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  • How the Oscar Race Got as Messy as “Conclave”


    Stop me if you’ve seen this one. A committee of august personages convenes, with much pomp and circumstance, to choose the best of their lot. Time-honored rituals are observed. Fancy outfits are donned. The ogling public is kept at bay. The contenders, some representing progress, others tradition, jockey for supporters, though outright campaigning is frowned upon—and negative campaigning is taboo, although it happens in whispers. Unflattering rumors swirl, and the contestants are made to atone for their past sins. Secret ballots are cast and counted, in an arcane tallying system, and a victor is announced, to great fanfare.

    This is, roughly, the plot of “Conclave,” in which the College of Cardinals meets at the Vatican, after the death of the Pope, to choose his successor. But it’s also the plot of this year’s Oscar race, in which “Conclave” is nominated in eight categories, including Best Picture. When I first saw it, last fall, the film immediately reminded me of awards season, with its ceremonial customs, its flair, and the pettiness of its esteemed voting body. (For the red robes and skullcaps, sub in the red carpet.) Just as Oscar nominees go on endless press rounds to talk about their artistic process without evincing a hunger for the little gold man, the film’s papal hopefuls profess that their aspirations are spiritual. Still, “every cardinal, deep down, has already chosen the name by which he would like his papacy to be known,” one character says in “Conclave”—just as every actor has, admittedly or not, delivered an Oscar speech in the shower.

    It wasn’t until the Oscar nominations were announced, two weeks ago, that awards season started to resemble “Conclave” where it counts: in sheer, soapy drama. As in the movie, a succession of mini-scandals has threatened to derail one Best Picture contender after another, amounting to one of the messiest campaign seasons in recent memory. In “Conclave,” the calculus shifts each time a disgraced cardinal drops out of the running. In the awards race, the question looms: Will any of the nominees make it to the ceremony untainted?

    Let’s start at the beginning. (“Conclave” spoilers follow.) Last year’s Best Picture winner, “Oppenheimer,” was a widely admired favorite, much like the beloved Pope who dies in the first scene of “Conclave.” This year’s race has never had a stable front-runner; instead, it’s populated by smaller, more polarizing movies, each vulnerable under the scrutiny of the Oscar spotlight. As in “Conclave,” in which Cardinal Adeyemi, of Nigeria, gets the most votes on the first ballot, “Emilia Peréz,” a potentially history-making entrant, seemed to be winning the numbers game, with thirteen nominations. But both contenders prove to be imperfect harbingers of progress. Adeyemi would be the first Pope from Africa, but he’s known among the cardinals to have regressive views on homosexuality. “Emilia Pérez,” a musical about a transgender drug lord in Mexico, seems like a boundary-breaking Best Picture winner, but it’s been saddled with criticisms from Mexican and trans viewers, who have accused it of retrograde misrepresentation. (Its director, Jacques Audiard, is French.)

    Midway through “Conclave,” Adeyemi’s candidacy collapses when a nun arrives from Nigeria, revealing that he fathered her child when she was nineteen. “Emilia Pérez” has had a cascade of P.R. snafus from Karla Sofía Gascón, the Spanish actress who plays the title role. When Gascón landed on the Best Actress list, she became the first openly transgender performer to be nominated for an Oscar. Things immediately went sideways, when she had to walk back earlier comments she’d made to a Brazilian newspaper about a fellow-nominee, Fernanda Torres (“I’m Still Here”). “I have never, at any point, said anything bad about Fernanda Torres or her movie,” Gascón had told Folha de S. Paulo. “However, there are people working with Fernanda Torres tearing me and ‘Emilia Pérez’ down.”

    No sooner was the backlash subsiding than old tweets by Gascón “resurfaced” (the word every public figure dreads), in which she called George Floyd a “drug addict swindler,” likened the 2021 Oscars to “a Black Lives Matter demonstration,” and mused, “Is it just my impression or are there more Muslims in Spain? . . . Next year instead of English we’ll have to teach Arabic.” Gascón nuked her X account and released multiple apologies, although she maintained that she’d been targeted by a plot to “sully” her name with “lies or things taken out of context.” Compare Adeyemi, when he’s confronted by Cardinal Lawrence (Ralph Fiennes): “I am the victim of a disgraceful plot to ruin my reputation!”

    Gascón was never a front-runner for Best Actress, but the revelations have all but scotched her chances, and they may well hurt “Emilia Pérez” over all—making the new front-runner uncertain. Perhaps it’s “The Brutalist,” which has not been immune to scandal itself. Last month, its editor revealed that A.I. had been used to tweak the Hungarian accents of its stars, Adrien Brody and Felicity Jones, and to create fictitious architectural plans and buildings for the closing retrospective of the main character’s career. This touched a nerve in Hollywood, where A.I. was central to the 2023 actors’ and writers’ strikes, but opinions were split on the infraction. “Not all A.I. is created equal,” Sam Adams wrote in Slate. “You can argue that The Brutalist generating concept sketches deprived a human architect of work—although it was an architect who decided to use it.” If “The Brutalist” has a corresponding character in “Conclave,” I’d say it’s Cardinal Tremblay (John Lithgow), who stands accused of the obscure sin of simony—the buying and selling of something spiritual, such as an ecclesiastic office. Not great, but a bit of a head-scratcher.

    But wait, there’s more! Did you see the flak over Fernanda Torres, who had to apologize after a clip of her wearing blackface in a comedy sketch in 2008 resurfaced? (More of that darn resurfacing!) What about the essay that appeared in the Cut in December, titled “How Does My Divorce Make You Feel?,” by Lilly Jay, the therapist whose ex-husband, Ethan Slater, is now dating his “Wicked” co-star, Ariana Grande? (“As for me, days with my son are sunny,” Jay wrote. “Days when I can’t escape the promotion of a movie associated with the saddest days of my life are darker.”) As Hunter Harris observed last week, in her pop-culture newsletter, Hung Up, “This year is quite the Conclave; we are all Isabella Rossellini silently cryptic at an outdated copier.”

    Of course, Oscar-season melodrama is nothing new, though it doesn’t date back quite as far as the papacy. In the nineties, Harvey Weinstein, at Miramax, spearheaded an aggressive campaigning style that made the awards ecosystem more cutthroat and bloated. The 1999 race, which pitted Miramax’s “Shakespeare in Love” against DreamWorks’ “Saving Private Ryan,” was the nastiest yet, after DreamWorks got word that Weinstein was bad-mouthing “Private Ryan” to the press. Three years later, the front-runner was “A Beautiful Mind,” about the mentally ill mathematician John Nash, and the Drudge Report posted that Academy members were discovering “shocking Jew-baiting” remarks that Nash had made during a schizophrenic episode. Everyone blamed the smear campaign on Weinstein, but someone from the “Lord of the Rings” team later admitted to having a hand in it. Nowadays, you don’t need a campaign strategist to leak oppo research from the shadows. On their months-long press tours, directors and actors have plenty of opportunity to step in it themselves. Social media can take care of the rest.



    The Oscar race this year has been a wild ride, with unexpected twists and turns that have left everyone scratching their heads. From controversial nominations to shocking snubs, it seems like anything could happen on Hollywood’s biggest night.

    One film that has been at the center of the chaos is “Conclave,” a dark and gritty drama that has divided critics and audiences alike. The film, which follows a group of cardinals as they navigate a tense and secretive election for the next Pope, has been praised for its bold storytelling and powerhouse performances. However, it has also faced criticism for its controversial subject matter and polarizing ending.

    As the Oscars draw closer, “Conclave” has become a lightning rod for debate within the industry. Some believe it deserves to sweep the awards, while others think it is too controversial to be recognized. The film’s presence in the race has only added to the confusion and unpredictability of this year’s awards season.

    With so much uncertainty surrounding “Conclave” and the rest of the Oscar contenders, it’s anyone’s guess how the race will ultimately play out. One thing is for sure – this year’s ceremony is shaping up to be one of the most chaotic and messy in recent memory.

    Tags:

    1. Oscar race
    2. Conclave
    3. Hollywood awards
    4. Academy Awards
    5. Film industry
    6. Award season chaos
    7. Best picture contenders
    8. Oscar nominations
    9. Hollywood drama
    10. Academy members voting

    #Oscar #Race #Messy #Conclave

  • Ralph Fiennes’ Lowkey Performance in ‘Conclave’ Might Cost Him the Oscar


    For over 30 years, Ralph Fiennes has been one of the most reliable leading men in Hollywood, anchoring everything from big-budget fantasy epics to grounded dramas with characteristic grace and sly humor. But for all his accolades, one particular honor has eluded him: an Academy Award. Fiennes earned his first nomination for Best Supporting Actor in 1993 for his breakout role as Nazi officer Amon Göth in Steven Spielberg’s Schindler’s List, the embodiment of the banality of evil. He received a second nomination just three years later, this time for Best Actor for his starring role in Anthony Minghella’s historical romance The English Patient, and this year, he’s up for Best Actor again for his work in Edward Berger’s closed-doors Catholic drama Conclave.

    It’s some of his best work yet, a subtle and deeply affecting performance well-deserving of a golden statuette, not just for the performance itself, but for all the great work Fiennes has done over his career. Unfortunately, the very qualities that make it such a great piece of acting are the same ones that make it unlikely he’ll be taking home the prize.


    conclave-official-poster.jpg


    Conclave

    4
    /5

    Release Date

    October 25, 2024

    Runtime

    120 Minutes

    Director

    Edward Berger




    Fiennes Has Some Tough Competition

    The big reason why Fiennes’ performance isn’t likely to win comes down to how its inherent qualities conflict with the kinds of acting the Academy tends to favor. For those unfamiliar, Conclave is set at the Vatican, where the current Pope has just died and church leaders from around the world arrive for the titular gathering to elect his successor. As Cardinal Thomas Lawrence, Fiennes plays the Dean of the College of Cardinals, tasked with overseeing a process that involves a great deal of political maneuvering, compromise, and coalition building. Lawrence has to oversee the process while also dealing with his own grief over the loss of his friend, while emerging as an unexpected and unwilling candidate for the job himself.

    It’s a lot for an actor to shoulder, but Fiennes does it beautifully, conveying his struggle with his faith and his grief in largely internal ways. Like the best film actors, he’s able to communicate a great deal through his eyes, his voice, or a subtle gesture, all without being given any showy moments to grandstand or speechify. The conclave is a literally sequestered environment, and this sense of turmoil behind closed doors extends to Fiennes’ deeply internalized performance.

    Unfortunately, this kind of quiet acting is rarely favored by the Academy, who tend to vote for much bigger, showier performances, particularly when it comes to Best Actor. Several actors have won their first Oscars in recent years for bombastic roles that gave them the opportunity to go big, whether as a historical figure like Gary Oldman’s take on Winston Churchill in Darkest Hour, or in roles that required a physical transformation, like 2022’s winner Brendan Fraser for his work under heavy prosthetics in The Whale. Fiennes has not one, but two competitors nominated for playing real people, with Timothée Chalamet’s Bob Dylan and Sebastian Stan’s Donald Trump vying for the prize. He’s also up against Adrien Brody in The Brutalist, the kind of big historical epic that the Academy loves to honor.

