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Reviews

Sundance 2023 – A Still Small Voice

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“I have no idea where my prayers are going.”

We enter the world of hospital chaplaincy in A Still Small Voice, a documentary by Luke Lorentzen. Lorentzen was recognized at the Sundance Film Festival with the Directing Award in US Documentary.

Mati Engle is in a one year residency with the Department of Spiritual Care at Mount Sinai Hospital. We watch as she deals with patients, staff, and her cohort in the program. She and her supervisor, Rev. David Fleener, discuss her work and the difficulties she faces with workload.

The film takes us into very intimate and vulnerable situations (with permission of all involved). Mati talks to patients about serious spiritual and life issues. Doctors may not talk about these things. Perhaps they are too personal even for family. But as a chaplain, she is available for whatever issues arise. (She even baptizes a child who died at birth so her family can find some comfort—even though Mati is Jewish.)

A still from A Still Small Voice by Luke Lorentzen, an official selection of the U.S. Documentary Competition at the 2023 Sundance Film Festival. Courtesy of Sundance Institute

The film isn’t so much focused on chaplaincy per se as it is on Mati and the strain of the residency. Her supervisor often challenges her about her boundaries and her feeling of being depleted. It is also interesting to listen in on the supervisor’s own struggles with his role when he talks to his own overseer.

It is interesting that there is very little overtly religious or spiritual content to the film, but it is still infused with a spiritual element. That is the nature of chaplaincy and perhaps ministry in general—the most spiritual things are often found in everyday life.

We don’t really hear how those involved in the residency are fulfilling their own spiritual needs—which leads to the quotation at the top of this post. And we see how this work and the demands are especially emotional and spiritual.

As clergy, I wasn’t surprised by how consuming and draining such work can be. Self-care and burnout are topics that many clergy ignore to the detriment of themselves, their families, and their ministries. The concept of self-care is built into the residency program, but often it is hard for those involved to balance self and work.

A Still Small Voice will certainly resonate with those involved in the spiritual care of those who are suffering. It should also give people insight into the lives and struggle such spiritual care givers face—often silently.

Alice, Darling: Toxic Attraction

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Someone once said that ‘not all scars can be seen’. But, if true, that also means that they can be so much more difficult to heal.

In Alice, Darling, Alice (Anna Kendrick) is a hard-working woman in a committed relationship with Simon (Charlie Carrick). When she’s invited to join her friends for a weekend away at a cottage to celebrate her friend’s birthday, Alice becomes increasingly anxious about the trip. Nevertheless, her friends (played by Kaniehtiio Horn and Wunmi Mosaku) insist and she decides to join them. Even though the weather is beautiful and the scenery stunning, Alice struggles to feel present and she constantly checks her phone from messages from her man. As Alice’s secrets are revealed, her friends try to help her disconnect from the harmfulness that awaits her at home.

Directed by Mary Nighy, Alice, Darling is a challenging piece that helps provide a broader definition of the nature of ‘hurt’. In a fascinating tension, Nighy uses the film’s setting to establish the differences between the two worlds. Although set primarily in the countryside, there is no doubt that Alice’s ties to the city loom largely. Despite wanting to relax during her time away for her friends birthday, she sits and stirs, fearing that her actions may have dire consequences when she gets home. Like the world around her, Alice is a divided person who can’t seem to break away. 

Although the film features some strong performances by its entire past, especially from Mosaku and Horn, what makes the film most engaging is a particularly strong performance by Kendrick. As the titular Alice, Kendrick provides a particularly nuanced performance that balances between inner struggle and outward appearances. Alice may be all smiles when with her friends, but she hides in the bathroom, tearing out pieces of her hair as she battles anxiety and self-accusation. In these moments, Kendrick shows her range and skill as Alice’s pain slowly gains control. 

And this is very much a film about control. 

Although Alice argues that her boyfriend is ‘never hurt her’, the viewers sees the poisonous effects of their relationship and the ways that it drains a piece of her soul. Through casual jabs that are designed to undermine her confidence, Simon remains fully in control of the relationship and Alice. Here, the hurt that he inflicts is neither physical nor verbal but consistent by way of the shame he inflicts upon her. Too often in films about toxic relationships, that harmfulness is obvious but Darling emphasizes the subtle ways that control can take root and the shame that can be absorbed because of it. With each snide or belittling remark, Alice believes increasingly that she is simply bad, despite having done nothing wrong. Buried under the weight of Simon’s disappointment, Alice has nowhere to put her shame and it eats away at her from the inside. In these moments, Nighy uses Alice’s experience to bring a broader definition of hurt into the spotlight. Simon may not be abusive in the traditional sense but he is constantly critical of his love, claiming that he knows her best. The damage here is difficult to quantify yet also difficult to watch.

What’s more, Darling is also a film about love. Highlighting pop culture’s emphasis on romantic love in our storytelling, the film helps the viewer to recognize that real love is grander than romance. Here, love is a place where one can find support and healing from the outside world and its brokenness. Using her friends as an anchor, Alice’s journey begins to find a spark of life once again as she rediscovers her worth. (However, whether or not she will fall to Simon’s poison once again is the film’s true question.)

In this way, there’s a heartbeat of hope within Alice, Darling, even in its darkest of moments. While the pain of abuse can be overwhelming, so too can it also be overcome with love and support from those who know us best. 

Alice, Darling is available in theatres on Friday, December 30th, 2022.

Exceptional Beings: Dividing the Divine

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Have the gods grown tired of us? Or was it we who walked away from them?

Written and directed by Njedeh Anthony, Exceptional Beings is a fun look at the divide between gods and men. After they encounter a woman who has an uncanny essence about her, Greek gods Hermes and Athena (Dane Oliver and Ciarra Carter) find themselves in somewhat of an existential crisis. In their 4,000 years of infinite knowledge, they have finally found something/someone that remains a mystery to them. As they test their subject, Athena is challenged to question everything about the relationship between humanity and the divine, not to mention her own personal story as well.

Leaning into (mostly) Greek mythology, Anthony reveals a divine realm that has grown tired of mankind’s antics. Insatiated with their own power, these gods are shown with great malaise and it shows up in the performances through its cast. While that may be heard by some as a criticism, it is in fact the opposite. Leads Oliver and Carter are clearly having a blast infusing their divine roles with such ennui and their waning interest in humanity keeps the film enjoyable. (Oliver, in particular, is a joy to watch as Hermes, a god who is both disinterested and intrigued by their potential discovery.)

The thing that proves to work against these Beings the most is really no fault of its own. It’s its budget. This is a story with all the ambition of an entry in the Marvel Cinematic Universe yet the financial constraints of television. As a result, the visuals here really never have a chance to match the scope of the story to full effect. What’s more, with the lack of budget, the film perhaps over-emphasizes its dialogue, leading so slower pacing in moments. However, given the fun of its storytelling, this is definitely an unfortunate reality that will turn off some viewers. 

