#charlie mackesy film

[aviscranio]

The Boy, the Mole, the Fox and the Horse (2022) dir. Charlie Mackesy, Peter Baynton

[cinematicjourney]

The Boy, the Mole, the Fox and the Horse (2022) | dir. Peter Baynton, Charlie Mackesy

[slowandsweet]

The Boy, the Mole, the Fox and the Horse — Official Trailer | Apple TV+

The touching journey follows the unlikely friendship of a boy, a mole, a fox and a horse as they journey together in search of a home.

"The journey of making the film of The Boy, the Mole, the Fox and the Horse with my ridiculously talented and kind animation team has been a magical one. It’s so great to think the story will be in the nation's homes this Christmas – and I really hope it helps bring comfort, love and laughter"( Charlie Mackesy).

[z1nez0ned]

THE BOY, THE MOLE, THE FOX AND THE HORSE

Since the time Charlie Mackesy's ink drawings trended a couple of years ago, I've been a fan. His illustrations of a boy, a mole, a fox and a horse in pen and watercolors are truly alluring which at times, makes one wish they are real.

To add more to the charm, he released a children's book based on those characters and my, the words he crafted for the story never fail to strike a chord every time one reads them. Now, what do you think one felt upon learning that the book had been adapted into a film? Thrilled, of course! It's a must-watch for those who'd like to carry on with their high spirits but moreso, for those who need a heap of good ol' pick-me-ups. Overall, it's like a big, warm, animated hug made for all. Streaming now on Apple TV so go watch.

In case you need more convincing, here are some golden nuggets of wisdom from the adaptation:

• Isn't it odd, we can only see our outsides, but nearly everything happens on the inside?

• Imagine how we'd be if we were less afraid. Most of the old moles I know wish they'd listened less to their fears and more to their dreams.

• Being honest is always interesting.

• You know, sometimes your mind plays tricks on you. It can tell you you're no good, that it's all hopeless. But I've discovered this: You are loved and important, and you bring to this world things that no one else can. So hold on.

[jerichopalms]

#17: The Boy, the Mole, the Fox and the Horse (2022, dir. by Peter Baynton & Charlie Mackesy)

[dweemeister]

Best Animated Short Film Nominees for the 95th Academy Awards (2023, listed in order of appearance in the shorts package)

This blog, since 2013, has been the site of my write-ups to the Oscar-nominated short film packages – a personal tradition for myself and for this blog. This omnibus write-up goes with my thanks to the Regency South Coast Village in Santa Ana, California for providing all three Oscar-nominated short film packages. Without further ado, here are the nominees for the Best Animated Short Film at this year’s Academy Awards. The write-ups for the Documentary Short and Live Action Short nominees are complete. Films predominantly in a language other than English (or in two cases here, with dialogue) are listed with their nation(s) of origin.

So completes this year’s omnibus write-ups for the Oscar-nominated short films.

An Ostrich Told Me the World is Fake and I Think I Believe It (2021)

In 1953, director Chuck Jones tortured Daffy Duck with the whims of an unseen animator (revealed to be Bugs Bunny) in Duck Amuck. Fast forward almost seventy years and a film of a similar concept comes in Lachlan Pendragon’s An Ostrich Told Me the World is Fake and I Think I Believe It. Pendragon, who directed, wrote, animated, and voiced the main character this film as an undergraduate student at the Griffith Film School in Brisbane (where he is now a PhD candidate), frames hapless toaster telemarketing salesman Neil as under fire from his boss (Michael Richard) due to a lack of sales. As the workday continues, he begins to notice peculiar aspects of his fellow coworkers and the office that make him question what is going on. Accidentally sleeping at work through the night, he encounters an ostrich (John Cavanagh) in the elevator who then claims the world Neil lives in is, “a lie”. What follows is a meta-breaking, existential short film deriving its comedy from the character’s realization of the stop-motion artifice of his life.