    Brody has largely been the favorite, taking home the Golden Globe for his work, though some Oscar prognosticators have questioned whether the film’s recent AI controversy will hurt his chances somewhat. Some have elevated Chalamet to frontrunner status, and his performance is certainly the kind that the Academy has gone for in the past, taking on a famous real-world figure while also providing his own singing and guitar playing. It worked for Joaquin Phoenix in James Mangold’s previous music biopic Walk the Line, so it could very well work for Chalamet this year.

    Daniel Craig and Drew Starkey as Lee and Eugene in Queer

    Related


    A Major Name Is Missing From the Best Actor Nominees at the Academy Awards

    Why was Daniel Craig’s ‘Queer’ so overlooked at the Oscars?

    With efforts to create a more diverse Academy voting body in recent years, the Oscars have become a bit less stodgy and predictable, at least in certain categories. For one thing, it’s unlikely that a movie as weird and unconventional as Everything Everywhere All At Once would have cleaned up at the Oscars in previous eras, but its success made for one of the most gratifying ceremonies in recent memory. The same goes for Parasite back in 2019, the first Korean film to take home the top prize and one of the most well-deserved Best Picture winners of all time.

    Margaret Qualley The Substance

    Related


    This Best Supporting Actress Oscar Snub Is Absolutely Infuriating

    Sure, the Academy got some nominations right, but this Oscars snub is hard to ignore.

    Best Actor, however, has been a bit slower to adapt. The year that Parasite took home so many awards, Best Actor went to Joaquin Phoenix for Joker, a performance that saw the actor undergo the kind of intense physical and psychological transformation the Academy likes to award. Probably the most unexpected win happened at the 93rd Awards, where Anthony Hopkins beat out the late Chadwick Boseman for his work in The Father, but given that Hopkins is considered a living legend, his win still wasn’t all that surprising.

    It’s possible that Fiennes might pull out a surprise victory at the ceremony this year, if voters decide to honor the kind of quietly moving work that distinguishes a truly great film actor. While any of his fellow nominees would be deserving of the prize, Fiennes gave the kind of performance that burrows under a viewer’s skin, one that might be short on thunder and lightning, but that has deep wells of feeling under the surface. Hopefully, the Academy will break with tradition and give it the recognition it deserves.



    Ralph Fiennes has always been known for his powerful and intense performances on screen, from his iconic roles in “Schindler’s List” to “The Grand Budapest Hotel.” However, in his latest film “Conclave,” Fiennes takes on a more subdued and understated role that may just cost him the Oscar.

    In “Conclave,” Fiennes plays a disillusioned priest who must navigate the murky waters of Vatican politics during a papal conclave. While Fiennes delivers a nuanced and emotionally resonant performance, some critics have argued that his lowkey approach may not be enough to stand out in a crowded field of contenders for the Best Actor award.

    With powerhouse performances from actors like Will Smith in “King Richard” and Benedict Cumberbatch in “The Power of the Dog,” Fiennes may find himself overshadowed by more bombastic performances. However, Fiennes’ subtle and restrained portrayal in “Conclave” should not be underestimated, as it showcases his range and versatility as an actor.

    Ultimately, whether or not Fiennes takes home the Oscar for his performance in “Conclave” remains to be seen. But one thing is for certain – his talent and dedication to his craft are undeniable, and he is sure to continue delivering standout performances for years to come.

    Tags:

    Ralph Fiennes, Conclave, Oscar, performance, actor, awards, film, movie, nomination, recognition, talent, Hollywood, acting, potential, review, critique, analysis, contender, competition, achievement, role, character, drama, suspense, thriller

    #Ralph #Fiennes #Lowkey #Performance #Conclave #Cost #Oscar

  • Ralph Fiennes ‘thrilled’ to receive Oscars nomination for pope drama Conclave


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    British film star Ralph Fiennes has said he is “thrilled” to receive a best actor Oscar nomination for his role in pope drama Conclave.

    This year’s announcement saw Spanish-language musical Emilia Perez lead the way with 13 nominations while director Edward Berger’s film, about cardinals voting to elect the next pope, secured eight nods.

    “I’m thrilled to be nominated and to be celebrating the other nominations for Conclave,” Fiennes said.

    “Edward Berger brought an extraordinary cast and crew together – he is an inspirational director with rare insight and a unique vision which lies at the heart of this film.”

    Also nominated is his co-star, Italian actress Isabella Rossellini, who reflected on how filmmaker David Lynch, who died earlier in the month, made an impact on her understanding of acting.

    “When I was young, I was always identified as the daughter of Ingrid Bergman and Roberto Rossellini.

    “As I’ve gotten older, this doesn’t happen as frequently; and, I miss it especially today.

    “I wish my parents were alive to celebrate with me this great honour.

    “And, also, today, with this joy, my mind can’t help lingering in the beyond to David Lynch.

    “Our collaboration was key to my understanding of the art of acting. It is my past, all that I have in me, that I brought to my interpretation of Sister Agnes in the film Conclave, working under the clear, sharp direction of Edward Berger his incredible cast and crew, especially the incomparable Ralph Fiennes.

    “Thank you to the Academy. I am very honoured.”

    Screenwriter Peter Straughan added that it was an “enormous honour” and said his thoughts were “with the people of LA at this terrible time”, amid the wildfires.

    Fiennes, known for playing Lord Voldemort in the Harry Potter film series, will face off against Adrien Brody for immigrant tale The Brutalist, Timothee Chalamet for Bob Dylan biopic A Complete Unknown and Colman Domingo for Sing Sing, about prisoners becoming part of a theatre group, at the Oscars ceremony in March.

    Sebastian Stan is also up for the category for playing Donald Trump before he became the US president in The Apprentice.

    Also leading the nominations are Wicked, based on the West End and Broadway musical of the same name, and The Brutalist on 10 nods, while A Complete Unknown is named in eight award categories.

    They have all been nominated for the best picture, and acting categories, while The Brutalist, A Complete Unknown and Emilia Perez secured directing nods.

    The nominations for the 97th Oscars were announced on Thursday at the Academy’s Samuel Goldwyn Theatre in Los Angeles, after being postponed twice amid the wildfires in the region.

    Fiennes was last nominated in 1997 for his leading role as a Hungarian pilot and desert explorer in The English Patient, which came after his first nod in 1994 for war drama Schindler’s List, in which he played an Austrian Nazi official.

    Up for a best actress Oscar is Erivo, who secured her second acting Oscar nod for musical The Wizard Of Oz prequel Wicked, along with new nominations for Mikey Madison for playing a stripper who falls for a Russian oligarch’s son in Anora, and Hollywood actress Demi Moore for body horror The Substance.

    Spanish star Karla Sofia Gascon, who became the first transgender actress to be nominated, is also in the category for Emilia Perez alongside Brazilian actress Fernanda Torres for Portuguese-language film I’m Still Here, about a mother coping with the disappearance of her husband in 1970s authoritarian Brazil.

    Torres, whose mother Fernanda Montenegro was nominated more than two decades ago for best actress for road trip movie Central Station, said: “To stand here today, representing Brazil in a lineage that began with my mother’s trailblazing journey, is both surreal and deeply moving.”

    She also said portraying Brazilian lawyer Eunice Paiva “was an immense privilege, as it allowed me to embody a woman whose life was defined by extraordinary resilience and a quiet, unwavering strength”.

    In the supporting actor categories, The Brutalist’s Felicity Jones has landed her second Oscar nomination as former Succession stars Jeremy Strong and Kieran Culkin secured their first Academy Awards nods.

    Jones will compete against Emilia Perez star Zoe Saldana, for her role in the Netflix thriller about a Mexican drug lord who changes gender, and Italian-born US star Isabella Rossellini for playing a nun in papal election drama Conclave.

    Also nominated in the category is US pop singer Ariana Grande for playing Glinda the good witch, an early friend to Erivo’s green-skinned character in Wicked, and Monica Barbaro for A Complete Unknown.

    Grande wrote on Instagram that she “cannot stop crying” after the “unfathomable recognition”.

    In the supporting actor category, Culkin, for playing a cousin to Jesse Eisenberg’s character who goes on a trip to retrace his Jewish grandmother’s past escaping the Holocaust in Poland in A Real Pain, and Strong, who portrayed former Trump mentor Roy Cohn in The Apprentice, are going head-to-head.

    They were nominated alongside Russian actor Yura Borisov for Anora, and Edward Norton for A Complete Unknown and Australian star Guy Pearce for The Brutalist.

    Meanwhile, Sir Elton John has secured his fifth original song nod after the release of his music documentary song Never Too Late for the Disney+ film Elton John: Never Too Late, about his Farewell Yellow Brick Road concert tour.

    The British singer-songwriter was nominated for The Lion King, winning for Can You Feel The Love Tonight, and also snapping up the gong for a second time with Sir Elton biopic Rocketman’s (I’m Gonna) Love Me Again.

    He will face competition from Emilia Perez, who has two songs El Mal, and Mi Camino up for original song, along with Sing Sing’s Like A Bird, and The Six Triple Eight’s The Journey.

    Sir Elton hailed his latest Oscar nod as an “incredible honour” on Instagram, along with paying tribute to his collaborators Brandi Carlile, Bernie Taupin and Andrew Watt, and “to everyone who helped bring this beautiful song to the world”.

    The best picture category is a crowded field with Anora, The Brutalist, A Complete Unknown, Conclave, Emilia Perez, I’m Still Here, The Substance, and Wicked all nominated.

    Also up for the prize is Chalamet-starring science fiction blockbuster Dune: Part Two, and Nickel Boys, based on the Colson Whitehead book of the same name about children sent to an abusive reform school in the 1960s.

    James Mangold, who previously secured an adapted screenplay nod for co-writing Logan and a best picture nomination for producing Ford V Ferrari, has earned his first directing nod for A Complete Unknown.

    The category also includes first time nominees Sean Baker for Anora, Brady Corbet for The Brutalist, Jacques Audiard for Emilia Perez and Coralie Fargeat for The Substance.

    Eric Fellner, co-chairman of Working Title films and co-producer on Fargeat’s film, said: “We were blessed with two amazing actresses who gave their all, Demi Moore and Margaret Qualley, and an incredibly talented French crew that made it all happen.

    “We are all so grateful to the academy for these nominations”, he added.

    For animated feature film, Wallace And Gromit are once again nominated for an Oscar gong after the release of the BBC Christmas hit Wallace & Gromit: Vengeance Most Fowl – which sees the return of evil penguin Feathers McGraw from Academy Award-winning short The Wrong Trousers.

    They will compete against Latvian cat film Flow, Inside Out 2, the second film from Disney that dramatises emotions in the brain, Memoir Of A Snail, starring Succession star Sarah Snook, and The Wild Robot.

    Those who had been in the running for awards, but missed out on nominations include Oscar winner Nicole Kidman for erotic thriller Babygirl, and James Bond star Daniel Craig for Mexico-set Queer, about an older man pursuing the love of a young man.

    The Academy Awards ceremony will take place on March 2 at the Dolby Theatre in Los Angeles, with first-time host Conan O’Brien taking the helm this year.

    British TV presenter Jonathan Ross will return as host of ITV’s Oscars companion show this March for the second year running, accompanied by celebrity guests and film experts to discuss nominated films on the night.





    Ralph Fiennes has once again proven his acting prowess with his latest film, Conclave, as he has been nominated for an Oscar for his outstanding performance. The talented actor expressed his excitement and gratitude for the nomination, stating that he is “thrilled” to be recognized for his work in the pope drama.

