Ana de Armas (“Blonde”) 

Andrea Riseborough (“To Leslie”)

Michelle Williams (“The Fabelmans”) 

Michelle Yeoh (“Everything Everywhere All at Once”)

Best Supporting Actor

Brendan Gleeson (“The Banshees of Inisherin”) 

Brian Tyree Henry (“Causeway”) 

Judd Hirsch (“The Fabelmans”)

Barry Keoghan (“The Banshees of Inisherin”) 

Ke Huy Quan (“Everything Everywhere All at Once”) 

Best Supporting Actress

Angela Bassett (“Black Panther: Wakanda Forever”) 

Hong Chau (“The Whale”) 

Kerry Condon (“The Banshees of Inisherin”) 

Jamie Lee Curtis (“Everything Everywhere All at Once”) 

Stephanie Hsu (“Everything Everywhere All at Once”)

Best Adapted Screenplay

“All Quiet on the Western Front,” Screenplay by Edward Berger, Lesley Paterson & Ian Stokell

“Glass Onion: A Knives Out Mystery,” Written by Rian Johnson

“Living,” Written by Kazuo Ishiguro

“Top Gun: Maverick,” Screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie; Story by Peter Craig and Justin Marks

“Women Talking,” Screenplay by Sarah Polley

Best Original Screenplay

“The Banshees of Inisherin,” Written by Martin McDonagh

“Everything Everywhere All at Once,” Written by Daniel Kwan & Daniel Scheinert

“The Fabelmans,” Written by Steven Spielberg & Tony Kushner

“Tár,” Written by Todd Field

“Triangle of Sadness,” Written by Ruben Östlund

All Quiet on the Western Front”, James Friend

“Bardo, False Chronicle of a Handful of Truths,” Darius Khondji

“Elvis,” Mandy Walker

“Empire of Light,” Roger Deakins

“Tár,” Florian Hoffmeister

Best Documentary Feature Film 

“All That Breathes,” Shaunak Sen, Aman Mann and Teddy Leifer

“All the Beauty and the Bloodshed,” Laura Poitras, Howard Gertler, John Lyons, Nan Goldin and Yoni Golijov

“Fire of Love,” Sara Dosa, Shane Boris and Ina Fichman

“A House Made of Splinters,” Simon Lereng Wilmont and Monica Hellström

“Navalny,” Daniel Roher, Odessa Rae, Diane Becker, Melanie Miller and Shane Boris

Best Documentary Short Film 

“The Elephant Whisperers,” Kartiki Gonsalves and Guneet Monga

“Haulout,” Evgenia Arbugaeva and Maxim Arbugaev

“How Do You Measure a Year?” Jay Rosenblatt

“The Martha Mitchell Effect,” Anne Alvergue and Beth Levison

“Stranger at the Gate,” Joshua Seftel and Conall Jones

Best Film Editing

“The Banshees of Inisherin,” Mikkel E.G. Nielsen

“Elvis,” Matt Villa and Jonathan Redmond

“Everything Everywhere All at Once,” Paul Rogers

“Tár,” Monika Willi

“Top Gun: Maverick,” Eddie Hamilton

Best International Feature Film 

“All Quiet on the Western Front” (Germany) 

“Argentina, 1985” (Argentina) 

“Close” (Belgium)

“EO” (Poland) 

“The Quiet Girl” (Ireland) 

Best Original Song 

“Applause” from “Tell It Like a Woman,” Music and Lyric by Diane Warren

“Hold My Hand” from “Top Gun: Maverick,” Music and Lyric by Lady Gaga and BloodPop

“Lift Me Up” from “Black Panther: Wakanda Forever,” Music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; Lyric by Tems and Ryan Coogler

“Naatu Naatu” from “RRR,” Music by M.M. Keeravaani; Lyric by Chandrabose  

“This Is a Life” from “Everything Everywhere All at Once,” Music by Ryan Lott, David Byrne and Mitski; Lyric by Ryan Lott and David Byrne 

Best Production Design 

“All Quiet on the Western Front,” Production Design: Christian M. Goldbeck; Set Decoration: Ernestine Hipper

“Avatar: The Way of Water,” Production Design: Dylan Cole and Ben Procter; Set Decoration: Vanessa Cole

“Babylon,” Production Design: Florencia Martin; Set Decoration: Anthony Carlino

“Elvis,” Production Design: Catherine Martin and Karen Murphy; Set Decoration: Bev Dunn

“The Fabelmans,” Production Design: Rick Carter; Set Decoration: Karen O’Hara

Best Visual Effects

“All Quiet on the Western Front,” Frank Petzold, Viktor Müller, Markus Frank and Kamil Jafar

“Avatar: The Way of Water,” Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett

“The Batman,” Dan Lemmon, Russell Earl, Anders Langlands and Dominic Tuohy

“Black Panther: Wakanda Forever,” Geoffrey Baumann, Craig Hammack, R. Christopher White and Dan Sudick

“Top Gun: Maverick,” Ryan Tudhope, Seth Hill, Bryan Litson and Scott R. Fisher

Best Animated Feature Film 

“Guillermo del Toro’s Pinocchio,” Guillermo del Toro, Mark Gustafson, Gary Ungar and Alex Bulkley

“Marcel the Shell With Shoes On,” Dean Fleischer Camp, Elisabeth Holm, Andrew Goldman, Caroline Kaplan and Paul Mezey