But I admit it. I’m a sucker for a good story about gods and men.

Content to collect their worship, these gods once reveled in the praise they were offered simply for who they were. Yet, as they debate the value of their ‘human pets’, they also show their hand. Having remained hidden from sight, Hermes and Ares recognize that humanity has begun to look for other avenues of worship. From celebrities to their own ingenuity, mankind has begun to create their own ‘gods’ to offer their praise. (“It started with the light… then, children wanted the light to shine on them and them alone,” the film’s prologue announces.) In doing so, the divine became replaced, leaving them with even greater disdain for humanity.

Anthony uses this set up to launch into some fascinating conversations about the relationship between man and the divine. Have the gods abandoned mankind out of lack of interest? Or has humanity merely ‘outgrown’ them? These are concerns that plague the gods who feel both unappreciated and, in some ways, lost. There is a deeply-seeded insecurity within these gods who demand attention yet care little for the well-being of their worshipers. This self-doubt becomes an even greater threat with the potential rise of ‘exceptional beings’ who have their own power and, therefore, no need of them anymore. For Anthony, this creates some compelling interactions between gods as they attempt to find their place in a universe that doesn’t seem to need their involvement anymore.

After 4,000 years, these gods have finally been replaced by lesser beings.

It’s this conversation that makes Exceptional Beings such an amusing viewing. While the special effects may not be Exceptional, the way that gods are viewed in our time invites some intriguing conversations about spirituality in the modern era. Because, we, as spiritual beings, are always looking for a new god.

Exceptional Beings is available now on VOD and DVD.

When You Finish Saving the World – Life through your own lens.

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Julianne Moore as Evelyn talking to Finn Wolfhard who plays her son Ziggy

When You Finish Saving the World is one of the most transparent semi-autobiographical films ever made yet it’s not set in the authors coming-of-age generation. Actor-turned-director Jesse Eisenberg modernizes this personal story and gives it back to the generation who will define the world that his own kid is about to grow up in.

In the first movie I’ve ever seen adapted from an Audible original, Eisenburg adapts the audio drama into a more condensed, duel character study. The film follows 17-year-old Ziggy Katz (Finn Wolfhard, who reprises his role from the audio drama) who finds himself pursuing his teenage interests, landing him in the awkward spot of having a niche viral stardom from live streaming his own original music. The only problem is that he hasn’t met any of them and the people in his real life don’t care about his 20,000 followers (A fact he frequently points out). Ziggy doesn’t care what the people around him think, least of all his mother. He pushes her concerns out of the way to try and focus on growing his music fandom. There is one girl Ziggy who wants his attention from and, unfortunately for him, it’s the most woke girl in class, Lila (Alisha Boe). His knowledge about the politics and rights issues she talks about is basically none but he also isn’t willing to give up the time he dedicates to his music to learn, so he tries to pretend to know what Lila’s talking about. Of course, Lila knows that he is clueless about what she and her friend discuss but Ziggy is blinded in his pursuit for her.

Between his pursuit of Lila and his efforts to chase fame, Ziggy develops a narcissistic lifestyle that starts to alienates his parents, especially his mother Evelyn (Julianne Moore). Evelyn works as the head of a home for women seeking refuge from unsafe domestic situations. Despite her direct work with people, she is often shown to struggle with connecting on a deeper level with her clients. That comes to a head when she is introduced to Kyle (Billy Bryk), another 17 year old kid with a heart of gold. Kyle’s mom is staying at the shelter and during their stay Evelyn notices how caring Kyle is. He helps his mom with everything and is even willing to address any practical need around him. Evelyn recognizes him as a kid with a heart of gold who is also smart and compassionate, a trait she can’t see in her own son or any of the people he hangs out with. So, when she sees Kyle, a smart and caring person, she believes she can put him on the path to great things. However, Evelyn begins to ignore Kyle’s feelings about her attempts to get him to university and it leads her down a narcissistic path that parallels Ziggy’s.

Writer/Director Jesse Eisenburg with his two leads at Cannes Critics Week

Jesse Eisenburg is one of few debut directors or directors in general who are bold enough to create characters that are so transparently narcissistic and, therefore, hard to love. These kinds of characters tend to alienate mainstream audiences but they certainly hold a lot of potential for entertaining and cinematic scenes. These kinds of characters can work in a story and style meant for them, one that engages and entertains the audience and Eisenburg does a lot towards that end. His cinematography matches the tone of this film perfectly with a classic and aesthetically pleasing style that invokes a sense of nostalgia fit for this retro-style, coming of age film. Stills from this movie feel like the film photos you’d see on a young person’s Instagram feed and that fits the young energy of the film well. Props to cinematographer Benjamin Loeb (After Yang) who has continually tackled projects including this one through a dynamic approach to either colour and camera movement.

The technical prowess and film form choices are continually impressive throughout the film as the editing brilliantly highlights the visual humor communicated through the props or set design. The film makes the most of its indie sensibilities, highlighting simple cuts for comedy. One scene features an epic slow long zoom out from Evelyn casually driving her car only to cut to her racing into a parking spot and squealing to stop which reveals her hilariously undersized Smart Car. As we follow Ziggy and Evelyn, we see how their narcissistic tendencies are put on display through simple camera work that allow us to focus on the characters’ frequent uncomfortable actions and words. Some of those words do not feel natural to the generation they’re portraying, in particular Ziggy’s use of the F-word is not only a bit startling for someone who couldn’t imagine swearing at their parents at 17 but also feels very ‘written’. They don’t feel like their coming from the mouth of a present day teenager. You can imagine Eisenburg guiding Wolfhard to create this character that largely mimics himself because as admitted by Eisenburg this is a personal story and he clearly has himself in mind when writing and directing Ziggy. The voices he develops for his younger characters also feel out of touch for a member of Generation Z but I won’t expect perfection from someone who’s 39 himself.

The direction Eisenburg takes in writing and acting may be the same kind that seemed alienating in The Squid and The Whale, a film Eisenburg starred in. The bold actions and decisions the characters in When You Finish Saving the World clearly feel like they were plucked from the experience Eisenburg had on The Squid and the Whale. Both of these films contain scenes of very personal coming-of-age sexual discovery that cross the line from vulnerable characterization to bad taste. Some actions shouldn’t be as explicit as they are in a coming-of-age film like When You Finish Saving the World but that is up to the viewer. Ziggy and Evelyn have a bluntness to their verbal attacks on one another that lands in the grey zone of attempting to be naturalistic while still containing elements of the fanciful dialogue you’d expect from an Aaron Sorkin script (Eisenburg led The Social Network that was written by film Sorkin).