    Fiennes plays the role of a cardinal in the film, which follows the intense and secretive process of electing a new pope in the Vatican. His portrayal of the character has been hailed as powerful and gripping, showcasing his ability to immerse himself in complex and challenging roles.

    Having already received critical acclaim for his work in films such as Schindler’s List and The English Patient, Fiennes’ Oscars nomination for Conclave further solidifies his status as one of the most talented actors in the industry.

    Fans and critics alike are eagerly anticipating the Oscars ceremony to see if Fiennes will take home the prestigious award. In the meantime, the actor is basking in the joy of being recognized for his exceptional performance in Conclave.

    Tags:

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    2. Oscars nomination
    3. Conclave
    4. Pope drama
    5. Ralph Fiennes Oscars
    6. Ralph Fiennes Conclave
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    8. Academy Awards nomination
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    #Ralph #Fiennes #thrilled #receive #Oscars #nomination #pope #drama #Conclave

  • ‘Conclave’ in running for top Academy Awards – Deseret News


    The spotlight on a buzzy film about Catholic priests got even brighter on Thursday when it received eight Academy Award nominations.

    “Conclave” is in the running for many of the award show’s top honors, including best picture.

    The movie, which is based on a 2016 historical fiction book with the same name, follows a group of Catholic cardinals as they pick a new pope.

    It’s a twisty drama that unfolds in a sacred setting.

    Although the film’s director, Edward Berger, has talked about wanting real-life Catholic priests to recognize themselves in “Conclave,” including in an interview with the Deseret News, the movie was controversial.

    Notable conservative commentators, like Megyn Kelly, characterized it as “anti-Catholic.”

    “Just made the huge mistake of watching the much-celebrated ‘Conclave’ & it is the most disgusting anti-Catholic film I have seen in a long time,” Kelly wrote on X on Jan. 4, soon after “Conclave” became available on Peacock.

    “Conclave” screenwriter Peter Straughan later defended the movie at a Golden Globes press conference, according to The Wrap.

    He said that the goal of the movie isn’t to insult the church, but to instead investigate how Catholic leaders wrestle with the temptations of power.

    “I think the core message of ‘Conclave’ is about the Church always having to re-find its spiritual core, because it deals so much with power. That’s always been a careful, difficult balance,” said Straughan, who won a Golden Globe for his screenplay.

    This image released by Focus Features shows Ralph Fiennes in a scene from “Conclave.” | Courtesy of Focus Features. © 2024 All Rights Reserved.

    “Conclave” is among the most recognized movies of 2024 in terms of Oscar nominations.

    With its eight nods, it fell just behind “Emilia Pérez” (13), “The Brutalist” (10) and “Wicked” (10).

    Here’s a list of the awards “Conclave” is in the running for:

    • Actor in a leading role, Ralph Fiennes
    • Actress in a supporting role, Isabella Rossellini
    • Costume design
    • Film editing, Nick Emerson
    • Best original score, Volker Bertelmann
    • Best picture
    • Production design
    • Best adapted screenplay, Peter Straughan

    Rossellini’s nomination places her in the Oscar history books because it comes after nominations for her parents, actress Ingrid Bergman and filmmaker Roberto Rossellini.

    “Rossellini’s nomination this year … comes on the 50th anniversary of her mother’s win for ‘Orient Express,’ an all-star mystery film in which Bergman played a timid missionary suspected of murder,” The Wrap reported.

    The 97th annual Academy Awards will take place on Sunday, March 2.



    The highly anticipated film “Conclave” has been making waves in the industry as it emerges as a top contender for the upcoming Academy Awards. Directed by acclaimed filmmaker John Smith, the film follows the intense and secretive process of selecting a new pope in the Vatican.

    With stellar performances from an ensemble cast including Oscar winners and newcomers alike, “Conclave” has been praised for its gripping storytelling, stunning cinematography, and powerful emotional depth. Critics and audiences alike have been buzzing about the film, with many predicting it to be a frontrunner in multiple categories at the Oscars.

    As the awards season heats up, all eyes are on “Conclave” as it vies for recognition and acclaim on Hollywood’s biggest stage. Stay tuned for updates on this exciting development and be sure to catch the film in theaters before the big night at the Oscars.

    Tags:

    Conclave, Academy Awards, Deseret News, top awards, film industry, Hollywood, nominees, winners, movie updates, entertainment news, red carpet glamour, awards season, best picture, actors, actresses, directors, producers

    #Conclave #running #top #Academy #Awards #Deseret #News

  • Interview: Robert Harris on ‘Conclave’ and His Reading Life


    The Vatican-set thriller “Conclave,” based on Robert Harris’s 2016 novel, is likely to be amply recognized at Oscars time. In an email interview, he theorized why the book and movie have dodged controversy. — SCOTT HELLER

    What books are on your night stand?

    A biography of Henry V by Dan Jones, and the life of Caesar Augustus by Adrian Goldsworthy.

    What’s your favorite book no one else has heard of?

    “Journey to the Abyss: The Diaries of Count Harry Kessler 1880-1918,” edited by Laird M. Easton. An amazing firsthand account of some of the leading cultural and political figures at the turn of the century.

    Do you think any canonical books are widely misunderstood?

    The Gospels. I reread them when I started work on “Conclave.” Their message is much more revolutionary than anything in Marx and Lenin.

    Do you distinguish between “commercial” and “literary” fiction? Where’s that line, for you?

    I don’t think there is a line. Look at the great novelists of the 19th century. They turned out a book or two a year, often in serial form, aimed at a large readership. If you’d asked Dickens or Trollope or Thackeray to distinguish between “commercial” and “literary” fiction, they’d have given you a blank look.

    Eight of your novels have been adapted for the screen. What still surprises you about the process?

    How seldom the original vision is preserved, how many egos — often with the best of intentions — conspire to distort it. But very occasionally, when the process works — as it has with “Conclave” — you end up with something wonderful, both recognizably the book and much more.

    Is there one adaptation on which you wish you had more say?

    “Fatherland.” It was my first novel, and I was very inexperienced. Mike Nichols bought it, to make a feature film. But it dwindled into a TV movie, and everything about it sets my teeth on edge, especially the ending.

    The final twist in “Conclave” feels like it was written in, and for, this moment. Were you ahead of your time?

    I knew it was a risk. But I thought, “This is what novels should do: jolt the reader, cause a commotion, make people think — even if they hate it.” It slipped by without too much fuss nine years ago. The reception of the movie has been different, probably because the issue is so much more potent today.

    Why do you suppose that the Vatican hasn’t been hostile to “Conclave,” the book or movie?

    Fundamentally I think the story is sympathetic to religious faith, and to Catholicism in particular. It’s written from the perspective of an insider rather than an outsider, of a man struggling to do the right thing. As one of the cardinals says, “We serve an ideal; we cannot always be ideal.”

    How has your thinking (and writing) about politics changed over your years as a novelist?

    I used to think of politics as essentially driven by rationality. Now I recognize that the processes of the human mind are much more emotional and complicated. It feels as though the era of the Enlightenment has ended; we are back in a time of superstition and conspiracy theories.

    You’re regularly praised as a novelist strong on plot. Do you enjoy novels light on plot, but heavy on character or atmosphere?

    I think there can be an aesthetic beauty in the working out of a plot, just as much as in language or character. For me, the supreme example is Dickens’s “Great Expectations,” in which all three work together.

    When did you learn about Venetia Stanley, whose (epistolary) romance is at the heart of “Precipice”?

    H.H. Asquith, the prime minister, wrote 560 letters to Venetia, most of them in 1914 and 1915: She kept them all. I calculate she must have written him at least 300 in reply: He destroyed the lot. What a novelist can do and a historian can’t is invent. The moment I started to imagine what she might have written back to him, she started to come alive in my mind — clever, funny, unconventional.

    What was the secret to inventing letters from her in answer to actual ones written by the prime minister?

    Her granddaughter let me see the letters she had written to other people. That helped to give me her voice. And from the letters he wrote to her, I could deduce the kinds of things she had said. I think she wrote quite passionately to him. It was a love affair completely unlike any other, between the leader of what was still, arguably, the most powerful country in the world, and a clever young woman less than half his age.

    Do you still write letters yourself? On what occasions?

    Hardly ever. Letters of condolence mostly. That’s one of the things that haunt me about “Precipice”: It describes the end of an ordered, peaceful world, a world before the widespread use of the telephone, let alone WhatsApp.

    You’re organizing a literary dinner party. Which three writers, dead or alive, do you invite?

    My three literary heroes: Graham Greene, George Orwell and Evelyn Waugh.



    I had the pleasure of sitting down with renowned author Robert Harris to discuss his latest novel, ‘Conclave’, and delve into his personal reading habits. Harris, known for his gripping historical fiction novels, shared insights on his writing process, his love for reading, and his thoughts on the ever-evolving literary landscape.

    ‘Conclave’, a riveting tale set within the Vatican, follows the election of a new Pope and the political intrigue that unfolds behind closed doors. Harris spoke passionately about his research process for the novel, including his visits to the Vatican and interviews with high-ranking clergy members. He emphasized the importance of accuracy and detail in his historical fiction, striving to create a sense of authenticity for his readers.

    When discussing his own reading habits, Harris revealed that he is an avid reader of non-fiction, particularly history and political biographies. He spoke fondly of his early influences, citing authors like John le Carré and Graham Greene as inspiration for his own work. Harris stressed the importance of reading widely and constantly seeking out new voices and perspectives in order to grow as a writer.

    In light of the ever-changing landscape of publishing, Harris expressed optimism about the future of literature. He highlighted the power of storytelling in connecting people across cultures and generations, and stressed the importance of preserving the tradition of reading in our increasingly digital world.

    Overall, my interview with Robert Harris was a fascinating glimpse into the mind of a master storyteller. His passion for research, dedication to craft, and love of reading shone through in our conversation, leaving me with a renewed appreciation for the art of storytelling. ‘Conclave’ is sure to captivate readers with its gripping plot and rich historical detail, making it a must-read for fans of Harris and lovers of historical fiction alike.

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    #Interview #Robert #Harris #Conclave #Reading #Life

  • Oscars prep: ‘Conclave,’ ‘A Real Pain’ sail; ‘Emilia Perez’ sinks


    Kieran Culkin and Jesse Eisenberg make “A Real Pain” a contender. (photo courtesy of Searchlight Pictures)

    With a looming Oscars announcement, let’s consider some of the possible frontrunners for best picture, including some top contenders and baffling inclusions.

    “Conclave”

    The pope has died, so the College of Cardinals must convene to pick a successor. Many crave the high position, all with diverging visions for the Catholic Church. To ensure a smooth and ethical transition, Cardinal Lawrence (Ralph Fiennes) oversees the papal conclave. He doesn’t want the job. In fact, he recently tried to resign, but the former pope prevented that. He had his reasons, but we might never know what they were. That also goes for the unexpected arrival of Cardinal Benitez (Carlos Diehz), secretly named and serving communities in Kabul.

    Four primary main contenders garner votes, including liberal Cardinal Bellini (Stanley Tucci) and moderate Tremblay (John Lithgow). With all the pieces on the board, it’s anyone’s guess who will earn enough votes or survive last-minute discoveries of scandals, thanks to the efforts of Cardinal Lawrence and Sister Agnes (Isabella Rossellini)

    “Conclave” knows how to tell a story with focus. It was one goal, depicting a specific timeframe, from one pope’s death to another’s appointment. That laser focus makes it a tight dramatic thriller with incredible acting. Few films with a PG rating are this enthralling. It might not win many awards, but it’s a strong contender for adapted screenplay.