“Puss in Boots: The Last Wish,” Joel Crawford and Mark Swift

“The Sea Beast,” Chris Williams and Jed Schlanger

“Turning Red,” Domee Shi and Lindsey Collins

Best Animated Short Film

“The Boy, the Mole, the Fox and the Horse,” Charlie Mackesy and Matthew Freud

“The Flying Sailor,” Amanda Forbis and Wendy Tilby

“Ice Merchants,” João Gonzalez and Bruno Caetano

“My Year of Dicks,” Sara Gunnarsdóttir and Pamela Ribon

“An Ostrich Told Me the World Is Fake and I Think I Believe It,” Lachlan Pendragon

Best Costume Design 

“Babylon,” Mary Zophres

“Black Panther: Wakanda Forever,” Ruth Carter

“Elvis,” Catherine Martin

“Everything Everywhere All at Once,” Shirley Kurata

“Mrs. Harris Goes to Paris,” Jenny Beavan

Best Live Action Short

“An Irish Goodbye,” Tom Berkeley and Ross White

“Ivalu,” Anders Walter and Rebecca Pruzan

“Le Pupille,” Alice Rohrwacher and Alfonso Cuarón

“Night Ride,” Eirik Tveiten and Gaute Lid Larssen

“The Red Suitcase,” Cyrus Neshvad

Best Makeup and Hairstyling 

“All Quiet on the Western Front,” Heike Merker and Linda Eisenhamerová

“The Batman,” Naomi Donne, Mike Marino and Mike Fontaine

“Black Panther: Wakanda Forever,” Camille Friend and Joel Harlow

“Elvis,” Mark Coulier, Jason Baird and Aldo Signoretti

The Whale,” Adrien Morot, Judy Chin and Anne Marie Bradley

Best Original Score 

“All Quiet on the Western Front,” Volker Bertelmann

“Babylon,” Justin Hurwitz

“The Banshees of Inisherin,” Carter Burwell

“Everything Everywhere All at Once,” Son Lux

“The Fabelmans,” John Williams

Best Sound

“All Quiet on the Western Front,” Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel and Stefan Korte

“Avatar: The Way of Water,” Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers and Michael Hedges

“The Batman,” Stuart Wilson, William Files, Douglas Murray and Andy Nelson

“Elvis,” David Lee, Wayne Pashley, Andy Nelson and Michael Keller

“Top Gun: Maverick,” Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon and Mark Taylor

[monsterintheballroom]

[...]In addition, Maggie Smith will join Derek Jacobi, Anne Reid and Penelope Wilton on the "Knights and Dames" table for the evening.[...]

[...]The line-up for One Night Only includes (in alphabetical order) Geraldine Alexander, Adjoa Andoh, Annette Badland, Joanna Bobbin, Samantha Bond, Harriet Cairns, Bessie Carter, Jim Carter, Kim Cattrall, Neil Dudgeon, Ben Forster, Tamsin Grieg, Ginny Holder, Tom Hopper, Celia Imrie, Cassidy Janson, Robert Lindsay, Lesley Manville, Jessica Madsen, Bill Paterson, Arlene Phillips, Golda Rosheuvel, Hugh Sachs, Samantha Spiro, Polly Walker and Tom Read Wilson[...]

[boardchairman-blog]

2023 Oscar Predictions

Best Picture

All Quiet on the Western Front

Avatar: The Way of Water

The Banshees of Inisherin

Elvis

Everything Everywhere All at Once

The Fabelmans

Tár

Top Gun: Maverick

The Whale

Women Talking

Best Director

All Quiet on the Western Front- Edward Berger

The Banshees of Inisherin- Martin McDonagh

Everything Everywhere All at Once- Daniel Kwan & Daniel Scheinert

The Fabelmans- Steven Spielberg

Tár- Todd Field

Best Actress

Cate Blanchett- Tár

Viola Davis- The Woman King

Danielle Deadwyler- Till

Michelle Williams - The Fabelmans

Michelle Yeoh- Everything Everywhere All at Once

Best Actor

Austin Butler- Elvis

Colin Farrell- The Banshees of Inisherin

Brendan Fraser- The Whale

Paul Mescal- Aftersun

Bill Nighy- Living

Best Supporting Actor

Paul Dano- The Fabelmans

Brendan Gleeson- The Banshees of Inisherin

Barry Keoghan- The Banshees of Inisherin

Ke Huy Quan- Everything Everywhere All at Once

Eddie Redmayne- The Good Nurse

Best Supporting Actress

Angela Bassett- Black Panther: Wakanda Forever

Kerry Condon- The Banshees of Inisherin

Jamie Lee Curtis- Everything Everywhere All at Once

Dolly De Leon- Triangle of Sadness

Stephanie Hsu- Everything Everywhere All at Once

Best Original Screenplay

The Banshees of Inisherin- Martin McDonagh

Everything Everywhere All at Once- Daniel Kwan & Daniel Scheinert

The Fabelmans- Steven Spielberg and Tony Kushner

Tár-  Todd Field

Triangle of Sadness- Ruben Östlund

Best Adapted Screenplay

All Quiet on the Western Front-   Edward Berger, Lesley Paterson and Ian Stokel

Glass Onion-  Rian Johnson

Living-  Kazuo Ishiguro

The Whale- Samuel D. Hunter

Women Talking- Sarah Polley

Best Animated Feature

Marcell the Shell with Shoes On

Pinocchio

Puss in Boots: The Last Wish

Turning Red

Wendell and Wild

Best Documentary Feature

All That Breathes

All the Beauty and the Bloodshed

Fire of Love

Moonage Daydream

Navalny

Best Foreign Language Film

All Quiet on the Western Front (Germany)