The performances from Wolfhard and Moore are pitch perfect to Eisenburg’s vision. He should be singing their praises whenever their brought up in conversation from now on. Julianne Moore in particular plays this distancing and ultra-intellectual mother so well and executes both the awkward and emotional moments to perfection. Wolfhard is the victim of some of the more fanciful moments of dialogue that don’t fit with the realistic modern teenager Eisenberg tries to create but still he does a wonderful job executing the honest ignorance and cringe of this arrogant but wishful young man. When you Finish Saving the World is not for everyone, but if you can put up with some selfish characters and the purposeful cringe of adolescents then this might be the teenage fable for you.

When You Finish Saving the World is in theatres now.

Shrinking: Laughing through Life

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In Shrinking, life’s problems can feel enormous… but still small enough to laugh through.

Created by television veteran Bill Lawrence, Shrinking tells the story of Jimmy (Jason Segal), an depressed and disconnected therapist who is grieving the loss of his wife. Estranged from his teenage daughter and battling his own inner demons, Jimmy decides to throw out the counselling playbook and begin giving his clients ‘answers’ instead of asking questions. This draws the ire of his boss, Dr. Phil Rhodes (Harrison Ford) yet, when Jimmy starts seeing results, Jimmy’s life begins to change for the better.

Over the years, Lawrence has made a career reveling in the lives of imperfect people. From Scrubs to Cougar Town and, most recently, his mega-hit Ted Lasso, Lawrence has created endearing characters with fatal flaws that constantly plague their decisions. The same holds true in Shrinking as we follow Jimmy’s misadventures as a psychiatrist. Holding to Lawrence’s strengths, Shrinking features a practice fueled by people who are trying to hold things together but still feel genuine in their optimism. And it’s that balance of positivity and brokenness that helps his series feel authentic and, maybe, even relatable. 

Of course, part of the magic of a series like this is its casting. With Segal out in front, Shrinking has a leading man who may be one of the best comedians in Hollywood at creating empathy for his characters. Jessica Williams steps into the role of Gaby with confidence and strength, even as her character’s life begins to collapse around her. And, as always, Lawrence’s muse Christa Miller continues to bring earnestness into the grumpiest of characters. 

Even so, the most welcome casting may come in the form of Ford. For almost 50 years, Ford has made a career of playing the charismatic hero-type. (And, frankly, the fact that he’s returning to the role of Indiana Jones this summer suggests that he still loves doing so.) Although he’s always brought humour to his roles, it is rare for him to play the part of someone as laid back as Dr. Phil Rhodes. With Rhodes, Ford relaxs his performance in the best of ways, bringing a humility and grace to the character. Yes, he still manages to carry his ‘cantankerous charm’ into the character, but it’s refreshing to see him step into the role of someone who is simply trying to make it through the day. As a result, Shrinking may be some of the strongest work from the Hollywood legend that we’ve seen in decades.

Like so many of Lawrence’s projects, Shrinking also amplifies hope in a hopeless space. A grieving widower and daughter, an elderly man with Parkinsons and women enduring divorce and abusive relationships seem like an odd backbone for a comedy. However, once again, Lawrence understands that people are more than their circumstances and celebrates their journey towards healing with humour. Coming at a time when many comedies wants us to laugh at the flaws of others, Lawrence instead has always steered the other way. We mourn their poor decisions and tough places of life yet we also are allowed to laugh with them in their flaws. They’re like us. And provide an example of what it means to come through our hardest of life-moments. (And honestly, although it will have its critics, this style of comedy feels relevant and refreshing as we edge out of a pandemic.)

Of course, Shrinking’s biggest issue is something that’s not even its own fault as the series is already being compared to Ted Lasso. And, admittedly, it’s not an unfair comparison either. With its mixture of hilarity and heart, there are definitely similarities to the show’s voice and style. Both series feature leads who break out of the ‘mold’ of their position and feature characters that desperately need the help of their community. (Even Lasso favourite Brett Goldstein is involved as a producer.) 

But, while the series doesn’t quite have the immediate likability of its predecessor, Shrinking still shows tremendous potential in its own right. Backed by an excellent cast and a joy-infused sense that everyone can heal, the series is fueled by an optimism that never feels false. It’s that same sense of hope that made Lawrence a star and, frankly, what we need to hear right now.

The first two episodes of Shrinking are available on Apple TV+ with new episodes on Fridays.

Infinity Pool: Drowning in Toxicity

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Directed by Brandon Cronenberg, Infinity Pool tells the story of James (Alexander Skarsgard) and his wife, Em (Cleopatra Coleman), a young couple who are looking forward to the restful getaway amongst the pristine beaches. However, after meeting Gabi (Mia Goth), the couple begin to step outside the guidelines that have been set out for them, revealing a world laden by violence and hedonism. After a shocking accident forces them to argue for their lives against a zero-tolerance police force, James and Em discover that their execution may not be necessary… if you have the money to afford the alternative.

The son of iconic director David Cronenberg, Brandon has grown up with a keen understanding of the incredible potential of horror to explore society’s ills. Now well into his own career, the young director is making a name for himself through his own ability to grapple with the modern era. But, with Infinity Pool, Cronenberg may be taking himself to another level with a film that truly disturbs but also wrestles with some of contemporary culture’s most complex issues of wealth and masculinity.

Although Skarsgard is the film’s protagonist, the heat of the film stems from Goth. As the unpredictable Gabi, Goth brings a mixture of charisma and chaos to Gabi that makes her irresistible. Whenever she’s on screen, her unpredictable nature makes it difficult to take your eyes off of her. There’s an energy in her performance that breathes life into the film and keeps it moving, even in moments where the narrative slows down.

Visually, Cronenberg understands how to immerse his viewers into his universe. Bathing the screen with bleeding reds (in more ways than one), he visually washes the viewer with colour in order to display the chaos that is melting around them. Similar to his father, Cronenberg has a passion for body horror and Pool is more than willing to dive into this unique style of filmmaking. Cut flesh, warped facial masks and graphic violence and nudity are ever-present and intentionally designed to disturb viewers.

Underneath the gore, however, lies a film that explores the deadliness of power and wealth. Although James and Em are happy together, James is a man who is knowingly living off of his wife’s family inheritance. Yes, he has written a book but he still remains unable to contribute actively to his own family. In this way, James is portrayed as a man of character and respect but also an inner weakness. However, when he meets Gabi and her friends, things begin to change. Power and influence are offered freely and the rules seem to no longer apply. 

But with great power comes with great toxicity. 