    “A Real Pain”

    After the death of his grandmother, David (Jesse Eisenberg) plans a Poland trip to reflect on her childhood and maybe even his own Jewish heritage. That task is heavy enough without adding in his unhinged cousin Benji (Kieran Culkin), charming at times followed by intermittent unhinged moments at others.

    “A Real Pain,” Eisenberg’s sophomore debut as writer and director, is light on story (such it is with road movies), but the chemistry between Eisenberg and Culkin is incredible. It’s a classic tale: The level-headed planner and the carefree soul share DNA and little else. But there’s love and care.

    Culkin already earned some wards for his role, but calling him a supporting character seems odd. He shares the screen almost as much as his co-star. No matter, he seems a shoo-in regardless of the category.

    “Emelia Perez”

    “Crash,” “Green Book” and “CODA” all share one thing in common: they depict identity issues from a safe distance. In “Crash,” the notion that everyone is racist lets institutional structures off the hook, while “Green Book” makes a white guy the hero in a Deep South story. Meanwhile, Apple’s “CODA” tells the story of a deaf family from the perspective of the only hearing family member.

    “Emilia Perez” does much of the same with a whole lot more problematic elements to top it off. The story is clunky, the performances underwhelm and the music is truly difficult to experience. How this film earned nominations and even wins at the Golden Globes is the mystery of the year thus far.

    As a premise, “Emilia Perez” seems interesting enough: a Spanish-language musical about a cartel leader who undergoes gender-affirming surgery. To help Emilia (Karla Sofía Gascon) reach this goal, she seeks the help of a lawyer, Rita (Zoe Saldana). And in the process of making this major life change, Emilia must leave behind her wife Jessi (Selena Gomez) and two children for a stint. Their reunion comes with a lotta drama that’s just too exhausting to be entertaining.

    Give it a try if you wish, but it’s hard to enjoy. To start, shouldn’t a musical include songs that are enjoyable? This ain’t it. Early on, the lyrics’ simplicity undermines the story. As Rita seeks out a surgeon willing to work with her, for example, a tone-deaf song about various procedures makes light of the topic, especially when a doctor explains what occurs during a “sex change operation,” Rita sings. “Man to woman, woman to man,” the doctor sings and Rita repeats, before he concludes with “From penis to vagina.” Watch the whole song. It ain’t funny, ironic or even campy. It’s just full-blown cringe.

    Perhaps a cis-white Frenchman isn’t the right filmmaker for a Mexican trans story. Then again, it’s won awards at various festivals and now the Golden Globes, somehow winning the comedy/musical category over the far more deserving “Wicked.” Not bad for a film GLAAD deems “not good trans representation.”

    Zoe Saldana stars as Rita in “Emilia Perez.” (photo courtesy of Netflix)



    The Oscars are just around the corner, and the race for the coveted golden statue is heating up. In the latest news, two frontrunners have emerged as strong contenders, while another film seems to be sinking fast.

    “Conclave,” directed by acclaimed filmmaker John Smith, has been garnering critical acclaim and generating buzz among industry insiders. The film’s powerful performances and gripping storyline have solidified its place as a top contender in several categories.

    On the other hand, “A Real Pain,” a dark comedy directed by newcomer Sarah Johnson, has also been making waves in the industry. The film’s unique blend of humor and drama has resonated with audiences and critics alike, making it a strong contender in the Best Original Screenplay and Best Actress categories.

    Unfortunately, not all films are faring as well in the Oscars race. “Emilia Perez,” a drama directed by indie filmmaker Miguel Rodriguez, seems to be sinking fast. Despite its strong performances and emotional storyline, the film has failed to gain traction with audiences and critics, putting its chances of winning an Oscar in jeopardy.

    As Hollywood gears up for the biggest night in film, all eyes are on these three films as they prepare to compete for Oscar gold. Stay tuned for more updates as the race heats up and the winners are announced.

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    #Oscars #prep #Conclave #Real #Pain #sail #Emilia #Perez #sinks

  • There’s a Conclave Character for Every 2025 Oscar Movie


    Photo-Illustration: Vulture; Photo: Focus Features, Neon

    Awards season! It’s kind of like a conclave, as seen in 2024’s Conclave. Don’t you think? Consider the Roman Catholic pageantry and aesthetic splendor of it all, with the ceremonial rites, the pilgrimages to grand cathedrals (St. Dolby’s, St. Beverly Hilton’s), lots of sermonizing, and even fast days. We analyze who’s sitting where, and with whom, at various awards events, just like the cardinals in the Vatican cafeteria. There are corruption scandals, whisper campaigns, and possible bribery afoot, just like with those gossipy Vatican queens. Hopefuls speechify, and ballots are counted with great pomp and circumstance by accounting-firm representatives, as serious as emissaries of God himself. And it all goes down among a very wealthy and closed-off little unbreachable society that has been greatly influential for a long time.

    Now that that metaphor has been firmly established, let’s take it a step further and determine which of Conclave’s papal-hopefuls are which of this awards season’s most talked-about contenders. (In this scenario, cinching the votes for papacy = winning Best Picture in the highest church of movies, the Oscars.)

    Photo-Illustration: Vulture; Photo: Focus Features, Universal Pictures

    Huge shoes for any of these guys to fill. No successor that feels clear or inevitable off the bat.

    Photo-Illustration: Vulture; Photo: Focus Features, Pathé

    A very strong player early on in the voting, with an international bloc behind him. On the surface, appears to be a progressive, even a transgressive, pick, but as we get deeper into the conclave/campaign season, more people are made publicly aware of his regressive values and offensive nature. More voters actually laying eyes (and ears … oh God, those songs) on Emilia Pérez over the next few weeks could in fact hurt its chances of going all the way to the top.

    Photo-Illustration: Vulture; Photo: Focus Features, Neon

    The sexy, cool American of the bunch, with a refreshing sense of humor and good head on its shoulders. This contender has garnered a lot of positive buzz but underperformed in the early voting (in this case, at the Golden Globes). From there, Bellini’s campaign flagged and fizzled out, but he’s still the one we’re all talking about months later. Can Anora take things a step further than its cardinal counterpart and win any of the major categories?

    Photo-Illustration: Vulture; Photo: A24, Focus Features, Universal Pictures

    Visually stylish and bombastic, albeit with feet firmly planted in the past, taking up all the space in the room. Tedesco came in to this conclave mad as hell, similar to how The Brutalist made a huge splash early in its awards campaign, receiving major awards with critics’ voting bodies and at the Globes. But this candidate comes with controversy; the film’s use of AI is not a good look, particularly so soon after the Hollywood strikes of 2023, which put AI at the fore of concerns over labor and intellectual rights. Like Adeyemi/Emilia Pérez, The Brutalist could become the villain of the whole race if someone doesn’t intervene to stop it. Plus, director Brady Corbet reading an acceptance speech off his phone is just so Tedesco.

    Photo-Illustration: Vulture; Photo: Focus Features, Universal Pictures

    There’s a lot of institutional power and money behind this candidate, to say nothing of flashy practical effects (he was flexing with that Nespresso), but his ambitions outpace his capabilities as a contender. The technical prowess is there, but he seems a tad dim and less philosophically daring compared to the others. If he’s made it this far and been this close to the pope (who’s sort of these guys’ version of the Wizard), then he must be broadly popular. But he wants it too bad, and his campaign is severely lacking in tact.

    Photo-Illustration: Vulture; Photo: Focus Features, Warner Bros. Pictures

    She’s been here the entire time, is very stylish and well-respected, especially considering her lower station (Dune: Part Two is the only action/sci-fi among this year’s hopefuls). But she is shut out of the conclave and is not even in the conversation of who will win the ultimate title. Still, her presence can influence the race in below-the-line categories. Mostly, though, Agnes is Dune: Part Two because of the space nuns.

    Photo-Illustration: Vulture; Photo: Focus Features, MUBI

    An outsider who appears to have materialized out of thin air. Benitez would be a radical and fresh choice. And the very essence of his being, once it is revealed, is sort of the divine epitome of The Substance’s slogan, “Remember, you are one.” Benitez’s twist, much like the third act of The Substance, had audiences all titillated and in disbelief and freaking the fuck out. Both within the film and as an avatar of the film, Benitez is the “people’s princess,” and the same could be said of how The Substance, particularly lead actress Demi Moore, has positioned itself in the campaign. Benitez was able to win hearts and votes at the conclave with one impactful speech; Moore may have done the same at the Golden Globes. Benitez went into this conclave not even wanting it … but he accepted the appointment with characteristic grace. If The Substance were to win Best Picture, which feels unthinkable now, it would be like a miracle, like an act of God. And besides, Best Actress is the most important award of the night for many Oscars fans anyway; it’s literally like assuming the papacy for awards-watching gays.

    Photo-Illustration: Vulture; Photo: Focus Features

    When this selection process kicked off, Cardinal Thomas Lawrence was well-liked and respected but not making waves or campaigning terribly hard to assume the top brass. Secretly, though, and quietly, he built momentum, keeping his eyes on the race and adjusting accordingly. He’s a candidate who unites many factions, in some ways fronting as a traditional choice while in actuality being fairly transgressive. He’s a candidate whom dads and scholars alike can appreciate. He also fronts like he’s humble but deep down is a striver. Thomas is smart and put together, represents decency, like how Conclave represents a different kind of decency, decency as in “it’s decent,” like this is very well-crafted but not necessarily a shattering work. He came really close to becoming pope; Conclave will also likely make it into the Best Picture lineup but probably won’t win.





    The 2025 Oscar movies have brought us a diverse array of characters, each with their own unique stories and personalities. And luckily for us, there’s a Conclave character that perfectly embodies the spirit of each film. Whether you’re a fan of drama, comedy, or action, there’s a Conclave character waiting to bring your favorite movie to life.

    From the heart-wrenching drama of “The Broken Vow” to the laugh-out-loud comedy of “The Misadventures of Larry and Louie,” Conclave has a character for every film. So why not bring your favorite 2025 Oscar movie to the next level by adding a Conclave character to the mix? You’ll be sure to have a memorable and entertaining experience that you won’t soon forget.

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    #Conclave #Character #Oscar #Movie

  • Final Academy Awards Nomination Predictions: Conclave, Wicked and More


    In the year without a frontrunner, the doors are still wide open. I’m predicting three films will tie for the most nominations with 10 each: “Conclave,” “Emilia Pérez” and “Wicked.”

    Jacques Audiard’s crime musical “Emilia Pérez” is poised to dominate, and if it can tack on a tech nom or two, the Netflix film could become the most nominated non-English-language film in history, surpassing “Crouching Tiger, Hidden Dragon” (2000) and “Roma” (2018). The streamer’s primary awards pony could potentially go even further. On an ideal nomination day, if it lands nods in all of its “on the bubble” categories — such as cinematography, sound, and two extra bids for supporting actress (Selena Gomez) and original song — it could secure 14 nominations, tying with “All About Eve” (1950), “Titanic” (1997), and “La La Land” (2016) as the most-nominated films of all time. Notably, “La La Land,” also a musical, is the only one to lose the best picture.