A winner of the Student Academy Award from last year and a nominee for Best Graduation Film at Annecy (the premier animation-only film festival), Ostrich uses what I am assuming is Pendragon’s hand in place of Bugs Bunny’s glove and paintbrush. Shot entirely during the COVID-19 lockdown at home in the living room, this is a one-man animation job. For most of its ten-minute runtime, the viewers see the film through an in-film camera monitor – allowing us into Pendragon’s workspace. Meanwhile, in the background that comprises the margins of the frame, we witness the rigging, wiring, and animation handiwork that is occurring at twenty-four frames per second.  The impressive character design and the clearly-delineated pop-off faces and jaws provide a remarkable assist to Ostrich’s comic timing and Neil’s acting (which Pendragon admits that Neil’s reactions take inspiration his own behavioral habits). The film’s metaphor is perhaps not as well developed, but one can make the argument that Ostrich is a blistering take on this stifling office environment and champions an exploration and investigation of all possibilities in one’s earthly life and in existence. One imagines we will see more from Pendragon, who is at the very beginning of his career and wishes to make a feature someday.

My rating: 8/10

The Flying Sailor (2022, Canada)

Making its debut last year at Annecy and from National Film Board of Canada (NFB; who, as a studio, are the second-most nominated ever in this category behind Walt Disney Animation), Wendy Tilby and Amanda Forbis’ The Flying Sailor is an experimental take of the story of Charlie Mayers. On December 6, 1917, a French cargo ship and a Norwegian merchant vessel collided in a strait called the Narrows, just off Halifax, Nova Scotia. A fire began on the former ship, which carried with it high explosives. The resulting explosion was the most violent peacetime accidental explosion ever on Earth – killing more than 1,700 and wounding around 9,000 in the immediate area and from the shockwaves. Mayers was actually onboard the deck of one of the ships, but Tilby and Forbis move him to the docks, watching on as an inquisitive spectator instead. As in real life, the blast is enough to quickly tear off all his clothes, and he spirals skyward. It is here that Tilby and Forbis send Mayers flying in slow-motion, almost balletically spinning as the film delves into his unconsciousness.

His life flashing before his eyes, we see hazy glimpses of the sailor’s memories – his childhood self at play, his mother, the rough-and-tumble life of being a sailor. Along with My Year of Dicks, The Flying Sailor is one of the first films in this category to make use of mixed media since Mémorable (2019, France). It opens with juxtaposing our hand-drawn sailor with the ships – as if in the style of the opening of Mister Rogers’ Neighborhood – hurtling towards each other. But once the explosion occurs, the film, too, explodes with a clash of styles. Showcasing hand-drawn, computer-generated, and live action footage, Tilby and Forbis’ choices are reflective of the instant disorientation following the blast. The film’s penultimate moments are an orchestral cacophony from composer Luigi Allemano as the sailor returns to our earthly existence. This is perhaps the only film of these five that absolutely needed to be a short film. It presents its direction, completes its business, and concludes.

My rating: 8/10

Ice Merchants (2022, Portugal)

By earning Portugal its first-ever Academy Award nomination, João Gonzalez’s Ice Merchants – a production of the Cola Animation collective – already has a place in Oscars history. In his third film as a director following The Voyager (2017) and Nestor (2019), Gonzalez transports audiences to an impossible, dreamlike place and imbues his film with a metaphor of loss and how family routines can be an extension of grief. In a cliffside house suspended by hooks and ropes live a father and his son. Living thousands of feet above the town below, they jump off their porch daily, parachuting to safety in order to sell the ice. They return home after selling their wares and purchasing whatever they need in town by using a pulley system that probably takes ages to ascend and descend. In the rarified, chilly air, father and son go about their lives peacefully, continuing their lives amid the shadow of loss.

Garnering award wins at Cannes, the Chicago International Film Festival, and the Annies, Ice Merchants is among the most-awarded short films ever prior to an Oscar nomination. According to Gonzalez, the idea of the cliffside house came as he was dreaming or was about to fall asleep – a development that has, thus far, fully informed the visual conceits of his entire filmography. Prior to starting the formal animation for Ice Merchants, Gonzalez himself modeled the entire house (including the swing, interiors, and pulley system) 3D and started composing the score (Gonzalez is a pianist, but required his friend, conductor/orchestrator Nuno Lobo, to transpose for various instruments). Unusual in that the film’s narrative and themes spring from the score rather than the other way around, Ice Merchants adopts an everyday melancholy reflected in its strikingly limited color palette. Those colors include shades of red, orange, a dark blue or green for backgrounds only, and two brief but noteworthy instances of yellow. All these decisions – visually, musically, narratively – combine in a breathtaking conclusion that unleashes a wave of emotions. That mastery of cinematic control leads me to write something longtime readers know I do not say lightly. Ice Merchants is the best nominee in this category since Bear Story (2014, Chile) and World of Tomorrow (2015) were nominated together seven years ago. By extension, it is one of the finest animated short films of the young century.