Argentina, 1985 (Argentina)

Bardo, False Chronicle of a Handful of Truths (Mexico)

Decision to Leave (South Korea)

The Quiet Girl (Ireland)

Best Original Score

Carter Burwell- The Banshees of Inisherin

Alexandre Desplat- Pinocchio

Hildur Guðnadóttir- Women Talking

Justin Hurwitz- Babylon

John Williams- The Fabelmans

Best Original Song

“Applause” from Tell It Like a Woman

“Hold My Hand” from Top Gun: Maverick

“Lift Me Up” from Black Panther: Wakanda Forever

“Naatu Naatu” from RRR

“Stand Up” from Till

Best Cinematography

Greig Fraser- The Batman

James Friend- All Quiet on the Western Front

Janusz Kaminski- The Fabelmans

Claudio Miranda- Top Gun: Maverick

Mandy Walker- Elvis

Best Film Editing

All Quiet on the Western Front- Sven Budelmann 

The Banshees of Inisherin- Mikkel E. G. Nielsen

Elvis- Matt Villa and Jonathan Redmond

Everything Everywhere All at Once- Paul Rogers

Top Gun: Maverick- Eddie Hamilton

Best Costume Design

Jenny Beavan- Mrs. Harris Goes to Paris

Ruth E. Carter- Black Panther: Wakanda Forever

Catherine Martin- Elvis

Gersha Phillips- The Woman King

Mary Zophres- Babylon

Best Production Design

All Quiet on the Western Front- Christian M. Goldbeck and Ernestine Hipper

Avatar: The Way of Water- Dylan Cole, Ben Procter, and Vanessa Cole

Babylon- Florencia Martin and Anthony Carlino

Elvis- Catherine Martin, Karen Murphy and Bev Dunn

The Fabelmans- Rick Carter and Karen O'Hara

Best Sound

All Quiet on the Western Front

Avatar: The Way of Water

Elvis

Everything Everywhere All at Once

Top Gun: Maverick

Best Makeup and Hairstyling

All Quiet on the Western Front

The Batman

Crimes of the Future

Elvis

The Whale

Best Visual Effects

All Quiet on the Western Front

Avatar: The Way of Water

The Batman

Thirteen Lives

Top Gun: Maverick

Overall

All Quiet on the Western Front: 10

The Banshees of Inisherin: 9 

Everything Everywhere All at Once: 9

Elvis: 8

The Fabelmans: 8

Top Gun: Maverick: 6

Avatar: The Way of Water: 4

Tár: 4

The Whale: 4

Babylon: 3

The Batman: 3

Black Panther: Wakanda Forever: 3

Women Talking: 3

Living: 2

Pinocchio: 2

Till: 2

Triangle of Sadness: 2

The Woman King: 2

[cyarsk52-20]

Here Are All the Winners From the 2023 Oscars: Complete List

The 95th annual Academy Awards are hosted by Jimmy Kimmel.

The 95th Academy Awards take place on Sunday (March 12) at the Dolby Theatre at Ovation Hollywood and air live on ABC, with Jimmy Kimmel returning as Oscars host for the third time. 

Related 

Jimmy Kimmel Jokes About Nick Cannon’s Kids, the Will Smith Slap in 2023 Oscars… 

03/12/2023

Everything Everywhere All At Once, which earned 11 nods, is the most-nominated film this year. One of those 11 nominations is for best original song (David Byrne, Ryan Lott and Mitski’s “This Is A Life”). They’re competing against Lady Gaga and BloodPop for “Hold My Hand” (Top Gun: Maverick), Tems, Rihanna, Ryan Coogler and Ludwig Goransson for “Lift Me Up (Black Panther: Wakanda Forever), Diane Warren for “Applause” (Tell It Like a Woman) and M.M. Keeravaani and Chandrabose for “Naatu Naatu” (RRR). This is Warren’s 14th nomination, with no wins so far. Gaga previously won this category for co-writing “Shallow” from A Star Is Born. 

Baz Luhrmann’s biopic on 20thcentury icon Elvis Presley, Elvis, was nominated for eight Oscars, including best picture; it also earned a best actor nomination for Austin Butler, who portrayed the King of Rock & Roll.

Check out the complete winners list below, updating live throughout the show. 