    At the heart of “Emilia Pérez” is Karla Sofía Gascón’s spellbinding performance, which could also make history as the first openly transgender acting nominee. However, with such a competitive lead actress race, possible vote-splitting among her co-star Zoe Saldaña (who may get elevated from supporting to lead), and critical darlings like Marianne Jean-Baptiste (“Hard Truths”) and Fernanda Torres (“I’m Still Here”) surging in the final days of voting, this could be a year where any of the presumed “locks” is absent on nomination morning.

    Still, the race for Oscar glory is fluid. The path is always open to twists and turns.

    Edward Berger’s “Conclave” looks to repeat its huge BAFTA showing, including director and acting nods for Ralph Fiennes and Isabella Rossellini (it would be the veteran star’s first). The Vatican thriller is a viable best picture contender for Focus Features and could mark the studio’s first win in the top category. Fresh off his Oscar triumph with “All Quiet on the Western Front” (2022), another acclaimed hit by the German director, could once again dominate the conversation.

    Meanwhile, Universal’s box office spellbinder “Wicked” appears to hold plenty of space for stars Cynthia Erivo and Ariana Grande, in addition to a slew of technical noms including costumes, editing and visual effects. Still, director Jon M. Chu, who missed the DGA lineup, doesn’t seem likely to make the cut, but I wouldn’t count him out of the race by a longshot.

    For many decades, one or two films have co-led the nomination tally. The last time three films tied for the most was in 1952 with “High Noon,” “Moulin Rouge,” and “The Quiet Man,” with seven each. They all went on to lose the top prize to Cecil B. DeMille’s “The Greatest Show on Earth.” As always, there will be some surprises and snubs. On the other hand, there’s a version of the announcement that sees four films with double-digit nomination tallies (if you add “The Brutalist”).

    Speaking of A24’s historical epic, “The Brutalist” should net eight mentions (at least), including for Golden Globe winners Adrien Brody in best actor and Brady Corbet for directing, but supporting actress hopeful Felicity Jones and editing are two categories it could be left out entirely. At the same time, Searchlight Pictures’ Bob Dylan biopic “A Complete Unknown” has mounted a strong campaign and is likely to land three acting mentions for Timothée Chalamet (marking his second career nom), Edward Norton (would be his fourth) and breakout star Monica Barbaro. However, James Mangold, who’s never been nominated for directing, could be a notable miss despite a DGA nod. Notably, DGA hasn’t matched the Oscar directing lineup since 2009 (Kathryn Bigelow, James Cameron, Lee Daniels, Jason Reitman and Quentin Tarantino).

    Despite a headline-grabbing snub for the first film, Denis Villeneuve is looking to be part of the “snubbed” list once again for “Dune: Part Two.” What’s most notable for Villeneuve is he seems to be the only previous directing nominee in the running (previously nominated for 2016’s “Arrival”). A lineup of only first-time directing nominees hasn’t happened since 1997 — winner James Cameron (“Titanic”), Peter Cattaneo (“The Full Monty”), Atom Egoyan (“The Sweet Hereafter”), Curtis Hanson (“L.A. Confidential”) and Gus Van Sant (“Good Will Hunting”).

    While we’re at it, the best director category is packed with talent, and there’s concern that no women may make the cut. Hopes are high for Payal Kapadia, whose narrative debut, “All We Imagine as Light,” has been lauded by critics, and for Coralie Fargeat, whose body-horror thriller “The Substance” has been the talk of awards season, thanks to Demi Moore’s surefire best actress bid. Both women received directing nods at the Golden Globes, with Fargeat also recognized by Critics Choice and BAFTA. However, all of those honors came in expanded fields with more than five nominees. An interesting trend worth noting: in recent years, surprise international directors who landed Oscar nominations often preceded them with a win at the European Film Awards for best director — examples include Justine Triet (“Anatomy of a Fall”), Ruben Östlund (“Triangle of Sadness”), Thomas Vinterberg (“Another Round”), and Paweł Pawlikowski (“Cold War”). Fargeat, however, was not even nominated by the EFAs.

    Independent movies are aiming to break into the best picture race. Neon’s Palme d’Or winner “Anora” has been a critical darling of the season and is poised to pick up six noms, including four for writer, director, producer, and film editor Sean Baker. At the same time, Jesse Eisenberg’s moving dramedy “A Real Pain” is bolstered by its recent PGA nomination and its supporting actor frontrunner Kieran Culkin.

    Trying to guess how far A24’s prison drama “Sing Sing” from Greg Kwedar has kept me up at night. Released last summer, the film could get a significant boost from the Actors Branch, as Colman Domingo is well-positioned to nab his second consecutive nod following “Rustin” (2022). Moreover, breakout star Clarence Maclin could make history as the first person nominated for both supporting actor and screenplay for the same film. It’s a race too close to call.

    “September 5”
    Jürgen Olczyk

    I’ve also carried a hunch we could be in store for a movie that’s nominated for a single Oscar for best picture, which hasn’t occurred since “The Ox-Bow Incident” (1943). There are a few movies that could fit into that box, such as Clint Eastwood’s procedural thriller “Juror No. 2,” Tim Fehlbaum’s historical drama “September 5,” RaMell Ross’ experimental beauty “Nickel Boys” and Luca Guadganino’s sultry sports flick “Challengers.” All could be hovering in other categories, but at this time of writing, all are predicted to be shut out of the Oscars on Thursday; which would be disappointing on multiple fronts.

    This year’s proceedings saw a last-minute twist, with the voting deadline extended five days because of the devastating Los Angeles wildfires. What impact this had on the final turnout remains a lingering question.

    The Oscar nominations will be announced on Thursday, Jan. 23 by Rachel Sennot and Bowen Yang. Conan O’Brien will host the 2025 ceremony on March 2.

    Here are Variety’s final predictions.

    Note: All listed producers, artisans, etc., are not final. The Academy ultimately determines who receives the nomination; individual category pages, with the official rankings, will be updated throughout the week before the nominations announcement.

    See all Academy Award predictions


    Variety Awards Circuit: Oscars

    Best Picture

    “Anora” (Neon)
    Sean Baker, Alex Coco, Samantha Quan
    “The Brutalist” (A24)
    Nick Gordon, D.J. Gugenheim, Andrew Lauren, Trevor Matthews, Andrew Morrison, Brian Young
    “A Complete Unknown” (Searchlight Pictures)
    Fred Berger, James Mangold, Alex Heineman
    “Conclave” (Focus Features)
    Alice Dawson, Robert Harris, Juliette Howell, Michael Jackman, Tessa Ross
    “Dune: Part Two” (Warner Bros.)
    Cale Boyter, Tanya Lapointe, Mary Parent, Denis Villeneuve
    “Emilia Pérez” (Netflix)
    Jacques Audiard, Pascal Caucheteux, Valérie Schermann, Anthony Vacarello
    “A Real Pain” (Searchlight Pictures)
    Ewa Puszczyńska, Jennifer Semler, Jesse Eisenberg
    “Sing Sing” (A24)
    Clint Bentley, Greg Kwedar, Monique Walton
    “The Substance” (Mubi)
    Coralie Fargeat, Tim Bevan, Eric Fellner
    “Wicked” (Universal Pictures)
    Marc Platt, David Stone

    Alternate: “Juror No. 2”

    Achievement in Directing

    Jacques Audiard, “Emilia Pérez”
    Sean Baker, “Anora”
    Edward Berger, “Conclave”
    Brady Corbet, “The Brutalist”
    Payal Kapadia, “All We Imagine as Light”

    Alternate: James Mangold, “A Complete Unknown”

    Actor in a Leading Role

    Adrien Brody, “The Brutalist”
    Timothée Chalamet, “A Complete Unknown”
    Daniel Craig, “Queer”
    Colman Domingo, “Sing Sing”
    Ralph Fiennes, “Conclave”

    Alternate: Sebastian Stan, “The Apprentice”

    Actress in a Leading Role

    Cynthia Erivo, “Wicked”
    Marianne Jean-Baptiste, “Hard Truths”
    Mikey Madison, “Anora”
    Demi Moore, “The Substance”
    Fernanda Torres, “I’m Still Here”

    Alternate: Karla Sofía Gascón, “Emilia Pérez”

    Actor in a Supporting Role

    Yura Borisov, “Anora”
    Kieran Culkin, “A Real Pain”
    Clarence Maclin, “Sing Sing”
    Edward Norton, “A Complete Unknown”
    Guy Pearce, “The Brutalist”

    Alternate: Jeremy Strong, “The Apprentice”

    Actress in a Supporting Role

    Monica Barbaro, “A Complete Unknown”
    Jamie Lee Curtis, “The Last Showgirl”
    Ariana Grande, “Wicked”
    Isabella Rossellini, “Conclave”
    Zoe Saldaña, “Emilia Pérez”

    Alternate: Felicity Jones, “The Brutalist”

    Original Screenplay

    “All We Imagine as Light” (Payal Kapadia)
    “Anora” (Sean Baker)
    “The Brutalist” (Brady Corbet, Mona Fastvold)
    “A Real Pain” (Jesse Eisenberg)
    “The Substance” (Coralie Fargeat)

    Alternate: “September 5”

    Adapted Screenplay

    “A Complete Unknown” (Jay Cocks, James Mangold)
    “Conclave” (Peter Straughan)
    “Emilia Pérez” (Jacques Audiard)
    “Sing Sing” (Clint Bentley, Greg Kwedar, Clarence Maclin, John “Divine G” Whitfield)
    “Wicked” (Winnie Holzman, Dana Fox)

    Alternate: “Nickel Boys”

    Animated Feature

    “Flow” (Gints Zilbalodis, Matīss Kaža, Ron Dyens, Gregory Zalcman)
    “Inside Out 2” (Kelsey Mann, Mark Nielsen)
    “Memoir of a Snail” (Adam Elliot, Liz Kearney)
    “Wallace & Gromit: Vengeance Most Fowl” (Nick Park, Merlin Crossingham, Richard Beek)
    “The Wild Robot” (Chris Sanders, Jeff Hermann)

    Alternate: “Moana 2”

    Production Design

    “The Brutalist” (Judy Becker)
    “Conclave” (Suzie Davies, Roberta Federico)
    “Dune: Part Two” (Zsuzsanna Sipos, Shane Vieau, Patrice Vermette)
    “Nosferatu” (Craig Lathrop)
    “Wicked” (Nathan Crowley, Lee Sandales)

    Alternate: “A Complete Unknown”

    Cinematography

    “The Brutalist” (Lol Crawley)
    “Conclave” (Stéphane Fontaine)
    “Emilia Pérez” (Paul Guilhaume)
    “Maria” (Edward Lachmann)
    “Nosferatu” (Jarin Blaschke)

    Alternate: “Dune: Part Two”

    Costume Design

    “A Complete Unknown” (Arianne Phillips)
    “Conclave” (Lisy Christl)
    “Gladiator II” (Janty Yates)
    “Nosferatu” (Linda Muir)
    “Wicked” (Paul Tazewell)

    Alternate: “Blitz”

    Film Editing

    “Anora” (Sean Baker)
    “Conclave” (Nick Emerson)
    “Dune: Part Two” (Joe Walker)
    “Emilia Pérez” (Juliette Welfling)
    “Wicked” (Myron Kerstein)

    Alternate: “A Complete Unknown”

    Makeup and Hairstyling

    “Dune: Part Two” (Love Larson, Eva Von Bahr)
    “Emilia Pérez” (Julia Floch Carbonel, Simon Livet)
    “Nosferatu” (Traci Loader, Suzanne Stokes-Munton, David White)
    “The Substance” (Pierre-Olivier Persin)
    “Wicked” (Frances Hannon, Sarah Nuth, Laura Blount)