As James begins to drown in the brutality of this world, he becomes increasingly tempted to succumb to its perverse nature. After all, if money can buy infinite freedom, why care about moral boundaries? It’s this ethical question that lies at the bottom of this Pool as consequences seem to have no meaning for those who can afford it. With each experience, James falls deeper into a world but Cronenberg keeps the focus rightly on the dilemma of privilege and it’s problematic nature.

But, no. Infinity Pool is not for everyone. Featuring some truly disturbing and graphic imagery, this Pool is not for the squeamish. Nevertheless, this is not to speak against the film at all. Instead, Cronenberg continues to mature as a filmmaker and, most importantly, shows a willingness to dive deeply into current conversations using his own unique style and voice.

Infinity Pool is available in theatres on Friday, January 28th, 2023.

Close – End of childhood innocence

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Coming of age can open the world in new ways, but at what price? In Lukas Dhont’s Close (which is Belgium’s entry for Oscar consideration) we watch a sudden and tragic shift from the idyllic world of childhood to thechallenging world of trying to fit in to the expectations of society. The film has been shortlisted for Best International Feature.

Thirteen year olds Léo (Eden Dambrine) and Rémi (Gustav De Waele) are best friends. We first see them as they spend a summer day running through the commercial flower field that Léo’s parent work. They have sleepovers where they unconscientiously sleep side by side. They tell each other stories. Léo sheds tears as he listens to Rémi masterfully play his oboe. Theirs is a Edenic existence that exemplifies the innocence of childhood.

When school starts, they head off to their new school together. As the camera moves back, we see that they are alone in the crowd of other kids they don’t know. They are physically demonstrative of their emotional closeness. Then one day at recess, a girl asks Léo, “Are you two together?” That question changes everything.

Léo is now aware that there are social expectations at play. He immediately begins to create distance between himself and Rémi, who until now has been his most intimate friend. He begins to avoid Rémi, leaving Rémi even more alone in this new environment. Léo joins the hockey team as a way of proving his masculinity, even though it is new and awkward for him.

On a school field trip tragedy happens. Rémi is dead. The school is distraught. We watch as grief counselors help the children address their grief. But Léo remains silent and stoic. His grief is put on hold, because how can he deal with such feelings—including guilt—without looking unmasculine.

The only other person who might understand is Rémi’s mother Sophie (Émilie Dequenne). But how can he go to her when he feels like he is so much at fault for what has happened? Sophie is also struggling to find answers and comfort in the aftermath of Rémi’s death. She feels as if she has lost two sons, because early in the film she calls Léo, the “son of my heart”. It is the tentative reaching out of these two people that will open the possibility of healing.

Dhont draws on his own experience of growing up queer, but he is careful not to label the boys’ relationship as anything other than childhood friendship. It is the very threat of labeling that pushes Léo to separate himself from his friend and soulmate. To further prove he doesn’t fit such a label, Léo goes out for hockey. Hockey is convenient because not only is it considered manly, but he is able to hide. He wears a uniform, so he is an indistinguishable part of a group. He is masked, and in a sense, caged.

This is a film that focuses on isolation. Adolescence is often a time when the perceived conflicts of social expectation cause changes in the way we see the world. Léo by distancing himself from Rémi isolates them both. Rémi is abandoned. Léo, even as he tries to fit in, is still cut off from meaningful relationship—certainly from anything as meaningful as he has shared with Rémi. That isolation proves deadly for Rémi. It also is totally stifling for Léo in his grief.

Léo’s entry into adolescence turned out to be an expulsion from the Eden he had known with Rémi. He will never be able to go back. It will be challenging for him to move into his new world. It will be even harder if he is only allows his perceived role to define him.

Photos courtesy of A24.

Slamdance 2023: With Peter Bradley

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“There’s people that paint with colour and it’s called abstract. I don’t think it’s abstract at all. Colour is the most important thing.” – Peter Bradley

Directed by Alex Rappoport, With Peter Bradley is a deep dive into one man’s impact on the history of American art culture. Forging a career in the midst of systemic racism, Peter Bradley helped tear down barriers within the arts industry. Because of his influence and incredible resume, Black artists became more greatly recognized in American culture. Before the age of 35, Bradley’s art kicked down doors of Madison Avenue and was connected with the most powerful art retailers in the world. With Peter Bradley allows the viewer to hear from the man himself of his amazing journey and his incredible impact.

Appropriately, what’s most compelling about With… is Peter Bradley himself. Even in his later years, Bradley remains a compelling person to interview. Wisely, rather than bombard the viewer with his own facts and figures, Rappoport steps back and lets Peter speak for himself. Filled with fascinating stories about his accomplishments and adventures in the arts community, Bradley has a boldness about him that sets him apart from other documentary subjects. In a refreshing twist, Bradley comes across as a man without filters, willing to share his opinions on anything and anyone without afterthought. (For example, he has no issue telling the viewer his dislike of Sir Paul McCartney and his music.) In fact, he even comes across as a man who expectsto have his story told. 

Having spent much of his wealthy, Bradley’s life still revolves around his painting to this day. By allowing Bradley to express himself, Rappoport does an excellent job of giving voice to his process. Bradley is enlivened by his experience of colour. It affects every aspect of his life. From music to nature, Bradley’s world becomes invigorated when he talks about colour and his enthusiasm is infectious.

But the theme of colour also works on a deeper level within this film.

As the first Black art dealer and curator of the first racially-integrated modern art show in America, Bradley’s career in the art world helped change the industry forever. In this way, although he himself would argue that his work had nothing to do with politics, his active presence in the community makes his art was indelibly political in nature. The fact that he was respected by as many as he was helped break down cultural barriers and impact change. (And Bradley has no problem sharing stories about the oppression that he faced due to race.)

Because of this, Rappoport has created a doc that begins with art but reveals that the heart of the story is so much more. And, with his unique way of viewing the world, it’s more than worthwhile spending time With Peter Bradley.

With Peter Bradley is now playing at Slamdance ‘23

Slamdance 2023: The Underbug

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Written and directed by Sujaat Saudagar, The Underbug takes place in India as the country is ravaged by violence. On the eve of its Independence Day, rioters have taken to the street, demanding change. However, in the process, the nation is also being torn apart. Fearing for their lives, two rioters (Ali Fazal and Hussain Dalal) take refuge in an abandoned house but, as they dread the terror outside, soon come to believe that there might also be danger within.

In a number of different ways, Saudagar keeps this film tightly written and executed. Shot entirely within the confines of an abandoned home, Saudagar allows the claustrophobic nature of the film to breathe into its narrative. Everything about Underbug feels confined and Saudagar uses his space to add to the tension. However, at the same time, he also keeps the script firmly under control. Clocking in at a mere 68 minutes, Underbug never feels overblown as it moves along at a rapid pace. As such, the film clicks along with the energy of a one-act play without being slowed down by too many distractions or bloated monologues. 

