1. Linda Wurtmüller for Seven Beauties (1976)

2. Jane Campion for The Piano (1993) & The Power of the Dog (2021)

3. Sofia Coppola for Lost in Translation (2003)

4. Kathryn Bigelow for The Hurt Locker (2009)

5. Greta Gerwig for Lady Bird (2017)

6. Chloé Zhao for Nomadland (2020)

7. Emerald Fennell for Promising Young Woman (2020)

8. Justine Triet for Anatomy of a Fall (2023)

9. Coralie Fargeat for The Substance (2024)

Ranking:

1. The Broadway Melody

2. Crash

3. Cimarron

4. Cavalcade

5. The Greatest Show on Earth

6. The Great Ziegfeld

7. Gigi

8. Around the World in 80 Days

9. Tom Jones

10. Driving Miss Daisy

11. The Life of Emile Zola

12. Green Book

13. Out of Africa

14. Shakespeare in Love

15. Chariots of Fire

16. Going My Way

17. A Man For All Seasons

18. Oliver!

19. Gentleman's Agreement

20. Grand Hotel

21. The Artist

22. CODA

23. Nomadland

24. Braveheart

25. Dances with Wolves

26. Hamlet

27. The English Patient

28. An American in Paris

29. How Green Was My Valley

Since there are 18 choices, I can't do a poll, so you can just post your answer.

• Rush - Shrine - 1997

• Foxx* - Ray - 2004

• Reese - WTL - 2005

• PSH - Capote - 2005

• Whitaker** - LKoS - 2006

• Hudson - DG - 2006

• Waltz - IB - 2009

• Monique - Precious- 2009

• Spencer - Help - 2011

• Simmons - Whiplash- 2014

• Arquette - Boyhood - 2014

• Larson - Room - 2015

• Janney - Tonya - 2017

• Rockwell - 3B - 2017

• DeBose - WSS - 2021

• Da'Vine** - Holdovers - 2023

• Culkin** - ARP - 2024

• Saldana - EP - 2024

(*) Foxx managed to get 2 noms that year, one of them for Collateral

(**) Managed to also win the big 5 Critics awards (NBR, NSFC, LAFCA, NYFCC, LFCC)

Why is it that the Academy avoids heavy metal music in the best original song category?

My biggest beef is Ozzy, Zakk Wylde, and Lemmy Kilmister from Motörhead never getting a nomination for their original movie song Hellraiser for the 1992 film Hellraiser III: Hell on Earth.

The academy embraces every genre of music except heavy metal.

For me, they would be Louise Fletcher in One Flew Over The Cuckoo's Nest, Faye Dunaway in Network, and Ellen Burstyn in Alice Doesn't Live Here Anymore.

My favorite is 2009's Coraline. It was nominated for Animated Feature, and never would win against Up. However, I do think it would have been worthy of nominations in score, production design, and even adapted screenplay.

What is your favorite movie that got only 1 nomination?

Albertson won for The Subject Was Roses, and Wilder's only acting nomination came from his role in The Producers. Albertson is one of 11 people who won a Tony and Oscar for playing the same character.

The newest modern representative of scifi vs the newest representative of fantasy

The image is a list of existing categories.

Manchester by sea realesed on January 23th of 2016 at Sundance film festival and later picked by Amazon studios for wider realese at December 16th. It was directed and written by Kenneth Lonergan and starred Casey Affleck, Michelle Williams, Kyle chandler and lucas Hedges. The film received critical acclaim from critics who praised the direction, screenplay, Affleck and William's performances, ans grossed 79m worldwide against a budget of 9m. Casey won many major awards for his performance and on 89th academy awards the film was nominated for six oscars and won two: Best picture, Best director, Best original screenplay(WIN), Best actor for Affleck(WIN), Best supporting actress for Williams, Best supporting actor for Hedges.

While not as talked as La la land or Moonlight. Manchester by sea is consider as one of best films of 2016 and of 2010s with many still praising Affleck 's performance and Lonergan's screenplay and direction. As a winner it would had probably be viewed very good though some would still either la la Land or moonlight snubbed and plus the controversies of Casey might had did a bit damage but overall it would had been viewed as good winner

I'm Still Here is the first Brazilian-produced movie to receive a Best Picture nomination at the Academy Awards. Although it was an underdog to win the Oscar, the movie itself is a passionate look at political injustices and the difficulty one has in moving on through uncertainty. Its themes of time passing and what remains of memory reminded me of my favourite poem, Four Quartets by T. S. Eliot. In the poem, Eliot struggles with the concept of time and our place in it. In I'm Still Here, the main character, played by Fernanda Torres, continues to fight the past in order to gain justice for her family. All the while, she is incapable of letting the past go because it's where her greatest memories live forever.