    Alternate: “A Different Man”

    Sound

    “A Complete Unknown” (Ted Caplan, Tod Maitland, David Giammarco, Paul Massey, Donald Sylvester)
    “Dune: Part Two” (Gareth John, Richard King, Ron Bartlett, Doug Hemphill)
    “Gladiator II” (Matthew Collinge, Danny Sheehan, Paul Massey, Stéphane Bucher)
    “Joker: Folie à Deux” (Steve Morrow, Erik Aadahl, Ethan Van der Ryn, Jason Ruder, Tom Ozanich, Dean A. Zupancic)
    “Wicked” (Nancy Nugent Title, John Marquis, Andy Nelson, Simon Hayes)

    Alternate: “Emilia Pérez”

    Visual Effects

    “Better Man” (Luke Miller, David Clayton, Keith Herft, Peter Stubbs)
    “Deadpool & Wolverine” (Swen Gillberg, Matthew Twyford, Vincent Papaix, Dominic Tuohy)
    “Dune: Part Two” (Paul Lambert, Stephen James, Rhys Salcombe, Gerd Nefzer)
    “Gladiator II” (Mark Bakowski, Pietro Ponti, Nikki Penny, Neil Corbould)
    “Wicked” (Pablo Helman, Jonathan Fawkner, Paul Corbould, David Shirk)

    Alternate: “Kingdom of the Planet of the Apes”

    Original Score

    “The Brutalist” (Daniel Blumberg)
    “Conclave” (Volker Bertelmann)
    “Emilia Pérez” (Clément Ducol, Camille)
    “The Room Next Door” (Alberto Iglesias)
    “The Wild Robot” (Kris Bowers)

    Alternate: “Wicked”

    Original Song

    “Never Too Late” from “Elton John: Never Too Late” (Elton John & Brandi Carlile)
    “El Mal” from “Emilia Pérez” (Clément Ducol, Camille and Jacques Audiard)
    “Sick in the Head” from “Kneecap” (Móglaí Bap, Mo Chara, DJ Próvaí, Adrian Louis Richard Mcleod, and Toddla T)
    “The Journey” from “The Six Triple Eight” (Diane Warren)
    “Kiss the Sky” from “The Wild Robot” (Delacey, Jordan Johnson, Stefan Johnson, Maren Morris, Michael Pollack & Ali Tamposi)

    Alternate: “Harper and Will Go West” from “Will & Harper”

    Documentary Feature

    “Daughters” (Angela Patton, Natalie Rae)
    “No Other Land” (Yuval Abraham, Basel Adra, Hamdan Ballal, Rachel Szor, Fabien Greenberg, Bård Kjøge Rønning)
    “Porcelain War” (Brendan Bellomo, Slava Leontyev, Aniela Sidorska, Paula DuPré Pesmen)
    “Soundtrack to a Coup d’Etat” (Johan Grimonprez, Rémi Grellety, Daan Milius)
    “Sugarcane” (Julian Brave NoiseCat, Emily Kassie)

    Alternate: “Union”

    International Feature

    “Emilia Pérez” from France
    “Flow” from Latvia
    “I’m Still Here” from Brazil
    “Kneecap” from Ireland
    “Vermiglio” from Italy

    Alternate: “The Seed of the Sacred Fig”

    Animated Short

    “A Bear Named Wojtek” (Ian Gardner, Iain Harvey)
    “In the Shadow of Cypress” (Hossein Molayemi, Shirin Sohani)
    “Maybe Elephants” (Torill Kove, Alex Ivanovici)
    “Wander to Wonder” (Nina Gantz, Stienette Bosklopper)
    “Yuck!” (Loïc Espuche, Juliette Marquet)

    Alternate: “The 21”

    Documentary Short

    “Death By Numbers” (Kim A. Snyder, Maria Cuomo Cole)
    “I Am Ready, Warden” (Smriti Mundhra, Nina Aujla)
    “Incident” (Bill Morrison, Jamie Kalven)
    “Once Upon a Time in Ukraine” (Betsy West, Earle Mack)
    “A Swim Lesson” (Rashida Jones, Will McCormack)

    Alternate: “Makayla’s Voice: A Letter to the World”

    Live Action Short

    “Anuja” (Adam J. Graves, Mindy Kaling)
    “Dovecote” (Marco Perego, Zoe Saldaña)
    “The Last Ranger” (Cindy Lee, Will Hawkes)
    “A Lien” (David Cutler-Kreutz, Sam Cutler-Kreutz)
    “The Man Who Could Not Remain Silent” (Nebojsa Slijepcevic, Danijel Pek)

    Alternate: “The Ice Cream Man”



    With the Academy Awards just around the corner, it’s time to make our final predictions for the nominations. This year has been filled with incredible performances and films, making the competition tougher than ever. Here are our top picks for the major categories:

    Best Picture:
    1. Conclave
    2. Wicked
    3. The Power of the Dog
    4. Dune
    5. Belfast

    Best Director:
    1. Jane Campion – The Power of the Dog
    2. Denis Villeneuve – Dune
    3. Steven Spielberg – West Side Story
    4. Paul Thomas Anderson – Licorice Pizza
    5. Kenneth Branagh – Belfast

    Best Actor:
    1. Benedict Cumberbatch – The Power of the Dog
    2. Will Smith – King Richard
    3. Andrew Garfield – Tick, Tick… Boom!
    4. Bradley Cooper – Nightmare Alley
    5. Leonardo DiCaprio – Don’t Look Up

    Best Actress:
    1. Kristen Stewart – Spencer
    2. Jessica Chastain – The Eyes of Tammy Faye
    3. Olivia Colman – The Lost Daughter
    4. Nicole Kidman – Being the Ricardos
    5. Penelope Cruz – Parallel Mothers

    These are just a few of our predictions for the upcoming Academy Awards nominations. Who do you think will take home the coveted golden statues? Let us know in the comments below!

    Tags:

    1. Academy Awards predictions 2022
    2. Final Oscar nomination predictions
    3. Conclave movie awards buzz
    4. Wicked film potential nominees
    5. Academy Awards frontrunners
    6. Oscar nominations 2022
    7. Oscars buzz predictions
    8. Conclave movie awards contenders
    9. Wicked film Oscar buzz
    10. Academy Awards best picture predictions

    #Final #Academy #Awards #Nomination #Predictions #Conclave #Wicked

  • BAFTA Film Awards 2025 Longlist: ‘Emilia Pérez’, ‘Conclave’ Lead

    BAFTA Film Awards 2025 Longlist: ‘Emilia Pérez’, ‘Conclave’ Lead


    BAFTA on Friday unveiled its longlists for this year’s film awards with Emilia Pérez, Conclave, A Complete Unknown, The Brutalist and The Substance setting the pace.

    Jacques Audiard’s Spanish-language musical tops the longlists (15), including leading actress and supporting actress mentions for Karla Sofia Gascon, Zoe Saldana and Selena Gomez. Edward Berger’s Conclave follows with 14 nods, including leading actor and supporting actor for Ralph Fiennes and Stanley Tucci, respectively.

    After that, it’s a three-way tie between Brady Corbet’s The Brutalist, Bob Dylan biopic A Complete Unknown and Coralie Fargeat’s The Substance (11). Sean Baker’s Anora is honored with 9 mentions on the longlists, including for lead star Mikey Madison. Cynthia Erivo and Ariana Grande are included for their roles in Jon M. Chu’s Wicked, and Timothee Chalamet is among the leading actor list for his performance in A Complete Unknown.

    Round two of voting kicks off on Friday, Jan. 3 and will determine the nominations, to be unveiled via global livestream on Jan. 15 at BAFTA HQ in London. Round Three of voting will determine the winners, which will be unveiled at the Feb. 16 ceremony hosted by Scottish star David Tennant.

    BAFTA represents the U.K.’s largest film industry voting body with 8,100 creative practitioners from all corners of the U.K. and global film industry.

    See below the complete longlists for this year’s BAFTA Film Awards.

    Best Film

    Anora
    The Apprentice
    The Brutalist
    A Complete Unknown
    Conclave
    Dune: Part Two
    Emilia Pérez
    Kneecap
    The Substance
    Wicked

    Outstanding British Film

    Back to Black
    Bird
    Blitz
    Civil War
    Conclave
    Gladiator II
    Hard Truths
    Kneecap
    Lee
    Love Lies Bleeding
    The Outrun
    Paddington in Peru
    Wallace and Gromit: Vengeance Most Fowl
    We Live in Time
    Wicked Little Letters

    Outstanding Debut By a British Writer, Director or Producer

    Bring Them Down
    Grand Theft Hamlet
    Hoard
    Kneecap
    Monkey Man
    On Falling
    Santosh
    Sister Midnight
    The Taste of Mang
    The Teacher

    Children’s & Family Film

    Flow
    Kensuke’s Kingdom
    Piece By Piece
    Spellbound
    That Christmas
    Wallace and Gromit: Vengeance Most Fowl
    The Wild Robot
    Young Woman and the Sea

    Film Not In English Language

    All We Imagine as Light
    Black Dog (Gou zhen)
    The Count of Monte Cristo
    Emilia Pérez
    Flow
    The Girl with the Needle
    I’m Still Here (Ainda Estou Aqui)
    Kneecap
    La Chimera
    The Seed of the Sacred Fig

    Documentary

    The Bibi Files
    Black Box Diaries
    Daughters
    Elton John: Never Too Late
    I Am: Celine Dion
    Made In England: The Films of Powell and Pressburger
    No Other Land
    The Remarkable Life of Ibelin
    Super/Man: The Christopher Reeve Story
    Will & Harper

    Animated Film

    Despicable Me 4
    Flow
    Inside Out 2
    Memoir of a Snail
    Moana 2
    That Christmas
    Wallace and Gromit: Vengeance Most Fowl
    The Wild Robot

    Director

    All We Imagine as Light, Payal Kapadia
    Anora, Sean Baker
    The Brutalist, Brady Corbet
    Conclave, Edward Berger
    Dune: Part Two, Denis Villeneuve
    Emilia Pérez, Jacques Audiard
    La Chimera, Alice Rohrwacher
    Lee, Ellen Kuras
    The Outrun, Nora Fingscheidt
    The Substance, Coralie Fargeat

    Original Screenplay

    All We Imagine as Light
    Anora
    The Apprentice
    The Brutalist
    Challengers
    Civil War
    Heretic
    Kneecap
    A Real Pain
    The Substance

    Adapted Screenplay

    A Complete Unknown
    Conclave
    Dune: Part Two
    Emilia Pérez
    Lee
    Nickel Boys
    Nightbitch
    The Outrun
    Sing Sing
    Wicked

    Leading Actress
    Amy Adams, Nightbitch
    Cynthia Erivo, Wicked
    Demi Moore, The Substance
    Karla Sofía Gascón, Emilia Pérez
    Kate Winslet, Lee
    Marianne Jean-Baptiste, Hard Truths
    Marisa Abela, Back To Black
    Mikey Madison, Anora
    Nicole Kidman, Babygirl
    Saoirse Ronan, The Outrun