And this may be its greatest trick. After all, Underbug has a lot to say.

As they hide in the shadows, these rioters are shown to live in a world that’s fighting for freedom… but isn’t entirely sure what it looks like. Torn apart by generational divides, Underbug asks the question of what it means to be truly free in the modern world. Does freedom look the same for the youth of this age as it did for those of Generation X? Are there other factors than simply loosening government-imposed restrictions to freedom? These questions fuel the films conversations about what it means to express independence during a time of constant change.

At the same time though, the film also leans into the fears associated with modern gender politics. Focusing on the tension between its two rioters, Underbug explores multiple issues dealing with the changing face of masculinity. Ranging from the nature of independence to the terror of responsibility, Underbug explores multiple facets and fears that are faced by men. With increasing intensity, the film establishes and exposes the tensions within the masculine soul. In this way, the oncoming horror that exists outside their bloody hideaway becomes less about the riots themselves and more about a changing culture that surrounds them. While the film’s story may focus on the fear of violence, Underbug suggests that one of the greatest struggles for men is altering their own expectations of themselves. After all, what does it truly mean to be masculine in a new (and better) world of equity?

With wit and fire, The Underbug surprises in just about every way. Featuring strong performances and a smartly written script, the film keeps the intensity building but also manages to explore some of our deepest questions about modern masculinity in the process. It’s definitely a bug worth catching.

The Underbug is playing at Slamdance ’23.

Final 2023 Oscars Nominations Predictions

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Well, here we are, my last predictions before the Oscar Nominations come out this Tuesday, January 24th.

So much has changed with many major awards bodies nominating their favorite films in different technical, acting and writing categories. I’ve assembled them all here for your insight and some of my predictions go against the amount of nominations that it’s gotten because of a gut feeling I have or how important I consider certain nominations. I hope to briefly explain my reasoning in the major categories so let’s get into the predictions.

BAFTA = British Film TV Academy Awards (* indicates a mention on the BAFTA longlist)

SAG = Screen Actors Guild

GG = Golden Globe Awards (* indicates a nomination in the comedy/musical category)

CC= Critics Choice Awards

PGA = Producer Guild of America Awards

DGA = Director’s Guild of America Awards

Remaining Acronyms are used mostly for American Guild Awards such as Art Direction, Costumes and Makeup & Hair.

Best Picture

I’m still on the Everything Everywhere All at Once bandwagon. In my mind, The Fabelmans has lost a lot of steam. It was snubbed for Best Film at the BAFTA’s and Spielberg wasn’t even on the longlist for Best Director. The BAFTA’s have shown to be a very important precursor towards winning best picture but The Fabelmans only managed to claim a lone Original Screenplay nomination, still an important nomination but not enough to win Best Picture. No other film has made a meteoric rise through January and while Banshees‘ win at the Golden Globes certainly makes it a strong rival to Everything Everywhere all at Once. The overall awards hype and nominations package that EEAAO seems to be looking at makes it my personal frontrunner. On the latter end, only six films seem secure for Best Picture and Avatar, while performing poorly at the BAFTAS, still has a very good chance with its PGA nomination in hand. Women Talking has dropped off a lot as it failed to gain 1 BAFTA nomination including adapted screenplay, a category where its win competitive at the Oscars. The Whale pulling in a PGA nomination is huge, especially when its an awards body that often favours the big-budgeted money makers. All Quiet secured 14 BAFTA nominations, an extraordinary amount that shows it has tons of love across the Atlantic. It then comes down to Babylon and Women Talking for me. Babylon has similar accolades to Women Talking and, even without a screenplay nomination in sight for Babylon, it still is the frontrunner for multiple Oscars, including Best Original Score and Production Design. It is also much more of a Oscars movie for how much it covers about movies, actors and workers in the Hollywood film industry so I had to put Women Talking off my Top 10 as much as that pains me. It was in my top 5 of 2022 and now it looks like it will miss the Oscars Top 10, hopefully they still recognize Sarah Polley in Adapted Screenplay.

  1. Everything Everywhere All at Once (GG*, CC, BAFTA, PGA, AFI) –
  2. Banshees of Inisherin (GG*, CC, BAFTA, SAG, PGA, AFI) ↑ 1
  3. The Fabelmans (GG, CC, BAFTA*, PGA, AFI) ↓ 1
  4. Top Gun Maverick (GG, CC, BAFTA*, PGA, AFI) –
  5. Elvis (GG, CC, BAFTA, PGA, AFI) ↑ 3
  6. Tar (GG, CC, BAFTA, PGA, AFI) ↓ 1
  7. Avatar: The Way of Water (GG, CC, PGA, AFI) New!
  8. All Quiet on the Western (BAFTA) New!
  9. The Whale (PGA) ↑ 7
  10. Babylon (GG*, CC, SAG) ↓ 1
  11. Women Talking (CC, SAG, AFI) ↓ 5
  12. Glass Onion: Knives Out Mystery (CC, PGA) –
  13. Black Panther: Wakanda Forever (PGA) New!
  14. Triangle of Sadness (GG*, BAFTA*) ↓ 3
  15. The Woman King (AFI) ↓ 2
  16. Aftersun (BAFTA*) New!

Dropped Out: She Said, RRR, Pinocchio

Best Director

I’m honestly a lot more confused in this category than I was before. I’m confident in the top four getting nominated which includes The Daniels, Steven Spielberg, Martin McDonough and Todd Field. (I could see McDonough being snubbed like he was for Three Billboards but it’s not very likely.) The fifth slot has many contenders but none of them are Sarah Polley who was only in a list of ten at the Critics Choice Awards. It looks to be all men this year and, while some of them certainly deserve it with movies like Aftersun and Women Talking, its insane to see them almost completely ignored by major awards bodies. Gina Prince Blythewood has an outside shot for The Woman King but she was likely nominated by their jury. The remaining directors are Joseph Kosinski, James Cameron, Baz Luhrman and Edward Berger. My first instinct is too chose the director with the strongest film in Best Picture which is Kosinski for Top Gun: Maverick. It feels like a directors kind of film with its “they don’t make ’em like this anymore” style of filmmaking and storytelling. However, the directors branch at the Academy loves its international directors and with All Quiet‘s strong performance at the BAFTAS, I feel inclined to predict Edward Berger in my fith slot.