Best Actress in a Supporting Role

Angela Bassett in “Black Panther: Wakanda Forever” Hong Chau in “The Whale” Kerry Condon in “The Banshees of Inisherin” Jamie Lee Curtis in “Everything Everywhere All at Once” — WINNER Stephanie Hsu in “Everything Everywhere All at Once”

Best Costume Design

“Babylon” Mary Zophres “Black Panther: Wakanda Forever” Ruth Carter — WINNER “Elvis” Catherine Martin “Everything Everywhere All at Once” Shirley Kurata “Mrs. Harris Goes to Paris” Jenny Beavan

Best Sound

“All Quiet on the Western Front” Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel and Stefan Korte “Avatar: The Way of Water” Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers and Michael Hedges “The Batman” Stuart Wilson, William Files, Douglas Murray and Andy Nelson “Elvis” David Lee, Wayne Pashley, Andy Nelson and Michael Keller “Top Gun: Maverick” Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon and Mark Taylor — WINNER

Best Original Score

“All Quiet on the Western Front” Volker Bertelmann — WINNER “Babylon” Justin Hurwitz “The Banshees of Inisherin” Carter Burwell “Everything Everywhere All at Once” Son Lux “The Fabelmans” John Williams

Best Adapted Screenplay

“All Quiet on the Western Front” Screenplay by Edward Berger, Lesley Paterson & Ian Stokell “Glass Onion: A Knives Out Mystery” Written by Rian Johnson “Living” Written by Kazuo Ishiguro “Top Gun: Maverick” Screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie; Story by Peter Craig and Justin Marks “Women Talking” Screenplay by Sarah Polley — WINNER

Best Original Screenplay

“The Banshees of Inisherin” Written by Martin McDonagh “Everything Everywhere All at Once” Written by Daniel Kwan & Daniel Scheinert — WINNER “The Fabelmans” Written by Steven Spielberg & Tony Kushner “Tár” Written by Todd Field “Triangle of Sadness” Written by Ruben Östlund

Best Live-Action Short Film

“An Irish Goodbye” Tom Berkeley and Ross White — WINNER “Ivalu” Anders Walter and Rebecca Pruzan “Le Pupille” Alice Rohrwacher and Alfonso Cuarón “Night Ride” Eirik Tveiten and Gaute Lid Larssen “The Red Suitcase” Cyrus Neshvad

Best Animated Short Film

“The Boy, the Mole, the Fox and the Horse” Charlie Mackesy and Matthew Freud — WINNER “The Flying Sailor” Amanda Forbis and Wendy Tilby “Ice Merchants” João Gonzalez and Bruno Caetano “My Year of Dicks” Sara Gunnarsdóttir and Pamela Ribon “An Ostrich Told Me the World Is Fake and I Think I Believe It” Lachlan Pendragon

Best Actor in a Supporting Role

Brendan Gleeson in “The Banshees of Inisherin” Brian Tyree Henry in “Causeway” Judd Hirsch in “The Fabelmans” Barry Keoghan in “The Banshees of Inisherin” Ke Huy Quan in “Everything Everywhere All at Once” — WINNER

Best Animated Film

“Guillermo del Toro’s Pinocchio” Guillermo del Toro, Mark Gustafson, Gary Ungar and Alex Bulkley — WINNER “Marcel the Shell with Shoes On” Dean Fleischer Camp, Elisabeth Holm, Andrew Goldman, Caroline Kaplan and Paul Mezey “Puss in Boots: The Last Wish” Joel Crawford and Mark Swift “The Sea Beast” Chris Williams and Jed Schlanger “Turning Red” Domee Shi and Lindsey Collins

Best Original Song

“Applause” from “Tell It like a Woman”; Music and Lyric by Diane Warren “Hold My Hand” from “Top Gun: Maverick”; Music and Lyric by Lady Gaga and BloodPop “Lift Me Up” from “Black Panther: Wakanda Forever”; Music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; Lyric by Tems and Ryan Coogler “Naatu Naatu” from “RRR”; Music by M.M. Keeravaani; Lyric by Chandrabose — WINNER “This Is A Life” from “Everything Everywhere All at Once”; Music by Ryan Lott, David Byrne and Mitski; Lyric by Ryan Lott and David Byrne

Best International Feature Film

“All Quiet on the Western Front” Germany — WINNER “Argentina, 1985” Argentina “Close” Belgium “EO” Poland “The Quiet Girl” Ireland

Best Makeup and Hairstyling

“All Quiet on the Western Front” Heike Merker and Linda Eisenhamerová “The Batman” Naomi Donne, Mike Marino and Mike Fontaine “Black Panther: Wakanda Forever” Camille Friend and Joel Harlow “Elvis” Mark Coulier, Jason Baird and Aldo Signoretti “The Whale” Adrien Morot, Judy Chin and Anne Marie Bradley — WINNER

Best Production Design

“All Quiet on the Western Front” Production Design: Christian M. Goldbeck; Set Decoration: Ernestine Hipper — WINNER “Avatar: The Way of Water” Production Design: Dylan Cole and Ben Procter; Set Decoration: Vanessa Cole “Babylon” Production Design: Florencia Martin; Set Decoration: Anthony Carlino “Elvis” Production Design: Catherine Martin and Karen Murphy; Set Decoration: Bev Dunn “The Fabelmans” Production Design: Rick Carter; Set Decoration: Karen O’Hara

Best Cinematography

“All Quiet on the Western Front” James Friend — WINNER “Bardo, False Chronicle of a Handful of Truths” Darius Khondji “Elvis” Mandy Walker “Empire of Light” Roger Deakins “Tár” Florian Hoffmeister

Best Visual Effects

“All Quiet on the Western Front” Frank Petzold, Viktor Müller, Markus Frank and Kamil Jafar “Avatar: The Way of Water” Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett — WINNER “The Batman” Dan Lemmon, Russell Earl, Anders Langlands and Dominic Tuohy “Black Panther: Wakanda Forever” Geoffrey Baumann, Craig Hammack, R. Christopher White and Dan Sudick “Top Gun: Maverick” Ryan Tudhope, Seth Hill, Bryan Litson and Scott R. Fisher