    Leading Actor

    Adrien Brody, The Brutalist
    Colman Domingo, Sing Sing
    Daniel Craig, Queer
    Dev Patel, Monkey Man
    Hugh Grant, Heretic
    Jude Law, Firebran
    Kingsley Ben Adir, Bob Marley: One Love
    Ralph Fiennes, Conclave
    Sebastian Stan , The Apprentice
    Timothée Chalamet, A Complete Unknown

    Supporting Actress

    Adriana Paz, Emilia Pérez
    Ariana Grande, Wicked
    Emily Watson, Small Things Like These
    Felicity Jones, The Brutalist
    Isabella Rossellini, Conclave
    Jamie Lee Curtis, The Last Showgirl
    Margaret Qualley, The Substance
    Michele Austin, Hard Truths
    Selena Gomez, Emilia Pérez
    Zoe Saldaña, Emilia Pérez

    Supporting Actor

    Clarence Maclin, Sing Sing
    Denzel Washington, Gladiator II
    Edward Norton, A Complete Unknown
    Guy Pearce, The Brutalist
    Harris Dickinson, Babygirl
    Jeremy Strong, The Apprentice
    Kieran Culkin, A Real Pain
    Mark Eydelshteyn, Anora
    Stanley Tucci, Conclave
    Yura Borisov, Anora

    Casting

    Anora
    The Apprentice
    Back To Black
    Blitz
    The Brutalist
    A Complete Unknown
    Conclave
    Emilia Pérez
    Kneecap
    Wicked

    Cinematography

    Anora
    The Brutalist
    Civil War
    A Complete Unknown
    Conclave
    Dune: Part Two
    Emilia Pérez
    Gladiator II
    Nosferatu
    The Substance

    Costume Design

    Beetlejuice, Beetlejuice
    Blitz
    A Complete Unknown
    Conclave
    Dune: Part Two
    Emilia Pérez
    Furiosa: A Mad Max Saga
    Gladiator II
    Nosferatu
    Wicked

    Editing

    Anora
    Challengers
    Civil War
    A Complete Unknown
    Conclave
    Dune: Part Two
    Emilia Pérez
    Gladiator II
    Kneecap
    The Substance

    Make Up & Hair

    The Apprentice
    Beetlejuice, Beetlejuice
    Blitz
    A Complete Unknown
    Dune: Part Two
    Emilia Pérez
    Joker: Folie À Deux
    Nosferatu
    The Substance
    Wicked

    Original Score

    Beetlejuice, Beetlejuice
    Blitz
    The Brutalist
    Conclave
    Emilia Pérez
    Gladiator II
    Nosferatu
    The Outrun
    The Substance
    The Wild Robot

    Production Design

    Beetlejuice, Beetlejuice
    Blitz
    The Brutalist
    A Complete Unknown
    Conclave
    Dune: Part Two
    Gladiator II
    Nosferatu
    The Substance
    Wicked

    Special Visual Effects

    Alien: Romulus
    Beetlejuice, Beetlejuice
    Better Man
    Civil War
    Deadpool & Wolverine
    Dune: Part Two
    Furiosa: A Mad Max Saga
    Gladiator II
    Kingdom of the Planet of the Apes
    Wicked

    Sound

    Blitz
    The Brutalist
    Civil War
    A Complete Unknown
    Conclave
    Dune: Part Two
    Emilia Pérez
    Gladiator II
    The Substance
    Wicked

    British Short Animation

    Adiós
    Mee and Burd
    Mog’s Christmas
    Plunge
    Three Hares
    Wander to Wonder

    British Short Film

    The Ban
    Clodagh
    The Flowers Stand Silently, Witnessing
    Homework
    Marion
    Milk
    Rock, Paper, Scissors
    Sister Wives
    Stomach Bug
    Woodlice 



    The BAFTA Film Awards 2025 Longlist has been revealed, and two standout films have emerged as frontrunners: ‘Emilia Pérez’ and ‘Conclave’.

    ‘Emilia Pérez’ is a gripping drama that follows the life of a young woman struggling to navigate the complexities of love, family, and personal identity. With powerhouse performances and a thought-provoking storyline, ‘Emilia Pérez’ has garnered critical acclaim and is sure to be a strong contender this awards season.

    Meanwhile, ‘Conclave’ is a bold and ambitious sci-fi thriller that pushes the boundaries of the genre. With stunning visuals, a gripping plot, and standout performances from its cast, ‘Conclave’ has captivated audiences and critics alike.

    Both ‘Emilia Pérez’ and ‘Conclave’ are shining examples of the diverse and innovative storytelling coming out of the film industry, and it’s no surprise that they are leading the pack in the BAFTA Film Awards 2025 Longlist. Stay tuned for more updates as we get closer to the awards ceremony!

    Tags:

    1. BAFTA Film Awards 2025
    2. Emilia Pérez
    3. Conclave
    4. BAFTA longlist
    5. British Academy Film Awards
    6. Film nominations
    7. Award season
    8. Film industry news
    9. Hollywood awards
    10. BAFTA predictions

    #BAFTA #Film #Awards #Longlist #Emilia #Pérez #Conclave #Lead

  • ‘Emilia Perez’ & ‘Conclave’ Lead The Pack  

    ‘Emilia Perez’ & ‘Conclave’ Lead The Pack  


    The BAFTA Film Awards have unveiled this year’s longlists for 25 categories, and in the lead are Jacques Audiard’s rollicking crime drama Emilia Perez and Edward Berger’s craft papal thriller Conclave. Scroll down for the lists in full.

    Emilia Perez has landed on the most longlists with 15 nods. This haul includes Best Film, Best Director, Adapted Screenplay, Film Not In The English Language, and leading actress for Karla Sofía Gascón. Selena Gomez and Zoe Saldaña are longlisted in supporting alongside Adriana Paz. The haul of 15 longlist mentions equals the previous record first set by Edward Berger’s war feature All Quiet on the Western Front and matched last year by Christopher Nolan’s Oppenheimer, Greta Gerwig’s Barbie, and Martin Scorsese’s Killers Of The Flower Moon. 

    Conclave nabbed 14 appearances on the longlists. This haul includes Best Film, Supporting Actress for Isabella Rossellini, Supporting Actor for Stanley Tucci, and Leading Actor for Ralph Fiennes. Emilia Perez and Conclave are trailed by Mubi’s summer breakout The Substance, Brady Corbet’s The Brutalist, and the Bob Dylan biopic A Complete Unknown, which appear on 11 longlists. Wicked and Dune: Part Two both feature on 10 longlists. 

    There are also prominent appearances below the leading pack from Sean Baker’s Anora (9) alongside Steve McQueen’s latest Blitz and the subversive Irish indie comedy Kneecap, which both landed on 7 longlists. Ali Abbasi’s Donald Trump biopic The Apprentice made its way on to 6. 

    Other standout mentions include Ridley Scott’s Gladiator II, which is on 9 longlists. The film’s haul predominantly features below-the-line technical categories such as costume design. However, Denzel Washington pops up in Supporting Actor. Washington — a two-time Oscar winner — has never been nominated for a BAFTA. Payal Kapadia’s fiction debut All We Imagine As Light clocked three strong apperances in Best Director, Original Screenplay, and Film Not In The English Language.

    In notable snubs, there is only one longlist appearance from Nickel Boys in Adapted Screenplay and Luca Guadagnino’s Challengers appears only twice in Original Screenplay and Editing. Conversely there are surprising appearances from Dev Patel in Leading Actor for his performance in Monkey Man and Ellen Kuras in Director for Lee. 

    The next round of voting to determine the official nominations takes place between Friday 3 and Friday 10 January 2025. The voting period for winners is between Wednesday 22 January and Tuesday 11 February 2024. The BAFTA Film Awards take place on Sunday 16 February 2025.

    Check out the full longlists below:

    BEST FILM

    10 films will advance in the Best Film category. 115 films eligible for this category were submitted for consideration. All film-voting members of BAFTA vote to determine the longlist, nominations and overall winner.

    • Anora 
    • The Apprentice
    • The Brutalist 
    • A Complete Unknown 
    • Conclave 
    • Dune: Part Two
    • Emilia Pérez
    • Kneecap
    • The Substance
    • Wicked

    OUTSTANDING BRITISH FILM

    15 films will advance in the Outstanding British Film category. All film voting members of BAFTA vote to determine the longlist (of which the top five are nominated).  A jury selects the remaining five nominations. In the final round all film-voting members vote to determine the winning film. 63 eligible films were submitted for consideration.

    • Back to Black
    • Bird 
    • Blitz
    • Civil War
    • Conclave 
    • Gladiator II 
    • Hard Truths
    • Kneecap
    • Lee
    • Love Lies Bleeding
    • The Outrun
    • Paddington in Peru 
    • Wallace and Gromit: Vengeance Most Fowl
    • We Live in Time
    • Wicked Little Letters

    OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER

    10 films will advance in the Outstanding Debut category.  A jury determines the longlist, nominations and overall winner in this category. 42 eligible films were submitted for consideration.

    • Bring Them Down
    • Grand Theft Hamlet
    • Hoard
    • Kneecap
    • Monkey Man
    • On Falling
    • Santosh
    • Sister Midnight
    • The Taste of Mango
    • The Teacher

    CHILDREN’S & FAMILY FILM

    Eight films will advance in the Children’s & Family Film category.  A jury determines the longlist, nominations and overall winner in this category. 19 eligible films were submitted for consideration.

    • Flow
    • Kensuke’s Kingdom
    • Piece By Piece
    • Spellbound
    • That Christmas
    • Wallace and Gromit: Vengeance Most Fowl
    • The Wild Robot
    • Young Woman and the Sea

    FILM NOT IN ENGLISH LANGUAGE

    10 films will advance in the Film Not in the English Language category. All BAFTA film-voting members were invited to join an opt-in chapter to determine the longlist. This chapter will vote to nominate five films. In the final round all film-voting members vote to determine the winning film. 40 eligible films were submitted for consideration.

    • All We Imagine as Light
    • Black Dog (Gou zhen)
    • The Count of Monte Cristo
    • Emilia Pérez
    • Flow
    • The Girl with the Needle 
    • I’m Still Here (Ainda Estou Aqui) 
    • Kneecap
    • La Chimera
    • The Seed of the Sacred Fig

    DOCUMENTARY

    10 films will advance in the Documentary category. All BAFTA film-voting members were invited to join an opt-in chapter to determine the longlist (of which the top two are nominated).  A jury selects the remaining three nominations, In the final round all film-voting members vote to determine the winning film. 71 eligible films were submitted for consideration.

    • The Bibi Files
    • Black Box Diaries
    • Daughters
    • Elton John: Never Too Late
    • I Am: Celine Dion
    • Made In England: The Films of Powell and Pressburger
    • No Other Land
    • The Remarkable Life of Ibelin
    • Super/Man: The Christopher Reeve Story
    • Will & Harper

    ANIMATED FILM

    Eight films will advance in the Animated Film category. All BAFTA film-voting members were invited to join an opt-in chapter to determine the longlist and will vote to nominate four films. In the final round all film-voting members vote to determine the winning film. 16 eligible films were submitted for consideration.

    • Despicable Me 4
    • Flow
    • Inside Out 2
    • Memoir of a Snail
    • Moana 2 
    • That Christmas 
    • Wallace and Gromit: Vengeance Most Fowl
    • The Wild Robot

    DIRECTOR

    10 films will advance in the Director category. Members of the Directing chapter vote for their top 10 to determine the longlist, of which the top women and men directors, and directors who identify as non-binary/gender diverse and any mixed-gender directing teams (within the voting results range of the top 10 women/men directors) will be longlisted to a max of 11, with gender parity upheld between women and men directors. The Directing chapter will vote for the six nominations. In the final round all film-voting members vote to determine the winning film. 189 eligible films were submitted for consideration.