  1. The Daniels for EEAAO (GG, CC, BAFTA DGA) –
  2. Steven Spielberg for The Fabelmans (GG, CC, DGA) –
  3. Todd Field for Tar (CC, BAFTA, DGA) ↑ 1
  4. Martin McDonough for Banshees of Inisherin (GG, CC, BAFTA, DGA) ↑ 2
  5. Edward Berger for All Quiet (BAFTA) New!
  6. Joseph Kosinski for Top Gun Maverick (DGA) New!
  7. James Cameron for Avatar: The Way of the Water (GG, CC) ↓ 4
  8. Baz Lurhman for Elvis (GG, CC, BAFTA*) –
  9. Gina Prince Bythewood for The Woman King (BAFTA) ↑ 1
  10. Sarah Polley for Women Talking (CC, BAFTA*) ↓ 5

Dropped Out: Damien Chazelle (Babylon), S.S Rajamouli (RRR)

Best Actor

Do I believe? Yes, I believe in the power of love, hope and how much Brendan Fraser communicates that in The Whale. One of the things that has held me from backing Fraser was The Whale’s lack of other nominations but now it looks to be quite set for both a Best Supporting Actress and Best Picture nod along with a potential Adapted Screenplay win! That kind of package show that The Whale is sticking with people and how could Fraser not be on the top of that list when it comes to awards. Austin Butler in Elvis is scary and the film has done really well but I think Fraser can take it. It’s an exciting race in this category and, like Best Director, the top four seem very easy (but that fifth slot is tricky). No one has gotten multiple nominations across the awards bodies except for Paul Mescal, but both his lineup had six actors in them and the BAFTAS loved Aftersun more than most. Still, the rest seem too weak, Tom Cruise doesn’t seem like the kind of nominee that the actors branch would support and his lack of nominations supports that. Adam Sandler was the surprise at the SAG awards but that also feels far from an Academy nominated film. Thus, I’ll default Paul Mescal, which is an amazing pick and might be the only nomination for my favourite film of 2022.

  1. Brendan Fraser (The Whale) (GG, CC, BAFTA, SAG) ↑ 2
  2. Austin Butler (Elvis) (GG, CC, BAFTA, SAG) ↓ 1
  3. Colin Farrell (Banshees of Inisherin) (GG*, CC, BAFTA, SAG) ↓ 1
  4. Bill Nighy (Living) (CC, BAFTA, SAG) –
  5. Paul Mescal (Aftersun) (CC, BAFTA) ↑ 2
  6. Tom Cruise (Top Gun Maverick) (CC, BAFTA*) –
  7. Adam Sandler (Hustle) (SAG) New!
  8. Diego Calva (Babylon) (GG*) ↓ 3
  9. Hugh Jackman (The Son) (GG) ↓ 2
  10. Jeremy Pope (The Inspection) (GG) ↓ 1

Dropped Out: Adam Driver (White Noise) (GG*)

Best Actress

Andrea Risborough enters the Top 10 purely on press buzz about her being endorsed by several notable Academy actors (and Cate Blanchett even shouted her performance in To Leslie out during her acceptance speech at the Critics Choice Awards). That’s also why I keep Cate at my number 1 slot for Best Actress. At awards show that showered Everything Everywhere All at Once with accolades, Michelle Yeoh still didn’t win and I fear this could keep happening at both the SAGS and, more likely, at the BAFTAS. I think they’ll split those awards but if either wins both, they are winning! I do think that, in the event of a split, Cate has the edge as people single her out as the reason TAR is so captivating while EEAAO has so many elements to cover that Michelle’s career-defining performance might get lost in the shuffle. The final slot is also difficult to discern here. Ana De Armas for Blonde showed a unexpected strength by getting a BAFTA & SAG nomination. Michelle Williams along with The Fabelmans has been declining as she failed to get both a SAG or a BAFTA nomination. This could come from the fact many don’t see her role in The Fabelmans as a lead performance. Despite what people may think of the movie Blonde, Ana De Armas is certainly a lead performance as she’s onscreen for almost all of its 2 hour and 45 minute runtime. My predictions reflect that.

  1. Cate Blanchett (Tar) (GG, CC, BAFTA, SAG) –
  2. Michelle Yeoh (EEAAO) (GG*, CC, BAFTA, SAG) –
  3. Viola Davis (The Woman King) (GG, CC, BAFTA, SAG) ↑ 3
  4. Danielle Deadwyler (Till) (CC, BAFTA, SAG) ↑ 1
  5. Ana de Armas (Blonde) (GG, BAFTA, SAG) ↑ 4
  6. Michelle Williams (The Fabelmans) (GG, CC, BAFTA*) ↓ 3
  7. Margot Robbie (Babylon) (GG*, CC) ↓ 3
  8. Andrea Riseborough (To Leslie) (Pure Hype) New!
  9. Naomi Ackie (I Wanna Dance with Somebody) (BAFTA*) ↓ 1
  10. Olivia Colman (Empire of Light) (GG) ↓ 3

Dropped Out: Rooney Mara (Women Talking)

Best Supporting Actor

Ke Huy Quan is winning. It’s no contest really. The performance, the story and being in a best picture contender make this his to lose and there’s no way he does. I actually feel less conflicted about my Oscar five in this category. Despite the fact that only has three nominations, they have had unanimous support. Eddie Redmayne has risen from the ashes of a Netflix movie that no one seemed to care about and garnered a SAG and BAFTA nomination making him hard to deny. That fifth slot could be anyone but, even with The Fabelmans dropping, Paul Dano with his SAG nomination makes the most sense. Also, The Fabelmans is still a top five contender for picture and is certainly stronger than Babylon, for which Brad Pitt failed to get anything but a Golden Globe nomination.

  1. Ke Huy Quan (EEAAO) (GG, CC, BAFTA, SAG) –
  2. Brendan Gleeson (Banshees of Inisherin) (GG, CC, BAFTA, SAG) –
  3. Barry Keoghan (Banshees of Inisherin) (GG, CC, BAFTA, SAG) –
  4. Eddie Redmayne (The Good Nurse) (GG, BAFTA, SAG) ↑ 4
  5. Paul Dano (The Fabelmans) (CC, SAG) ↓ 1
  6. Judd Hirsch (The Fabelmans) (CC) ↓ 1
  7. Brad Pitt (Babylon) (GG, BAFTA*) –
  8. Brian Tyree Henry (Causeway) (CC) ↑ 1
  9. Michael Ward (Empire of Light) (BAFTA) New!
  10. Ben Whishaw (Women Talking) (BAFTA*) ↓ 4

Dropped Out: Tom Hanks (Elvis)

Best Supporting Actress

Angela Bassett wasn’t even in my top five just half a month ago but now its hard to not have her at number one. Her wins at the Golden Globes and Critics Choice gave her that front runner status but she has shown up at the SAG and BAFTA while Black Panther: Wakanda Forever failed to show up like its Best Picture predecessor the first Black Panther. Her performance has transcended beyond how strong Wakanda Forever is for Best Picture though the film still managed to get a key PGA nomination. Like Supporting Actor the top three feel secure and while the bottom two could go a number of ways I like my picks both for their chances and the quality of the performances. Hong Chau and Stephanie Hsu both got key nominations at the SAG nominations and both of their movies have risen up the ranks. While both Dolly De Leon and Carey Mulligan have gotten two major nominations like Chau and Hsu; Chau got the two most important from BAFTA and SAG and Hsu is in a best picture contender while both She Said and Triangle of Sadness remain on the outskirts.