As a Canadian, I never learned Brazilian history. I've never visited the country and I know little about its politics. The most important Brazilian figure that I know is Vini. I don't think I'm in the minority when it comes to North Americans who are watching I'm Still Here for the first time. Though I enjoyed the movie without knowing its political context, my post-movie online deep dive helped detail the bigger picture.

It turns out, Brazilian politics is a huge can of worms, especially in the second half of the 20th century. My little research project turned quickly into an hours-long escapade into an unknown world. I don't claim to be an expert, by any means, and I reserve the right to have some of my facts mixed up, but I hope this article helps provide context to I'm Still Here, for those unfamiliar with Brazil's history.

Or say that the end precedes the beginning,

And the end and the beginning were always there

Before the beginning and after the end.

And all is always now.

The actions of I'm Still Here started years before the movie is actually set. Rubens Paiva was a congressman for the Labour Party. He was part of a committee that investigated two conservative advocacy groups, which were thought to have helped cause a red scare in Brazil. This Cold War tactic of using propaganda to make civilians fear communism was prevalent after the successful communist revolution in Cuba.

Time before and time after.

In 1964, Brazil turning communist was a major concern for powerful Brazilians. A plan was formed to overthrow the liberal government of President João Goulart and replace it with a military dictatorship. Rubens, a leftist like Goulart, opposed this plan. However, his opposition was not enough. Goulart was overthrown and Rubens was stripped of his place in the Brazilian government.

Turning shadow into transient beauty

Despite losing his title, Rubens continued to fight against the new regime. He supported exiled militants and guerrilla members in Brazil and abroad. These militants wanted to recreate China and Cuba in Brazil, meaning they wanted an armed struggle that would achieve a socialist revolution. When returning from a trip, Rubens was mistakenly identified by the regime as a contact of Carlos Lamarca, the dictatorship's most wanted man.

Words move, music moves

Only in time; but that which is only living

Can only die. Words, after speech, reach

Into the silence.

To destroy the rebel groups and stop major protests in the cities, the dictatorship introduced Institutional Act No. 5 (AI-5) in 1968. AI-5 suspended most civil rights, including the right to a trial in court. It also allowed the removal of political opponents from office, and the use of torture and extrajudicial killings (basically killing someone without taking them to court—murder). AI-5 also censored music, films, theatre and television, and the press.

But only in time can the moment in the rose-garden,

The moment in the arbour where the rain beat,

The moment in the draughty church at smokefall

Be remembered; involved with past and future.

Only through time time is conquered.

In I'm Still Here, Rubens and his wife Eunice, our protagonist, seem to live an idyllic life during this period of heavy censorship. They live by the beach in a nice house with their five children. They listen to music, watch the news and have politically charged conversations with their colleagues. They spend a day at the beach, celebrating their daughter's birthday. A family photo is taken. None knew that their days of being an idyllic family were soon to be over.

Men and bits of paper, whirled by the cold wind

Because of the mistaken belief that Rubens was a contact of Lamarca, the military raided his house on January 20, 1971. They took Rubens in for questioning and he was never seen again. This forced disappearance is the central action of Walter Salles's movie. Eunice spends the rest of her life trying to get answers regarding her husband's whereabouts. We know now that he died the day after his arrest from injuries related to torture.

But to what purpose

Disturbing the dust on a bowl of rose-leaves

I do not know.

While the government wanted to do anything but remember the past, Eunice made it her life mission to bring the regime's atrocities to light. In 1979, the government passed an amnesty law for crimes committed against and for the regime—emphasis on for. It was not until 1996 that Eunice would receive a death certificate for her husband. In 2012, the National Truth Commission finally determined the estimated numbers of deaths and disappearances during the dictatorship, which included an estimated 8,300 indigenous people killed or disappeared, with the commission admitting that the real figure was probably much higher. Eunice, when not trying to find answers about her husband, started a law career and worked to end the government's efforts to steal land from Brazil's indigenous peoples.

At the still point of the turning world. Neither flesh nor fleshless;

Neither from nor towards; at the still point, there the dance is,

But neither arrest nor movement. And do not call it fixity,

Where past and future are gathered. Neither movement from nor towards,

Neither ascent nor decline. Except for the point, the still point,

There would be no dance, and there is only the dance.

I can only say, there we have been: but I cannot say where.

And I cannot say, how long, for that is to place it in time.