My rating: 9/10

The Boy, the Mole, the Fox and the Horse (2022)

Adapting Charlie Mackesy’s 2019 picture book of the same name, Peter Baynton and Mackesy’s The Boy, the Mole, the Fox and the Horse made an enormous splash when it aired on BBC One on Christmas Eve as part of the BBC’s annual slate of Christmas specials. It qualified for an Academy Award nomination by virtue of a nominal one-week theatrical release in Los Angeles County on September 23, 2022. Here, the Boy (Jude Coward Nicoll) has lost his way in a wintry forest when he encounters Mole (Tom Hollander). Mole is a cheerful, friendly sort that enjoys a good cake. But the Boy believes himself to be lost, is searching for a home, and wishes to be a kind person. Along their travels they encounter starving Fox (Idris Elba) and the lonely Horse (Gabriel Byrne). For the duration of this movie, the Boy and his animal friends speak to each other in platitudes of positivity, reassurance, and perseverance for what is most likely chronic depression or seasonal affective disorder.

The Boy might just be the most beautifully drawn of this year’s nominees. Its painterly watercolor backgrounds seem as lifted from a picture book; the residual sketches on each of the characters are a beautiful expressionistic touch (I especially like the ends of the Boy’s hair and Fox’s tale, as well as the curvatures to denote Horse’s leg musculature). My sense of visual wonder lasted all but five or so minutes. Because once the Boy has a few conversations with Mole, the film’s thirty-seven minutes seem all the more interminable. The film’s dialogue – and my goodness, no one speaks like this in real life – is trite, straight from the crowd that might have a “live, laugh, love” embroidery unironically hanging on their wall. Each character appears as if they are trying to one-up the other in their AI-generated speech*, as if each Very Important Line of Dialogue is attempting to be the penultimate or final line in a children’s picture book. I understand how this might be impactful for those with major cases of depression and seasonal affective disorder, but the film’s messaging and horrific script is sheer overkill.

My rating: 6/10

My Year of Dicks (2022)

A winner at Annecy, Chicago International Film Festival, and SXSW, Sara Gunnarsdóttir’s My Year of Dicks adapts Pamela Ribon’s comedic memoir Notes to Boys: And Other Things I Shouldn’t Share in Public (Ribon is the sole screenwriter on this film). This is not about people named Richard. It is 1991 in Houston. In the first of five chapters, we find Pam (Brie Tilton) – a fifteen-year-old who wants desperately to lose her virginity sometimes this year – narrating a diary entry/letter to her first boy, David (Sterling Temple Howard, “Skater Dude” from 2020’s Two Distant Strangers). David is a skater boy who has filed his nails into sharp points and his teeth in a similar way. As one can imagine, this romance does not work out and Pam cycles through the next four chapters awash in heterosexual hijinks (some readers will interpret the use of “heterosexual” here as a pejorative, but I say it as only an observation) with Wally (Mical Trejo), Robert (Sean Stack), best friend Sam (Jackson Kelly), and Joey (Chris Elsenbroek).