  1. Angela Bassett (Black Panther: WF) (GG, CC, SAG, BAFTA) ↑ 5
  2. Kerry Condon (Banshees of Inisherin) (GG, CC, SAG, BAFTA) ↓ 1
  3. Jamie Lee Curtis (Everything Everywhere All at Once) (GG, CC, SAG, BAFTA) ↓ 1
  4. Hong Chau (The Whale) (SAG, BAFTA) ↑ 6
  5. Stephanie Hsu (Everything Everywhere All at Once) (CC, SAG) ↑ 2
  6. Dolly De Leon (Triangle of Sadness) (GG, BAFTA) ↑ 3
  7. Carey Mulligan (She Said) (GG, BAFTA) ↑ 1
  8. Janelle Monae (Glass Onion) (CC, BAFTA*) ↓ 5
  9. Jessie Buckley (Women Talking) (CC) ↓ 5
  10. Claire Foy (Women Talking) ↓ 6

Best Original Screenplay

The nominees feel very easy to predict as I don’t see Aftersun managing to upset Triangle of Sadness at the Oscars as much as it would deserve to. It all depends on the grudge match between Banshees and EEAAO which is hard to decipher. Banshees seems like a screenplay winner but with Everything Everywhere being so strong in picture while still being a movie that relies heavily on its script it could easily win. I’m going to stay with Everything Everywhere for now as it could prove to be the universally loved film we all know it is. It has yet to lack a major nomination it was expected to get and could even overperform in below the line categories on its way to a potential Best Picture win.

  1. Everything Everywhere All at Once (GG, CC, BAFTA) –
  2. The Banshees of Inisherin (GG,CC, BAFTA) –
  3. The Fabelmans (GG, CC, BAFTA) –
  4. Tar (GG, CC, BAFTA) –
  5. Triangle of Sadness (BAFTA) –
  6. Aftersun (CC, BAFTA*) ↑ 1
  7. The Menu (BAFTA*) ↑ 1
  8. Babylon – ↓ 2

Best Adapted Screenplay

Sarah Polley wins Best Adapted Screenplay at the Critics Choice Awards

This category just kind of breaks my heart. Women Talking seemed so poised to win this category almost unanimously. Now, it comes out of pre-Oscar season with a Critics Choice win (which is nice) but also a lack of Best Picture momentum and a missed screenplay nomination at the BAFTAS to go along with its zero nominations at the BAFTAS. The only sign of hope in January has been its SAG ensemble nomination which it deserves to win. How could you ignore that powerful ensemble? Still, all that said, The Whale has picked up a lot of steam and we’ll see how the Writers Guild votes but Samuel D. Hunter’s script would also deserve it.

  1. The Whale (CC, BAFTA) ↑ 3
  2. Women Talking (GG, CC, BAFTA*, USC) ↓ 1
  3. Living (CC, BAFTA, USC) ↑ 2
  4. She Said (CC, BAFTA, USC) ↓ 2
  5. Glass Onion (CC, BAFTA*) ↓ 2
  6. All Quiet on the Western Front (BAFTA) New!
  7. Pinocchio (BAFTA*, USC) –
  8. Top Gun Maverick (BAFTA*, USC) –

Below the Line

RRR wins Best Original Song for “Naatu Naatu”

There’s a lot more categories so I’ll keep this short. Babylon is still the strong frontrunner for Best Original Score as composer Justin Hurwitz picked up his fourth golden globe win and a critic choice win. I love to see Naatu Naatu being pushed to the front for Best Original Song. It deserves it. Cinematography is a wild category with Roger Deakins somehow my runner up behind Top Gun, which I wouldn’t have thought was possible after TIFF. Animated Feature has four secure nominations and one wild card which will be very hard to predict and All Quiet has probably established clear front-runner status in wake of its Best Picture momentum. Lets see if it can do as much damage at the Oscars as it did at the BAFTAs by raking in 14 nominations. My big documentary snub, which tends to happen every year, is Fire of Love. Archive footage and narration, I think, is something that the branch isn’t in love with so we’ll see if that translates. Still praying for Women Talking to win SAG ensemble.

Best Original Score

  1. Babylon (Justin Hurwitz) (GG, CC, BAFTA) –
  2. Pinocchio (Alexandre Desplat) (GG, CC, SCL, BAFTA) –
  3. Women Talking (Hildur G) (GG, CC, BAFTA*) –
  4. Banshees of Inisherin (GG, SCL, BAFTA) ↑ 2
  5. The Fablemans (John Williams) (GG, CC) ↓ 1
  6. All Quiet on Western Front (BAFTA) New!
  7. Everything Everywhere All at Once (BAFTA) New!
  8. Glass Onion: A Knives Out Mystery (BAFTA*) New!
  9. Don’t Worry Darling (SCL) New!
  10. Nope – New!

Dropped Out: The Batman (CC, SCL, BAFTA*), Empire of Light, She Said, Black Panther: WF, Avatar: TWOW

Best Original Song

  1. Naatu Naatu (RRR) (GG, CC, SCL) ↑ 3
  2. Lift me Up (Black Panther: WF) (GG, CC, SCL) ↓ 1
  3. Hold my Hand (Top Gun: Maverick) (GG, CC, SCL) ↓ 1
  4. Ciao Papa (Pinocchio) (GG, CC, SCL) ↑ 1
  5. Carolina (Where the Crawdads Sing (GG, CC, SCL) ↓ 2
  6. Applause (Tell it like a Woman) ↑ 3
  7. New Body Rhumba (White Noise) (CC) –
  8. This is a Life (EEAAO) –
  9. My Mind & Me (Selena Gomez: My mind & Me) ↑ 1

Dropped Out: Nobody Like U (Turning Red)

Best Cinematography

  1. Top Gun Maverick (Claudio Miranda) (CC, BAFTA, ASC) ↑ 2
  2. Empire of Light (Roger Deakins) (CC, BAFTA, ASC) ↑ 3
  3. The Batman (Grieg Fraiser) (ASC, BAFTA) ↑ 3
  4. Elvis (Mandy Walker) (ASC, BAFTA) New!
  5. All Quiet on the Western Front (James Friend) (BAFTA) ↑ 3
  6. Bardo (Darius Khondji) (ASC) ↓ 1
  7. Babylon (Linus Sangren) (CC, BAFTA*) ↓ 5
  8. Avatar The Way of Water (Russell Carpenter) (CC) ↓ 7
  9. The Fabelmans (Janusz Kaminski) (CC) ↓ 5
  10. Tar (Florian Hoffmiester) (CC, BAFTA*) New!

