Even as the Academy tries hard to create a more diverse body of voters, awards season itself automatically and perhaps unfairly narrows the field of movies that are seen as contenders
One step up, two steps back. That’s what the Academy took when it announced nominations for the 92nd Oscars on Monday morning.
On the plus side, “Parasite” received five nominations, making it the first Korean film to be nominated in any of its categories, which included Best Picture and Best Director.
Continue reading
Join WrapPRO for Exclusive Content,
Full Video Access, Premium Events, and More!
The North Macedonian documentary “Honeyland” became the first film ever nominated for both Best Documentary Feature and Best International Feature Film (or its predecessor category, Best Foreign Language Film), a welcome expansion of voters’ ideas of where movies can fit.
Also Read: Oscar Nominations 2020: The Complete List
And by leading the field with 11 nominations, “Joker” reinforced what “Black Panther” suggested last year — that Academy voters no longer write off films simply because they have some connection to the comic-book universe.
These can be seen as positive, forward-thinking developments for the Oscars — and the fact that the most-nominated film also happens to be the one that has made the most money at the box office among all the Best Picture nominees won’t hurt when it comes to ratings for the Feb. 9 show on ABC. (But not nominating Jennifer Lopez for Best Supporting Acress or Beyoncé for her “The Lion King” original song won’t help.)
And yet this year’s nominations may also cause a new round of #OscarsSoWhite protests, with “Harriet” star Cynthia Erivo the only person of color among the 20 acting nominees. Others will single out the all-male slate of Best Director nominees, which “Little Women” director Greta Gerwig couldn’t crack.
You can argue that voters didn’t have enough worthy films by women to choose from; that they shouldn’t vote on the basis of gender and race; that the films that were nominated are all deserving; and that it would have been silly for the Directors Branch to vote for Gerwig if they didn’t think that “Little Women” was one of the five best directorial achievements of the year, or the Actors Branch to vote for “Just Mercy” supporting player -Jamie Foxx if they didn’t think he was better, whatever that means, than Brad Pitt, Al Pacino, Joe Pesci, Tom Hanks and Anthony Hopkins.
Also Read: 'Joker' Leads With 11 Oscar Nominations, Followed by 'Irishman,' '1917' and 'Once Upon a Time'
I have made arguments like that myself in the past, and to a degree that’s true. But it also obscures the unavoidable fact that more nominations went to fewer movies this year, that the past few months have selected awards contenders in a way that is to some degree biased and that the Academy’s decision to shorten this awards season by two weeks has only exacerbated the problem.
Even as the Academy tries hard to create a more diverse and international body of voters, awards season itself — particularly a time-crunched awards season like this one — automatically and perhaps unfairly narrows the field of movies that are seen as contenders. Voters who are short on time to see everything before voting may focus on the films that are getting the most attention and seem to be the year’s “awards” movies — and before long, a large field of worthy movies is narrowed down to a couple dozen.
And in that narrowing, maybe Jordan Peele’s “Us” falls by the wayside because it came out early in the year and is a genre movie, not a prestige movie — meaning that Lupita Nyong’o’s complicated, nuanced performance gets overlooked in favor of the usual biopics and emotional fireworks. Maybe Celine Sciamma’s luminous “Portrait of a Lady on Fire” gets lost because France submitted “Les Misérables” to the Oscars’ international race, so a moving film from a female director simply isn’t seen by enough voters.
And so it goes: If voters don’t have the time to see everything, they see what they think they’re supposed to see. But the process that determines what they’re supposed to see is one loaded with biases and shortsighted visions of what’s awards-worthy.
Also Read: John Williams Earns Record 52nd Oscar Nomination for His Final 'Star Wars' Score
In a year in which they had less time to see the films than ever before, in which the voting began immediately after New Year’s Day and ended only six days later, Academy voters for the most part stuck with the tried and true. It was a surprise that Jennifer Lopez was left out in the Best Supporting Actress category, but let’s face it: “Hustlers” was never an Oscar-style movie, and voters are more comfortable with Kathy Bates — a past winner and past governor of the Actors Branch — as a worried mother than with a pole-dancing J-Lo as a stripper.
One sign that voters may not have had time to watch as many films as usual came in the fact that an unprecedented four movies hit double digits in nominations: “Joker” with 11 and “The Irishman,” “Once Upon a Time … in Hollywood” and “1917” with 10 each. This has never happened before, with the previous high being three films that did it in 1965 and 1978.
The nominations left us with a field in which the top four all have legitimate claims to being potential winners, though the first of those may be too divisive to flourish under the ranked-choice voting system used in the final Best Picture count.