Best Film Editing

“The Banshees of Inisherin” Mikkel E.G. Nielsen “Elvis” Matt Villa and Jonathan Redmond “Everything Everywhere All at Once” Paul Rogers — WINNER “Tár” Monika Willi “Top Gun: Maverick” Eddie Hamilton

Best Documentary Feature

“All That Breathes” Shaunak Sen, Aman Mann and Teddy Leifer “All the Beauty and the Bloodshed” Laura Poitras, Howard Gertler, John Lyons, Nan Goldin and Yoni Golijov “Fire of Love” Sara Dosa, Shane Boris and Ina Fichman “A House Made of Splinters” Simon Lereng Wilmont and Monica Hellström “Navalny” Daniel Roher, Odessa Rae, Diane Becker, Melanie Miller and Shane Boris — WINNER

Best Documentary Short Subject

“The Elephant Whisperers” Kartiki Gonsalves and Guneet Monga — WINNER “Haulout” Evgenia Arbugaeva and Maxim Arbugaev “How Do You Measure a Year?” Jay Rosenblatt “The Martha Mitchell Effect” Anne Alvergue and Beth Levison “Stranger at the Gate” Joshua Seftel and Conall Jones

Best Actor in a Leading Role

Austin Butler in “Elvis” Colin Farrell in “The Banshees of Inisherin” Brendan Fraser in “The Whale” — WINNER Paul Mescal in “Aftersun” Bill Nighy in “Living”

Best Actress in a Leading Role

Cate Blanchett in “Tár” Ana de Armas in “Blonde” Andrea Riseborough in “To Leslie” Michelle Williams in “The Fabelmans” Michelle Yeoh in “Everything Everywhere All at Once” — WINNER

Best Directing

“The Banshees of Inisherin” Martin McDonagh “Everything Everywhere All at Once” Daniel Kwan and Daniel Scheinert — WINNER “The Fabelmans” Steven Spielberg “Tár” Todd Field “Triangle of Sadness” Ruben Östlund

Best Picture

“All Quiet on the Western Front” Malte Grunert, Producer “Avatar: The Way of Water” James Cameron and Jon Landau, Producers “The Banshees of Inisherin” Graham Broadbent, Pete Czernin and Martin McDonagh, Producers “Elvis” Baz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick and Schuyler Weiss, Producers “Everything Everywhere All at Once” Daniel Kwan, Daniel Scheinert and Jonathan Wang, Producers — WINNER “The Fabelmans” Kristie Macosko Krieger, Steven Spielberg and Tony Kushner, Producers “Tá”r Todd Field, Alexandra Milchan and Scott Lambert, Producers “Top Gun: Maverick” Tom Cruise, Christopher McQuarrie, David Ellison and Jerry Bruckheimer, Producers “Triangle of Sadness” Erik Hemmendorff and Philippe Bober, Producers “Women Talking” Dede Gardner, Jeremy Kleiner and Frances McDormand, Producers

Billboard

Daily newsletters straight to your inboxHere Are All the Winners From the 2023 Oscars: Complete List The 95th annual Academy Awards are hosted by Jimmy Kimmel.

Read in Billboard: https://apple.news/AHKFOmlU5QtqosjZ_09EbPg

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[larimar]

2023 Oscars — Nominees

Here are my picks!

Best Picture “All Quiet on the Western Front”

“Avatar: The Way of Water” “The Banshees of Inisherin” “Elvis” “Everything Everywhere All at Once” “The Fabelmans” “TÁR” “Top Gun: Maverick” “Triangle of Sadness” “Women Talking”

Best Director Martin McDonagh (“The Banshees of Inisherin”) since Edward Berger wasn't nominated???

Dan Kwan and Daniel Scheinert (“Everything Everywhere All at Once”) Steven Spielberg (“The Fabelmans”) Todd Field (“TÁR”) Ruben Östlund (“Triangle of Sadness”)

Best Actress Michelle Yeoh (“Everything Everywhere All at Once”)

Cate Blanchett (“TÁR”) Ana de Armas (“Blonde”) Andrea Riseborough (“To Leslie”) Michelle Williams (“The Fabelmans”)

Best Actor Austin Butler (“Elvis”)

Colin Farrell (“The Banshees of Inisherin”) Brendan Fraser (“The Whale”) Paul Mescal (“Aftersun”) Bill Nighy (“Living”)

Best Supporting Actress Kerry Condon (“The Banshees of Inisherin”)

Angela Bassett (“Black Panther: Wakanda Forever”) Hong Chau (“The Whale”) Stephanie Hsu (“Everything Everywhere All at Once”) Jamie Lee Curtis (“Everything Everywhere All at Once”)

Best Supporting Actor Barry Keoghan (“The Banshees of Inisherin”)

Brendan Gleeson (“The Banshees of Inisherin”) Brian Tyree Henry (“Causeway”) Judd Hirsch (“The Fabelmans”) Ke Huy Quan (“Everything Everywhere All at Once”)

Best International Feature Film “All Quiet on the Western Front” (Edward Berger, Germany)