To me, the main theme of I'm Still Here, outside of all the political subtext, is memory. It is the story of Eunice, who had her life destroyed in only one day by having her husband disappear. Although she did not know it at the time (how could she?), that party at the beach was the last time they would be one big happy family.

It's about how an all-encompassing regime can destroy a person's life, the same people they are supposed to protect and represent. While Rubens torture was painful, it was also swift. Eunice, on the other hand, had to live with her torture—the mental torment of the unknown—for her entire life.

It made me think of how these regimes come and go, yet it's the people whom they affect that have to live with the repercussions. It's in this way that Eunice is still here, while the dictatorship is gone. Although here in the physical sense, I belive Eunice is, mentally, still at that beach, when her kids were laughing and rubbing Coca-Cola on their skin. When her husband was pretending to bury their daughter's tooth, only to hold on to it like the tooth fairy should. It's this heap of broken images that won't fade away. And it was the regime's brutality that caused Eunice to never mentally move on from those glorious days of smiles and love.

What drew me back to Four Quartets was two things. The first was the decision by Salles and the screenwriters to repeat the images from their beach party in the later stages of I'm Still Here. It made me think that Eunice kept remembering that day, even in moments when she was overwhelmed by the Herculean task of exposing a government that did not want to be exposed. The second was how Eunice ends the movie as an old lady (played by Fernanda Torres's real mother, Fernanda Montenegro) who has Alzheimer's. Even in her frail mental state, when she watches a documentary about those tumultuous years, she seems to still remember—still be there, at the still point of memory. Who knows how long she has really been there.

I'm Still Here is the kind of movie that looks simple on the surface, but the subtext runs deep. Its messaging and background are as dense as the Amazon rainforest. I hope this article helps provide some context for North American viewers that are unaware of Brazilian politics. This country's politcal history, and the story of I'm Still Here, is really a microcosm of the world-engulfing Cold War. Although many will go see I'm Still Here to see Fernanda Torres act in this Oscar-nominated role, it's important to remember that this story comes from a real place of real consequence. Like T. S. Eliot implies in his poem, the world may keep turning, but we remain still in the place of our fondest memories.

The lineup for Best Animated Feature has been decided! Nominees are:

- Flow (2024, Latvia)

- Grave of the Fireflies (1988, Japan)

- Persepolis (2007, France)

- Princess Mononoke (1997, Japan)

- Spirited Away (2001, Japan)

Today's category is Best Makeup and Hairstyling.

Rules:

1. Only feature films not primarily in English allowed - no documentaries or short films

2. No 2025 films

3. Films and performances do not have to be previous Oscar nominees or winners

4. Comment the name of the film, the year it was released and its primary language/country. If your choice has already been commented, give it an upvote instead of commenting again

Top 5 upvoted comments will decide the nominees, which will be voted on once all the categories have been decided. Voting will be open for 24 hours.

Have fun!

(Tomorrow's category will be Best Costume Design)

Ranking:

1. The Broadway Melody

2. Crash

3. Cimarron

4. Cavalcade

5. The Greatest Show on Earth

6. The Great Ziegfeld

7. Gigi

8. Around the World in 80 Days

9. Tom Jones

10. Driving Miss Daisy

11. The Life of Emile Zola

12. Green Book

13. Out of Africa

14. Shakespeare in Love

15. Chariots of Fire

16. Going My Way

17. A Man For All Seasons

18. Oliver!

19. Gentleman's Agreement

20. Grand Hotel

21. The Artist

22. CODA

23. Nomadland

24. Braveheart

25. Dances with Wolves

26. Hamlet

27. The English Patient

Ethan Hawke’s performance in “First Reformed” not only deserved a nomination, but also the win. People either love the film, don’t like it, or didn’t understand it, but to those that have watched this film, and all the others that were nominated in 2019, we should be able to agree Ethan Hawke’s acting was masterful & deserved that nomination and/or win 💯

What’s a time you think the Academy fumbled recognizing a career best performance or best performance of that year?

Also deserve to be mentioned:

Toni Collette - Hereditary

Jake Gyllenhaal - Nightcrawler

Delroy Lindo - Da 5 Blood

https://docs.google.com/forms/d/e/1FAIpQLSfLtJfRioYxjXNycqox4xC3x3AiC-6-Prlpvl3BRWqY2zgVMQ/viewform?usp=dialog

• 25. Sandra Bullock (The Blind Side)
• 24. Meryl Streep (The Iron Lady)
• 23. Reneé Zellweger (Judy)
• 22. Jessica Chastain (The Eyes of Tammy Faye)
• 21. Reese Witherspoon (Walk The Line)

So it got well a deserved cinematography nomination and score win, also got Jennifer Jason Leigh into supporting actress (who I think should’ve won) but didn’t get screenplay (which it got BAFTA, CCA and even got into the Globes 5 for) or Picture.