Still, “Joker” got all the nominations it needed and then some. In addition, Todd Phillips’ film and “The Irishman” are the only films nominated for picture, directing, acting, writing and film editing, all categories that are thought to be crucial for a Best Picture win. (“Once Upon a Time … in Hollywood” and “1917” didn’t get editing, and the latter film not surprisingly missed out on acting nominations as well.)
Also Read: 'Joker' Composer Hildur Gudnadottir Wins Big at Inaugural Society of Composers and Lyricists Awards
With nominations for picture, directing, writing and editing, “Parasite” could emerge as a potential compromise candidate, though its strength would have been even more apparent if Actors Branch voters had learned the names of its actors and nominated at least one of them.
Essentially, the nominations have created a landscape in which at least five films will be jockeying for the big win, with no clear frontrunner until the Producers Guild and Directors Guild chime in over the next couple of weeks.
And they’ve created a landscape is which every little gain is undercut by the feeling that they could have done better, that there ought to be a way for awards like these to be more inclusive and more far-reaching.
One step up, two steps back and a rocky 27 days to go.
Oscars 2020: See the Nominees in All 24 Categories (Photos)
-
Nine films are nominated for Best Picture at the 92nd Annual Academy Awards. This year’s Oscars ceremony, which takes place the earliest ever in awards season, will take place on Feb. 9. And for the second year in a row, this year’s ceremony will have no host. Check out the full list of nominees in all 24 categories.
-
Neon
BEST PICTURE
“Ford v Ferrari,”
“The Irishman,”
“Jojo Rabbit,”
“Joker,”
“Little Women,”
“Marriage Story,”
“1917,”
“Once Upon a Time … in Hollywood,”
“Parasite” (Pictured)
-
Netflix
BEST DIRECTOR
Bong Joon Ho, “Parasite,”
Todd Phillips, “Joker,”
Sam Mendes, “1917,”
Martin Scorsese, “The Irishman” (Pictured),
Quentin Tarantino, “Once Upon a Time … in Hollywood”
-
Warner Bros.
BEST ACTOR
Antonio Banderas, “Pain and Glory,”
Leonardo DiCaprio, “Once Upon a Time … in Hollywood,”
Adam Driver, “Marriage Story,”
Joaquin Phoenix, “Joker,” (Pictured)
Jonathan Pryce, “The Two Popes”
-
Roadside Attractions/LD Entertainment
BEST ACTRESS
Cynthia Erivo, “Harriet,”
Scarlett Johansson, “Marriage Story,”
Saoirse Ronan, “Little Women,”
Charlize Theron, “Bombshell,”
Renée Zellweger, “Judy” (pictured)
-
Sony Pictures
BEST SUPPORTING ACTOR
Tom Hanks, “A Beautiful Day in the Neighborhood”
Anthony Hopkins, “The Two Popes”
Al Pacino, “The Irishman”
Joe Pesci, “The Irishman”
Brad Pitt, “Once Upon a Time … in Hollywood” (pictured)
-
STXfilms
BEST SUPPORTING ACTRESS
Kathy Bates, “Richard Jewell” (pictured),
Laura Dern, “Marriage Story,”
Scarlett Johansson, “Jojo Rabbit,”
Florence Pugh, “Little Women,”
Margot Robbie, “Bombshell”
-
Netflix
BEST ORIGINAL SCREENPLAY
“Knives Out,”
“Marriage Story” (pictured),
“1917,”
“Once Upon a Time... in Hollywood,”
“Parasite”
-
Peter Mountain/Netflix
BEST ADAPTED SCREENPLAY
“The Irishman,”
“Jojo Rabbit,”
“Joker,”
“Little Women,”
“The Two Popes” (pictured)
-
A24/Photo by Eric Chakeen
BEST CINEMATOGRAPHY
“The Irishman,”
“Joker,”
“The Lighthouse” (pictured),
“1917,”
“Once Upon a Time in Hollywood”
-
Netflix
BEST FILM EDITING
“Ford v Ferrari,”
“The Irishman,”
“Jojo Rabbit,”
“Joker,”
“Parasite”
-
Sony
BEST COSTUME DESIGN
“The Irishman,”
“Jojo Rabbit,”
“Joker,”
“Little Women” (pictured),
“Once Upon a Time in Hollywood”
-
Lionsgate
BEST MAKEUP AND HAIRSTYLING
“Bombshell” (pictured)
“Joker,”
“Judy,”
“Maleficent: Mistress of Evil,”
“1917”
-
Fox Searchlight
BEST ORIGINAL SCORE
“Joker,”
“Little Women” (pictured),