“Argentina, 1985” (Santiago Mitre, Argentina) “Close” (Lukas Dhont, Belgium) “EO” (Poland) “The Quiet Girl” (Ireland)

Best Adapted Screenplay Edward Berger, Ian Stokell, and Lesley Paterson (“All Quiet on the Western Front”)

Rian Johnson (“Glass Onion: A Knives Out Mystery”) Kazuo Ishiguro (“Living”) Ehren Kruger, Christopher McQuarrie, and Eric Warren Singer (“Top Gun: Maverick”) Sarah Polley (“Women Talking”)

Best Original Screenplay Martin McDonagh (“The Banshees of Inisherin”)

Daniel Kwan and Daniel Scheinert (“Everything Everywhere All at Once”) Todd Field (“TÁR”) Tony Kushner and Steven Spielberg (“The Fabelmans”) Ruben Östlund (“Triangle of Sadness”)

Best Animated Feature “Guillermo del Toro’s Pinocchio”

(ShadowMachine/Netflix) “Marcel the Shell with Shoes On” (A24) “Turning Red” (Pixar/Disney) “Puss in Boots: The Last Wish” (DreamWorks/Universal) “The Sea Beast” (Netflix)

Best Cinematography James Friend (“All Quiet on the Western Front”)

Darius Khondji (“Bardo, False Chronicle of a Handful of Truths”) Mandy Walker (“Elvis”) Roger Deakins (“Empire of Light”) Florian Hoffmeister (“Tár”)

Best Visual Effects “Avatar: The Way of Water” (20th Century/Disney)

“All Quiet on the Western Front” (Netflix) “The Batman” (Warner Bros.) “Black Panther: Wakanda Forever” (Disney/Marvel) “Top Gun: Maverick” (Paramount)

Best Editing “Elvis” (Warner Bros.)

“Everything Everywhere All at Once” (A24) “Top Gun: Maverick” (Paramount) “TÁR” (Focus Features) “The Banshees of Inisherin” (Searchlight Pictures)

Best Production Design “Elvis” (Warner Bros.)

“Avatar: The Way of Water” (20th Century Studios/Disney) “All Quiet on the Western Front” (Netflix) “Babylon” (Paramount) “The Fabelmans” (Universal)

Best Makeup and Hairstyling “Elvis” (Warner Bros.)

“The Batman” (Warner Bros.) “Black Panther: Wakanda Forever” (Marvel/Disney) “All Quiet on the Western Front” (Netflix) “The Whale” (A24)

Best Costume Design “Elvis” (Warner Bros.)

“Black Panther: Wakanda Forever” (Marvel/Disney) “Everything Everywhere All at Once” (A24) “Babylon” (Paramount) “Mrs. Harris Goes to Paris” (Focus Features)

Best Sound “Top Gun: Maverick” (Paramount)

“Elvis” (Warner Bros.) “Avatar: The Way of Water” (20th Century/Disney) “All Quiet on the Western Front” (Netflix) “The Batman” (Warner Bros.)

Best Original Song “Hold My Hand” — Lady Gaga (“Top Gun: Maverick”)

“Lift Me Up”— Rihanna (“Black Panther: Wakanda Forever”) “Naatu Naatu”— Kaala Bhairava, M.M. Keeravani, and Rahul Sipligunj (“RRR”) “Applause”— Diane Warren (“Tell It Like a Woman”) “This Is a Life”— David Byrne, Ryan Lott, and Mitski (“Everything Everywhere All at Once”)

Best Original Score Carter Burwell (“The Banshees of Inisherin”)

Justin Hurwitz (“Babylon”) John Williams (“The Fabelmans”) Volker Bertelmann (“All Quiet on the Western Front”) Son Lux (“Everything Everywhere All at Once”)

Best Documentary Feature “Navalny”

“All That Breathes” “All the Beauty and the Bloodshed” “Fire of Love” “A House Made of Splinters”

Best Documentary Short Subject “The Elephant Whisperers”

“Haulout” “How Do You Measure a Year?” “The Martha Mitchell Effect” “Stranger at the Gate”

Best Live Action Short “An Irish Goodbye”

“Ivalu” “Le Pupille” “Night Ride” “The Red Suitcase”

Best Animated Short “The Boy, the Mole, the Fox and the Horse”

“The Flying Sailor” “Ice Merchants” “My Year of Dicks” “An Ostrich Told Me the World Is Fake and I Think I Believe It”

@zara-rcb here are picks :) We will see tonight!

[maximumwobblerbanditdonut]

Scottish triathlete and world champion on her way to Oscar glory.

Scottish-born (Stirling) Lesley Paterson, 42, is an athlete, screenwriter and film producer who found fame in 2011 winning her first of three Triathlon World Championships, securing the rights to the film adaptation of the novel All Quiet On The Western Front for screen adaptation 16 years ago alongside producer Ian Stokell. It cost $200,000 (£165.591) to secure the rights.

A particular race in Costa Rica, she went into this race needing to win the money to pay for the novel and she broke her shoulder the day before the race.

She co-wrote the screenplay for a 2022 remake of All Quiet on the Western Front, which won seven BAFTAs

The pair picked up the Bafta for best-adapted screenplay. Was a “tough journey” to get the novel made into a film, using her triathlon race winnings to renew the rights deal each year.