IMO it also should’ve gotten best actor for Samuel L. Jackson and best supporting actor for either Walton Goggins or Kurt Russell. Also wouldn’t of minded it also getting a makeup and hairstyling nom.

What’s everyone else opinions and what nominees do you think it deserved to get? (if any)

So I've thought this for years and I'm curious what others think. I think that, aside from Best Picture, the acting awards are the ones people tend to care about the most (with the exception of a few well known directors and screenwriters, but those are the exception). I would love to see them double the number of categories by doing a bigger breakdown of the existing categories. I would like to see both of the top awards split into Best Starring Actor/Actress and Best Lead Actor/Actress, and then see both supporting categories split into Best Supporting Actor/Actress and Best Actor/Actress in a Role With Limited Screentime.

Starring is pretty obvious. The name is definitely above the title, their image is probably on the poster, and there's usually only 1-3 per movie (1 main villain/rival, and 1-2 main protagonists, or 1 protagonist plus a love interest or extremely important best friend or family member),

Lead would be for the kinds of roles that we often see compete in supporting and get labeled as category fraud. The people who are billed 3rd-5th but are still basically in the movie the whole time and pretty central to the plot (ie, Geoffrey Rush in the King's Speech). The romantic interest of the lead character who is more properly termed a co-lead rather than a co-star (ie, Meryl Streep in Kramer vs. Kramer is a co-lead to Dustin Hoffman, whereas Diane Keaton and Jack Nicholson are true co-stars in Something's Gotta Give). The villain who is omnipresent, doesn't get the same screen time as the hero, but is still in the movie more than anyone except 1-2 protagonists (ie Javier Bardem in No Country for Old Men went supporting even though his face covered the whole poster, Joaquin Phoenix in Gladiator, or Mo'Nique in Precious). Other supporting roles that are just a lot meatier: Jennifer Hudson in Dreamgirls (if you think Beyonce was the Start), Eddie Murphy in Dreamgirls, both Anita-s in West Side Story, Morgan Freeman in Million Dollar Baby, maybe Anette Benning in American Beauty, Haley Joel Osment in The Sixth Sense, joe Pesci in GoodFellas, Olivia de Havilland in Gone With the Wind, JK Simmons in Whiplash, Claude Raines in Mr. Smith Goes to Washington. This could also be the category for submitting ensemble casts with no true "star" (Spotlight, Crash, Short Cuts) - everyone in the main ensemble goes in Lead with no stars, and anyone who isn't part of the main ensemble goes in Supporting or Limited. So for Spotlight, you could have 4 on the actual Spotlight team all go in as Lead; Stanley Tucci, Liev Schrieber, and John Slattery under consideration as Supporting, and then maybe Billy Crudup in the Limited category.

With co-leads in their own category, Supporting could be for truly supporting performers. Queen Latifah doesn't have to compete against Catherine Zeta-Jones for Chicago. Teri Garr doesn't have to compete with Jessica Lange for Tootsie. Michael J. Pollard doesn't have to compete with Gene Hackman for Bonnie and Clyde.

The Limited Screen Time category (I'm open to suggestions for better, more concise names) would be for parts that almost never get recognized, the people who make a big impact in just one or two scenes, but really don't have enough time to compete with a supporting performer who is in half of the movie. I'm thinking of Viola Davis in Doubt, Beatrice Straight and Ned Beatty in Network, some of the smaller but memorable performances in Gone With The Wind that couldn't go up against Olivia and Hattie (Ona Munson as Belle Watling and Laura Hope Crews as Aunt Pittypat for example), Ruby Dee in American Gangster, Marilyn Monroe in All About Eve, Hermione Baddely in Room at the Top, John Lithgow in Terms of Endearment, Sydney Pollack and Doris Belack in Tootsie, America Ferrara in Barbie, or either of Sylvia Miles' nominations. It's hard to make an impact in just a couple of scenes, and competing with supporting actors who aren't leads but are still in 30-50% of the movie is a big climb.

This would double the number of actors nominated or winning in a given year. It might get more people to watch if their favorite is among the nominees. Supporting would stop being a near constant battle of who got the most screen time and convinced people not to put them in Lead, or at least to the same degree. It would also some newcomers a better shot if they could get a nomination for their first roles, which tend to be smaller, than having to compete with stars who have labeled themselves as supporting to boost their win/nom stats. It would also allow for some honest competition among people who truly are in-betweens in the current lead/supporting dichotomy.

What do people think?