Best Film Editing

  1. Top Gun Maverick (CC, BAFTA) –
  2. Everything Everywhere All At Once (CC, BAFTA) –
  3. Elvis (CC, BAFTA) ↑ 1
  4. Banshees of Insherin (BAFTA) ↑ 4
  5. All Quiet on the Western Front (BAFTA) New!
  6. Babylon (CC) –
  7. The Fabelmans ↓ 2
  8. Avatar the Way of Water (CC) ↓ 5
  9. Tar –
  10. Triangle of Sadness (BAFTA*) New!

Best Production Design

  1. Babylon (CC, BAFTA, ADG) –
  2. Avatar the Way of Water (CC, BAFTA*, ADG) –
  3. Elvis (CC, BAFTA, ADG) ↑ 1
  4. Black Panther: Wakanda Forever (CC, ADG) ↓ 1
  5. All Quiet on the Western Front (BAFTA, ADG) ↑ 2
  6. The Fabelmans (CC, BAFTA*, ADG) –
  7. Pinocchio (BAFTA, ADG*) ↑ 1
  8. The Batman (ADG*, BAFTA) New!
  9. Everything Everywhere All at Once (CC, BAFTA*, ADG) ↑ 1
  10. Glass Onion: A Knives Out Mystery (ADG*) ↓ 5

Best Costume Design

  1. Black Panther Wakanda Forever (CC, CDG, BAFTA*) ↑ 1
  2. Babylon (CC, CDG, BAFTA) ↓ 1
  3. Elvis (CC, CDG, BAFTA) ↑ 1
  4. Mrs Harris Goes to Paris (CDG, BAFTA) New!
  5. Glass Onion (CC, CDG, BAFTA*) ↑ 1
  6. The Woman King (CC, CDG) ↓ 3
  7. Everything Everywhere all at Once (CC, CDG) ↓ 2
  8. All Quiet on the Western Front (BAFTA) New!
  9. Amsterdam (BAFTA) New!
  10. Women Talking (CDG) ↓ 3

Best Makeup + Hairstyling

  1. Elvis (CC, BAFTA, MUHS) ↑ 2
  2. The Whale (CC, BAFTA, MUHS*) ↓ 1
  3. The Batman (CC, BAFTA, MUHS) ↓ 1
  4. Black Panther: WF (CC, BAFTA*, MUHS) –
  5. All Quiet on the Western Front (BAFTA) ↑ 5
  6. Babylon (CC, BAFTA*, MUHS) ↓ 1
  7. Blonde (BAFTA*, MUHS) New!
  8. Amsterdam (BAFTA*, MUHS) New!

Best Sound

  1. Top Gun Maverick (BAFTA, CAS, MPSE) –
  2. Avatar the Way of Water (BAFTA, CAS, MPSE) –
  3. All Quiet on the Western Front (BAFTA, CAS, MPSE*) ↑ 1
  4. Elvis (BAFTA, CAS, MPSE*) – ↑ 1
  5. The Batman (BAFTA*, CAS, MPSE) ↓ 2
  6. Everything Everywhere All at Once (BAFTA*, MPSE) ↑ 2
  7. Babylon (BAFTA*) –
  8. Pinocchio (BAFTA*) New!

Best Visual Effects

  1. Avatar the Way of Water (CC, BAFTA,VES) – 
  2. Top Gun Maverick (CC, BAFTA, VES) ↑ 2
  3. The Batman (CC, BAFTA, VES) ↓ 1
  4. Black Panther: Wakanda Forever (CC, BAFTA*) ↓ 1
  5. All Quiet on the Western Front (BAFTA) New!
  6. Jurassic World: Dominion (BAFTA*,VES) New!
  7. Fantastic Beasts: Secrets of Dumbledore (BAFTA*, VES) New!
  8. Doctor Strange and the Multiverse of Madness (BAFTA*) ↓ 2

Best Animated Feature

  1. GDT’s Pinocchio (GG, CC, BAFTA, PGA, ANNIE) –
  2. Turning Red (GG, CC, BAFTA, PGA, ANNIE) –
  3. Marcel the Shell with Shoes On (GG, CC, BAFTA, PGA, ANNIE*) –
  4. Puss in Boots: The Last Wish (GG, CC, BAFTA, PGA, ANNIE) –
  5. Wendell and Wild (CC, ANNIE) ↑ 1
  6. Minions: The Rise of Gru (BAFTA*, PGA) New!
  7. The Sea Beast (ANNIE) New!
  8. Lightyear (BAFTA*) ↑ 2
  9. The Bad Guys (BAFTA*) ↓ 2
  10. Inu-oh (GG, ANNIE*) ↓ 2
  11. My Father’s Dragon (ANNIE*) ↓ 2

Best International Feature

  1. All Quiet on the Western Front (Germany) (CC, GG, BAFTA) –
  2. Argentina 1985 (Argentina) (CC, GG, BAFTA) ↑ 3 
  3. Decision to Leave (Korea) (CC, GG, BAFTA) ↓ 1
  4. Close (Belgium) (CC, GG) ↓ 1
  5. The Quiet Girl (BAFTA) (Ireland) New!
  6. Bardo (Mexico) (CC) ↓ 2
  7. Corsage (Austria) (BAFTA) ↑ 2
  8. Holy Spider (Denmark) ↓ 1
  9. EO (Poland) ↓ 1
  10. Saint Omer (France) ↓ 4

Best Documentary Feature

  1. All the Beauty and Bloodshed (IDA, BAFTA, DGA) ↑ 4
  2. All that Breathes (IDA, CC, PGA, BAFTA, DGA) ↓ 1
  3. Navalny (IDA, CC, PGA, BAFTA, DGA) ↓ 1
  4. Moonage Daydream (BAFTA) ↑ 6
  5. Descendant (CC, PGA) ↓ 1
  6. Fire of Love (IDA, CC, PGA, BAFTA, DGA) ↓ 3
  7. Retrograde (PGA, DGA) ↑ 1
  8. The Territory (PGA) ↓ 1

SAG Ensemble

  1. Everything Everywhere All at Once (CC) ↑ 3
  2. The Fabelmans (CC) –
  3. Women Talking (CC) ↓ 2
  4. Banshees of Inisherin (CC) ↑ 1
  5. Babylon ↑ 5