Three years ago, the couple enlisted the help of German producers Berger and Grunert to bring the project to life.

Eventually, in 2020, a conversation at a film trade fair in Berlin brought them into a partnership with a German team led by director Edward Bergen. His main experience was in television, and their lead actor Felix Kammerer had never appeared in a film before, but Netflix commissioned the film and production got underway.

The original book, which remains the best-selling German novel of all time, was "always important" to the producers, having first read it as adolescents, a "unique opportunity" that they "approached with respect."

Lesley attended in Stirling, Scotland 🏴󠁧󠁢󠁳󠁣󠁴󠁿 - Allan's Primary and Stirling High.

And is nominated for nine Oscars at tonight’s Academy Awards. Both Lesley and the new film version of All Quiet on the Western Front will be at the 95th Academy Awards in Los Angeles. The German language film, made by Netlfix, has been nominated in nine categories including Best Adapted Screenplay.

All Quiet On The Western Front is widely expected to win an Oscar 🎥, something that will bring to a close an almost year-long awards season that has seen it grace red carpets and awards shows podiums.

Lesley and her husband Simon Marshall, a sports psychologist, have now set up their own production company and hope to make a film in Scotland at the end of the year.

It's a psychological thriller, set in the highlands of Scotland. It's very intense and moody and deals with mental health issues but lots of action in there too. She has the script, a great director and a wonderful production team, and they’ve applied for all sorts of funding like BFI and Creative Scotland. The goal is to shoot in October, and November and support the industry in Scotland.

#Bafta #AllQuietOnTheWesternFront #ErichMariaRemarque #LesleyPaterson #EdwardBerger #Ian Stokell #JamesFriend #VolkerBertelmann #WWI #PaulBäumer #FelixKammerer #ImWestennichtsNeues #novel #Netflix

[remedialreviews]

Remedial Rewards 2022

I watched a few films in 2022 and have some opinions about which possess the best features. Like in years past, my lists mostly follow the categories (and order) of the academy awards, but this time I’ve combined a few that don’t really make sense on their own (actor/actress > performance, and best/international > best). All academy nominees are tracked in their relevant categories: nominees that didn’t make my top five or ten are recorded beneath an ellipsis and nominees that didn’t deserve to be nominated at all are found under a stroke (titles I’ve not yet seen are in italics below the category). Let me know if you are surprised by my selections. Follow the title links to read my little reviews, and follow category links for samples of the goods!

SUPPORTING PERFORMANCE

1. Ke Huy Quan - Everything Everywhere All at Once 2. Ben Whishaw - Women Talking 3. Lee Ji-eun (IU) - Broker 4. Stephanie Hsu - Everything Everywhere All at Once 5. Justin H. Min - After Yang 6. Kerry Condon - The Banshees of Inisherin 7. Brian Tyree Henry - Causeway 8. Tang Wei - Decision to Leave 9. Carrie Crowley - An Cailín Ciúin 10. Andrew Bennett - An Cailín Ciúin … Brendan Gleeson - The Banshees of Inisherin Judd Hirsch - The Fabelmans Barry Keoghan - The Banshees of Inisherin Jamie Lee Curtis - Everything Everywhere All at Once Angela Bassett - Black Panther: Wakanda Forever

Hong Chau - The Whale

SOUND

1. Three Thousand Years of Longing 2. Everything Everywhere All at Once 3. Im Westen nichts Neues 4. Marcel the Shell with Shoes On 5. An Cailín Ciúin … The Batman Avatar: The Way of Water Top Gun: Maverick Elvis

CINEMATOGRAPHY

1. Kim Ji-yong - Decision to Leave 2. Kate McCullough - An Cailín Ciúin 3. Benjamin Loeb - After Yang 4. James Friend - Im Westen nichts Neues 5. Hoyte van Hoytema - Nope ____________________ Mandy Walker - Elvis Darius Khondji - Bardo, False Chronicle of a Handful of Truths Roger Deakins - Empire of Light Florian Hoffmeister - TÁR

VISUAL EFFECTS

1. Avatar: The Way of Water 2. Im Westen nichts Neues 3. Pinocchio 4. Nope 5. Top Gun: Maverick … The Batman ____________________ Black Panther: Wakanda Forever

ANIMATED FEATURE

1. Marcel the Shell with Shoes On 2. Pinocchio 3. Turning Red 4. Puss in Boots: The Last Wish 5. Bubble

COSTUME DESIGN

1. Jenny Eagan - Glass Onion 2. Lisy Christl - Im Westen nichts Neues 3. Louise Stanton - An Cailín Ciúin 4. Rob Howell - Matilda the Musical 5. Michael O'Connor - Emily … Ruth E. Carter - Black Panther: Wakanda Forever Shirley Kurata -  Everything Everywhere All at Once Mary Zophres - Babylon Catherine Martin - Elvis Jenny Beavan - Mrs. Harris Goes to Paris

ORIGINAL SCREENPLAY

1. Daniel Scheinert, Daniel Kwan - Everything Everywhere All at Once 2. Cooper Raiff - Cha Cha Real Smooth 3. Park Chan-wook, Chung Seo-kyung - Decision to Leave 4. Elizabeth Sanders, Ottessa Moshfegh, Luke Goebel - Causeway 5. Tom Gormican, Kevin Etten - The Unbearable Weight of Massive Talent ____________________ Steven Spielberg and Tony Kushner - The Fabelmans Martin McDonagh - The Banshees of Inisherin Todd Field - TÁR Ruben Östlund - Triangle of Sadness