Alternatively hilarious and excruciating (see: the scene where Pam’s father gives her The Talk) to watch, one-half of the film’s genius lies in Ribon’s adapted screenplay of her memoir. Ribon (a co-screenwriter on 2016’s Moana and 2018’s Ralph Breaks the Internet), who saved all of the letters she wrote to all her crushes when she was a teenager, adapts that writing to form an honest, secondhand embarrassing story. The central ideas play like a grown-up Helga Pataki from Hey Arnold!, sans used gum bust of her beloved. My Year of Dicks’ resolution is genuine, as is a non-judgmental depiction of teenage female sexuality‡. In a roundabout way, it is a deconstruction of the idea that the only way for girls to achieve full womanhood is through sex and sexual appeal. And like The Flying Sailor, My Year of Dicks employs a litany of styles of mixed media that help it succeed. Though its rough rotoscoping (a time-tested technique in which animators trace over live-action footage) is the dominant style, there are some fascinating breaks here: most interestingly, a scene involving a metaphoric angel and devil over Pam’s shoulders and interludes of shôjo anime (which probably was not on the radar of Houston teenagers in 1991). A sidesplittingly funny film, My Year of Dicks nevertheless retains a sliver of nostalgic poignancy to keep it grounded.

My rating: 8/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

From previous years: 85th Academy Awards (2013), 87th (2015), 88th (2016), 89th (2017), 90th (2018), 91st (2019), 92nd (2020), 93rd (2021), and 94th (2022).

* This begs a question. Should programmers of AI chatbots receive credit for their work when, inevitably, we have a film written by one?

‡ This line of thinking was certainly more prominent in the 1980s-2000s than it has been over the last decade, as teenage sex in the U.S. is down considerably from those times (the reasons are many).

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

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

The Oscars "Best Animated Short" Nominees, 2023.

#onemannsmovies review of the Oscar "Best Animated Short" film nominees for 2023.

A One Mann’s Movies review of the nominations for the Oscars in the “Best Animated Short” Category. I’ve not done separate reviews for these Oscar “Best Animated Short” nominees but am including brief reviews for them in this one post. The Boy, The Mole, The Fox and The Horse (2022). Bob the Movie Man Rating(s): Plot Summary: A lost boy is helped with guidance and advice from the animals he…

[k8jax83]

I cried when I read this book. I’m a wreck now I’ve seen it brought to life in film. Here are just some of the beautiful and inspiring messages in it.

Life can be hard but never forget how special and loved you are. Sending love and hope to anyone who needs it right now 💖

***Updated ***

Film: The Boy, The Mole, The Fox and The Horse (Based on the book of the same name by Charlie Mackesy)

[o-druida-ebrio]

Filme: O Menino, a Toupeira, a Raposa e o Cavalo

Direção: Peter Baynton e Charlie Mackesy

Ano: 2022

[loremori]

Martin Freeman (249/366)

2020

Comic Relief's 'Love Wins' fundraising t-shirt, created in collaboration with Charlie Mackesy, featuring their beloved characters, the Kid and the Mole, alongside the heartwarming slogan 'Love Wins'.

I recommend the novel and its short film by Charlie Mackesy.

[aviscranio]

The Boy, the Mole, the Fox and the Horse (2022) dir. Charlie Mackesy, Peter Baynton

[cinematicjourney]

The Boy, the Mole, the Fox and the Horse (2022) | dir. Peter Baynton, Charlie Mackesy

[livingasaghost]

okay @permanentreverie did this in honor of book lovers day (aug 9) so here i am being obnoxious and sorting my favorite books based on genres bc i'm procrastinating editing

put it under read more because i'm annoying and this is longer than i thought it'd be ahjflksd

classics:

les miserables by victor hugo

1984 by george orwell

a midsummer night's dream by william shakespeare

hamlet by william shakespeare

the crucible by arthur miller

the great gatsby by f scott fitzgerald

contemporary romances:

red white and royal blue by casey mcquiston

with you forever by chloe liese

everything for you by chloe liese

beach read by emily henry

happy place by emily henry

a very merry bromance by lyssa kay adams

crazy stupid bromance by lyssa kay adams

love, theoretically by ali hazelwood

the love hypothesis by ali hazelwood

not in love by ali hazelwood

let's talk about love by claire kann

roomies by christina lauren

the hating game by sally thorne

fantasy:

tower of dawn by sarah j maas

kingdom of ash by sarah j maas

a court of mist and fury by sarah j maas

a court of silver flames by sarah j maas

the starless sea by erin morgenstern

a storm of swords by george r.r. martin

a feast for crows by george r.r. martin

wizard's first rule by terry goodkind

temple of the winds by terry goodkind

prince's gambit by c.s. pacat

kings rising by c.s. pacat

a discovery of witches by deborah harkness

jade legacy by fonda lee

the dragon republic by r.f. kuang

babel by r.f. kuang

every heart a doorway by seanan mcguire

the magician's nephew by c.s. lewis

priory of the orange tree by samantha shannon

strange the dreamer by laini taylor

sci-fi:

the host by stephenie meyer

nona the ninth by tamsyn muir

graphic novels / comics:

monstress by marjorie liu & sana takeda

check please by ngozi ukazu

the boy the mole the fox and the horse by charlie mackesy

heartstopper by alice oseman

lore olympus by rachel smythe

fence by c.s. pacat & johanna the mad

heart of gold by eliot baum & viv tanner

the prince & the dressmaker by jen wang

historical fiction:

cloud cuckoo land by anthony doerr

the book thief by markus zusak

literary fiction:

evenings & weekends by oisín mckenna

henry henry by allen bratton

a little life by hanya yanagihara

piranesi by suzanna clarke

malibu rising by taylor jenkins reid

if we were villains by m.l. rio

the invisible life of addie larue by v.e. schwab

real life by brandon taylor

s by doug dorst

horror:

house of leaves by mark z danielewski

imaginary friend by stephen chbosky

night film by marisha pessl

don't let the forest in by c.g. drews

middle grade:

magyk by angie sage

a kind of spark by elle mcnicoll

sir callie and the champions of helston by esme symes-smith

holes by louis sachar

the mighty heart of sunny st james by ashley herring blake

new adult:

loveless by alice oseman

obsidian by jennifer l armentrout

masters of death by olivie blake

alone with you in the ether by olivie blake

angelfall by susan ee

the sunshine court by nora sakavic

the king's men by nora sakavic

vicious by v.e. schwab

queenie by candice carty-williams

hell bent by leigh bardugo

nonfiction:

into the wild by john krakauer

it was vulgar and it was beautiful by jack lowery

the last lecture by randy pausch

what i want to talk about by pete wharmby

furiously happy by jenny lawson

ace by angela chen

blood sweat and chrome by kyle buchanan

refusing compulsory sexuality by sherronda j brown

the great divorce by c.s. lewis

the cancer journals by audre lorde

the dark interval by rilke

inverse cowgirl by alicia roth weigel

translated works:

the memory police by yōko ogawa

vita nostra by marina dyachenko

the strange library by haruki murakami

young adult:

the mask falling by samantha shannon

check & mate by ali hazelwood

i was born for this by alice oseman

the hunger games by suzanne collins

just listen by sarah dessen

ignite me by tahereh mafi

the unexpected everything by morgan matson

save the date by morgan matson

tash hearts tolstoy by kathryn ormsbee

neverworld wake by marisha pessl

the spirit bares its teeth by andrew joseph white

compound fracture by andrew joseph white

the wicked king by holly black

short story collections:

the tangleroot palace by marjorie liu

what is not your is not yours by helen oyeyemi

the late americans by brandon taylor

filthy animals by brandon taylor

seven empty houses by samanta schweblin

[geekcavepodcast]

The Boy, the Mole, the Fox and the Horse Trailer

Based on the book by Charlie Mackesy, The Boy, the Mole, the Fox and the Horse follows a group of friends on a journey to find home. The short film stars the voice talents of Jude Coward Nicole (Boy), Tom Hollander (Mole), Idris Elba (Fox), and Gabriel Byrne (Horse).

The Boy, the Mole, the Fox and the Horse premieres on Apple TV+ on December 25, 2022.

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

The BAFTA Short Film Animation Nominees, 2023.

#onemannsmovies review of the BAFTA Short Animation nominees for 2023.

A One Mann’s Movies review of the nominations for the BAFTA “British Short Film Animation” Category. I’ve not done separate reviews for these BAFTA Short Animation nominees but am including short reviews for them in this one post. The Boy, The Mole, The Fox and The Horse. Bob the Movie Man Rating(s): Plot Summary: A lost boy is helped with guidance and advice from the animals he meets along…