    • All We Imagine as Light, Payal Kapadia
    • Anora, Sean Baker
    • The Brutalist, Brady Corbet
    • Conclave, Edward Berger
    • Dune: Part Two, Denis Villeneuve
    • Emilia Pérez, Jacques Audiard
    • La Chimera, Alice Rohrwacher
    • Lee, Ellen Kuras
    • The Outrun, Nora Fingscheidt
    • The Substance, Coralie Fargeat

    ORIGINAL SCREENPLAY

    10 films will advance in the Original Screenplay category. Members of the Writers chapter vote to determine the longlist and the nominations. In the final round of voting, all film-voting members will vote for the winning film. 74 eligible films were submitted for consideration.

    • All We Imagine as Light
    • Anora 
    • The Apprentice
    • The Brutalist 
    • Challengers
    • Civil War
    • Heretic
    • Kneecap
    • A Real Pain
    • The Substance

    ADAPTED SCREENPLAY

    10 films will advance in the Adapted Screenplay category. Members of the Writers chapter vote to determine the longlist and the nominations. In the final round of voting, all film-voting members will vote for the winning film. 60 eligible films were submitted for consideration.

    • A Complete Unknown 
    • Conclave 
    • Dune: Part Two
    • Emilia Pérez
    • Lee
    • Nickel Boys 
    • Nightbitch
    • The Outrun
    • Sing Sing
    • Wicked

    LEADING ACTRESS

    10 performances will advance in the Leading Actress category. Members of the Acting chapter vote to determine the longlist, of which the top seven are automatically longlisted. A longlisting jury selects a further three performances from those ranked 8-13 in the chapter vote, to create a longlist of 10. Members of the Acting chapter vote to determine the six nominations. In the final round all film-voting members vote to determine the winning performance. 82 performances were submitted for consideration.

    • Amy Adams, Nightbitch
    • Cynthia Erivo, Wicked
    • Demi Moore, The Substance
    • Karla Sofía Gascón, Emilia Pérez
    • Kate Winslet, Lee
    • Marianne Jean-Baptiste, Hard Truths
    • Marisa Abela, Back To Black
    • Mikey Madison, Anora
    • Nicole Kidman, Babygirl
    • Saoirse Ronan, The Outrun

    LEADING ACTOR

    10 performances will advance in the Leading Actor category. Members of the Acting chapter vote to determine the longlist, of which the top seven are automatically longlisted. A longlisting jury selects a further three performances from those ranked 8-13 in the chapter vote, to create a longlist of 10. Members of the Acting chapter vote to determine the six nominations. In the final round all film-voting members vote to determine the winning performance. 82 performances were submitted for consideration.

    • Adrien Brody, The Brutalist
    • Colman Domingo, Sing Sing
    • Daniel Craig, Queer
    • Dev Patel, Monkey Man
    • Hugh Grant, Heretic
    • Jude Law, Firebrand
    • Kingsley Ben Adir, Bob Marley: One Love
    • Ralph Fiennes, Conclave
    • Sebastian Stan , The Apprentice
    • Timothée Chalamet, A Complete Unknown

    SUPPORTING ACTRESS

    10 performances will advance in the Supporting Actress category. Members of the Acting chapter vote to determine the longlist, of which the top seven are automatically longlisted. A longlisting jury selects a further three performances from those ranked 8-13 in the chapter vote, to create a longlist of 10. Members of the Acting chapter vote to determine the six nominations. In the final round all film-voting members vote to determine the winning performance. 180 performances were submitted for consideration.

    • Adriana Paz, Emilia Pérez
    • Ariana Grande, Wicked 
    • Emily Watson, Small Things Like These
    • Felicity Jones, The Brutalist
    • Isabella Rossellini, Conclave 
    • Jamie Lee Curtis, The Last Showgirl
    • Margaret Qualley, The Substance
    • Michele Austin, Hard Truths
    • Selena Gomez, Emilia Pérez
    • Zoe Saldaña, Emilia Pérez

    SUPPORTING ACTOR

    10 performances will advance in the Supporting Actor category. Members of the Acting chapter vote to determine the longlist, of which the top seven are automatically longlisted. A longlisting jury selects a further three performances from those ranked 8-13 in the chapter vote, to create a longlist of 10. Members of the Acting chapter vote to determine the six nominations. In the final round all film-voting members vote to determine the winning performance. 271 performances were submitted for consideration.

    • Clarence Maclin, Sing Sing
    • Denzel Washington, Gladiator II
    • Edward Norton, A Complete Unknown
    • Guy Pearce, The Brutalist
    • Harris Dickinson, Babygirl
    • Jeremy Strong, The Apprentice
    • Kieran Culkin, A Real Pain
    • Mark Eydelshteyn, Anora
    • Stanley Tucci, Conclave
    • Yura Borisov, Anora

    CASTING

    10 films will advance in the Casting category. Members of the Casting chapter vote to determine the longlist. A jury selects the five nominations and in the final round all film-voting members select the winning film. 119 films were submitted for consideration. A supporting Statement can be submitted and published on BAFTA View.

    • Anora 
    • The Apprentice
    • Back To Black
    • Blitz
    • The Brutalist 
    • A Complete Unknown 
    • Conclave 
    • Emilia Pérez
    • Kneecap
    • Wicked

    CINEMATOGRAPHY

    10 films will advance in the Cinematography category. Members of the Cinematography chapter vote to determine the longlist and the nominations. In the final round of voting, all film-voting members will vote for the overall winning film. 155 films were submitted for consideration.

    • Anora 
    • The Brutalist 
    • Civil War
    • A Complete Unknown 
    • Conclave 
    • Dune: Part Two
    • Emilia Pérez
    • Gladiator II 
    • Nosferatu 
    • The Substance

    COSTUME DESIGN

    10 films will advance in the Costume Design category. Members of the Costume and Makeup & Hair chapters vote to determine the longlist and the nominations. In the final round of voting, all film-voting members will vote for the overall winning film. 114 films were submitted for consideration.

    • Beetlejuice, Beetlejuice
    • Blitz
    • A Complete Unknown 
    • Conclave 
    • Dune: Part Two
    • Emilia Pérez
    • Furiosa: A Mad Max Saga
    • Gladiator II 
    • Nosferatu 
    • Wicked

    EDITING

    10 films will advance in the Editing category. Members of the Editing chapter vote to determine the longlist and the nominations. In the final round of voting, all film-voting members will vote for the overall winning film. 170 films were submitted for consideration.

    • Anora 
    • Challengers
    • Civil War
    • A Complete Unknown 
    • Conclave 
    • Dune: Part Two
    • Emilia Pérez
    • Gladiator II 
    • Kneecap
    • The Substance

    MAKE UP & HAIR

    10 films will advance in the Make Up & Hair category. Members of the Costume Design and the Make Up & Hair chapters vote to determine the longlist and the nominations. In the final round of voting, all film-voting members will vote for the overall winning film. 106 films were submitted for consideration. A supporting Statement can be submitted and published on BAFTA View.

    • The Apprentice
    • Beetlejuice, Beetlejuice
    • Blitz
    • A Complete Unknown 
    • Dune: Part Two
    • Emilia Pérez
    • Joker: Folie À Deux
    • Nosferatu 
    • The Substance
    • Wicked

    ORIGINAL SCORE

    10 films will advance in the Original Score category. Members of the Music chapter vote to determine the longlist and the nominations. In the final round of voting, all film-voting members will vote for the overall winning film. 118 films were submitted for consideration. Music cue sheets are provided by the entrants and published on BAFTA View.

    • Beetlejuice, Beetlejuice
    • Blitz
    • The Brutalist 
    • Conclave 
    • Emilia Pérez
    • Gladiator II 
    • Nosferatu 
    • The Outrun
    • The Substance
    • The Wild Robot

    PRODUCTION DESIGN

    10 films will advance in the Production Design category. Members of the Production Design chapter vote to determine the longlist and the nominations. In the final round of voting, all film-voting members will vote for the overall winning film. 131 films were submitted for consideration.

    • Beetlejuice, Beetlejuice
    • Blitz
    • The Brutalist 
    • A Complete Unknown 
    • Conclave 
    • Dune: Part Two
    • Gladiator II 
    • Nosferatu 
    • The Substance
    • Wicked

    SPECIAL VISUAL EFFECTS

    10 films will advance in the Special Visual Effect category. Members of the SVFX chapter vote to determine the longlist and the nominations. In the final round of voting, all film-voting members will vote for the overall winning film. 82 films were submitted for consideration. A supporting Statement and a show-reel of the SVFX work (up to five minutes in duration) can be submitted and are published on BAFTA View.

    • Alien: Romulus
    • Beetlejuice, Beetlejuice
    • Better Man 
    • Civil War
    • Deadpool & Wolverine
    • Dune: Part Two
    • Furiosa: A Mad Max Saga
    • Gladiator II 
    • Kingdom of the Planet of the Apes
    • Wicked

    SOUND

    10 films will advance in the Sound category Members of the Sound chapter vote to determine the longlist and the nominations. In the final round of voting, all film-voting members will vote for the overall winning film. 149 films were submitted for consideration.

    • Blitz
    • The Brutalist 
    • Civil War
    • A Complete Unknown 
    • Conclave 
    • Dune: Part Two
    • Emilia Pérez
    • Gladiator II 
    • The Substance
    • Wicked

    BRITISH SHORT ANIMATION

    Six films will advance in the British Short Animation category.  A jury votes to determine the longlist and the nominations. In the final round of voting, all film-voting members are invited to join an opt-in chapter to vote for the overall winning short animation.

    • Adiós
    • Mee and Burd
    • Mog’s Christmas
    • Plunge
    • Three Hares
    • Wander to Wonder

    BRITISH SHORT FILM

    Ten films will advance in the British Short Film category.  A jury votes to determine the longlist and the nominations. In the final round of voting, all film-voting members are invited to join an opt-in chapter to vote for the overall winning short film.

    • The Ban
    • Clodagh
    • The Flowers Stand Silently, Witnessing
    • Homework
    • Marion
    • Milk
    • Rock, Paper, Scissors
    • Sister Wives
    • Stomach Bug
    • Woodlice 



    Emilia Perez and Conclave Lead The Pack

    Emilia Perez and her band, Conclave, are taking the music scene by storm with their unique blend of Latin rhythms and soulful vocals. The group’s energetic performances and infectious melodies have earned them a dedicated following and critical acclaim.

    Perez, a powerhouse vocalist and songwriter, leads the band with her captivating stage presence and emotive lyrics. With influences ranging from traditional Latin music to modern pop, Conclave’s sound is fresh and exciting, drawing in fans from all walks of life.

    Whether performing at intimate venues or large festivals, Emilia Perez and Conclave always deliver a high-energy show that leaves audiences wanting more. With their passion for music and undeniable talent, this dynamic group is sure to continue leading the pack for years to come.

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    Emilia Perez, Conclave, leadership, top performers, successful team, Emilia Perez success story, Conclave achievements, business leaders, teamwork, success in leadership, inspirational leaders, Emilia Perez and Conclave, leading the pack, top performers in business

    #Emilia #Perez #Conclave #Lead #Pack

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