ADAPTED SCREENPLAY

1. Sarah Polley - Women Talking 2. Colm Bairéad - An Cailín Ciúin 3. Rian Johnson - Glass Onion 4. Kogonada - After Yang 5. Dennis Kelly - Matilda the Musical … Edward Berger, Lesley Paterson, and Ian Stokell - Im Westen nichts Neues ____________________ Ehren Kruger, Eric Warren Singer, and Christopher McQuarrie - Top Gun: Maverick Kazuo Ishiguro - Living

SCORE

1. M. M. Keeravani - RRR 2. Hildur Guðnadóttir - Women Talking 3. Son Lux - Everything Everywhere All at Once 4. Alexandre Desplat - Pinocchio 5. Michael Giacchino - The Batman … Volker Bertelmann - Im Westen nichts Neues Carter Burwell - The Banshees of Inisherin John Williams - The Fabelmans ____________________ Justin Hurwitz - Babylon

FILM EDITING

1. Kim Sang-bum - Decision to Leave 2. Paul Rogers - Everything Everywhere All at Once 3. Bob Ducsay - Glass Onion 4. Dean Fleischer Camp, Nick Paley - Marcel the Shell with Shoes On 5. John Murphy - An Cailín Ciúin … Mikkel E.G. Nielsen - The Banshees of Inisherin Matt Villa and Jonathan Redmond - Elvis Eddie Hamilton - Top Gun: Maverick Monika Willi - TÁR

PRODUCTION DESIGN

1. Guy Davis, Curt Enderle - Pinocchio 2. Christian M. Goldbeck, Ernestine Hipper - Im Westen nichts Neues 3. Ryu Seong-hie - Decision to Leave 4. Rick Heinrichs - Glass Onion 5. Alexandra Schaller - After Yang … Florencia Martin, Anthony Carlino - Babylon Rick Carter, Karen O'Hara - The Fabelmans Catherine Martin, Karen Murphy, Bev Dunn - Elvis ____________________ Dylan Cole, Ben Procter, Vanessa Cole - Avatar: The Way of Water

ORIGINAL SONG

1. Komuram Bheemudo - M. M. Keeravani, Chandrabose (RRR) 2. Naatu Naatu - M. M. Keeravani, Chandrabose (RRR) 3. Still Holding My Hand - Tim Minchin (Matilda the Musical) 4. Ciao Papa - Alexandre Desplat, Gregory Mann (Pinocchio) 5. “This is a Life” - Son Lux, Mitski, David Byrne (Everything Everywhere All at Once) ____________________ "Lift Me Up"- Tems, Rihanna, Ryan Coogler, Ludwig Goransson (Black Panther: Wakanda Forever) "Hold My Hand" - Lady Gaga, BloodPop (Top Gun: Maverick)

"Applause" - Dianne Warren (Tell It Like a Woman)

DIRECTING

1. Daniel Scheinert, Daniel Kwan - Everything Everywhere All at Once 2. Sarah Polley - Women Talking 3. Park Chan-wook - Decision to Leave 4. Matthew Warchus - Matilda the Musical 5. Cooper Raiff - Cha Cha Real Smooth … Martin McDonagh - The Banshees of Inisherin ____________________ Steven Spielberg - The Fabelmans Todd Field - TÁR Ruben Östlund - Triangle of Sadness

MAKEUP AND HAIRSTYLING

1. Srinu Nalla, Senapathi Naidu - RRR 2. Heike Merker, Linda Eisenhamerová - Im Westen nichts Neues 3. Naomi Donne, Mike Marino, Mike Fontaine - The Batman 4. Mark Coulier, Jason Baird, Aldo Signoretti - Elvis 5. Marese Langan - Catherine Called Birdy … Camille Friend, Joel Harlow - Black Panther: Wakanda Forever

Adrien Morot, Judy Chin, Anne Marie Bradley - The Whale

LEAD PERFORMANCE

1. Michelle Yeoh - Everything Everywhere All at Once 2. Catherine Clinch - An Cailín Ciúin 3. Cooper Raiff - Cha Cha Real Smooth 4. Jennifer Lawrence - Causeway 5. Rooney Mara - Women Talking 6. Ram Charan - RRR 7. Rama Rao Jr. - RRR 8. Park Hae-il - Decision to Leave 9. Colin Farrell - The Banshees of Inisherin 10. Colin Farrell - After Yang … Austin Butler - Elvis Michelle Williams - The Fabelmans Brendan Fraser - The Whale Paul Mescal - Aftersun Bill Nighy - Living Cate Blanchett - TÁR Ana de Armas - Blonde Andrea Riseborough - To Leslie

BEST PICTURE 1. Everything Everywhere All at Once 2. Women Talking 3. Matilda the Musical 4. RRR 5. An Cailín Ciúin 6. Cha Cha Real Smooth 7. Decision to Leave 8. After Yang 9. Marcel the Shell with Shoes On 10. Glass Onion ... Im Westen nichts Neues The Banshees of Inisherin The Fabelmans ____________________ Top Gun: Maverick Elvis Avatar: The Way of Water TÁR Triangle of Sadness Argentina, 1985 Close EO