“Marriage Story,”
“1917,”
“Star Wars: The Rise of Skywalker”
-
Disney
BEST ORIGINAL SONG
“I Can’t Let You Throw Yourself Away” from “Toy Story 4,"
“Into the Unknown” from “Frozen II” (pictured),
“(I’m Gonna) Love Me Again” from “Rocketman,”
“I’m Standing With You,” “Breakthrough,”
“Stand Up” from “Harriet”
-
Universal
BEST PRODUCTION DESIGN
“The Irishman,”
“Jojo Rabbit,”
“1917” (pictured, Dennis Gassner),
“Once Upon a Time … in Hollywood,”
“Parasite”
-
Walt Disney Studios
BEST SOUND EDITING
“Ford v Ferrari,”
“Joker,”
“1917,”
“Once Upon a Time … in Hollywood,”
“Star Wars: The Rise of Skywalker” (pictured)
-
20th Century Fox
BEST SOUND MIXING
“Ad Astra” (pictured)
“Ford v Ferrari,”
“Joker,”
“1917,”
“Once Upon a Time in Hollywood”
-
Disney
BEST VISUAL EFFECTS
“Avengers: Endgame,”
“The Irishman,”
“The Lion King” (pictured),
“1917,”
“Star Wars: The Rise of Skywalker”
-
Sony Pictures Classics
BEST INTERNATIONAL FILM
“Corpus Christi,” Poland
“Honeyland,” North Macedonia
“Les Misérables,” France
“Pain and Glory,” Spain (pictured)
“Parasite,” South Korea
-
Disney-Pixar
BEST ANIMATED FEATURE
“How to Train Your Dragon: The Hidden World,”
“I Lost My Body,”
“Klaus,”
“Missing Link,”
“Toy Story 4” (pictured)
-
Pixar
BEST ANIMATED SHORT
“Dcera (Daughter),”
“Hair Love,”
“Kitbull” (pictured)
“Memorable”
“Sister”
-
Nat Geo
BEST DOCUMENTARY FEATURE
“American Factory,”
“The Cave” (pictured),
“The Edge of Democracy,”
“For Sama,”
“Honeyland”
-
Netflix
BEST DOCUMENTARY SHORT
“In the Absence,”
“Learning to Skateboard in a Warzone (If You’re a Girl)” (pictured)
“Life Overtakes Me,”
“St. Louis Superman,”
“Walk Run Cha-Cha”
-
Mubi
BEST LIVE-ACTION SHORT
“Brotherhood,”
“Nefta Football Club” (pictured)
“The Neighbors’ Window,”
“Saria,”
“A Sister”
The 92nd Academy Awards take place on Feb. 9
Nine films are nominated for Best Picture at the 92nd Annual Academy Awards. This year’s Oscars ceremony, which takes place the earliest ever in awards season, will take place on Feb. 9. And for the second year in a row, this year’s ceremony will have no host. Check out the full list of nominees in all 24 categories.
Steve Pond
Steve Pond has been writing about film, music, pop culture and the entertainment industry for more than 40 years. He has served as TheWrap’s awards editor and executive editor, awards since joining the company in 2009. Steve began his career writing about music for the Los Angeles Times, where he remained a contributor for more than 15 years, and Rolling Stone, where he was West Coast Music Editor and wrote 16 cover stories. He moved into film coverage with a weekly column in the Washington Post and became a contributing writer at Premiere magazine, where he became the first journalist to have all access to the Academy Awards show and rehearsals. He has also written for the New York Times, Movieline, the DGA Quarterly, GQ, Playboy, the Christian Science Monitor, USA Today, New York, the Christian Science Monitor, Live! magazine and many others. He is the author of the Los Angeles Times bestseller “The Big Show: High Times and Dirty Dealings Backstage at the Academy Awards” (Faber and Faber, 2005). He has also written “Elvis in Hollywood” (New American Library, 1990) and contributed to books that include “Cash,” “The Rolling Stone Reader,” U2: The Rolling Stone Files,” “Bruce Springsteen: The Rolling Stone Files” and “The Rolling Stone Interviews: The 1980s.” He was the co-managing editor of the syndicated TV news program “The Industry News” and the creative consultant for the A&E series “The Inside Track With Graham Nash.” He has won L.A. Press Club awards for stories in TheWrap, the Los Angeles Times and Playboy, and was nominated for a National Magazine Award for a story in Premiere.