Since its debut at the Cannes Film Festival where it won the Palme d’Or, audiences have been praising Sean Baker’s bold and funny look at a Brooklyn sex worker, played by breakout star Mikey Madison. The filmmaker behind “The Florida Project” and “Red Rocket” is never predictable, and Baker takes us on a ride through a chapter in his title character’s life. After meeting at a strip club, Anora is charmed by the lifestyle of Vanya, the son of a Russian oligarch. The two end up marrying, but this is no “Pretty Woman.” Once his parents hear of the nuptials, they come to the city looking for an annulment – and a wild ride follows. Madison is pitch-perfect, and both she and the film are certain to clean up at critics’ awards. 

Players

Writer/director/star Jesse Eisenberg and Kieran Culkin star as somewhat estranged cousins who take a trip to Poland to visit their late grandmother’s home and delve into her experiences during the Holocaust. Uptight, successful Eisenberg contrasts with charismatic, boisterous and unemployed Culkin — they clash, bond and rediscover family roots and why they love each other. The screenplay wittily and deftly handles deep discussions that the cousins engage in; a standout scene at the Majdanek concentration camp is handled with moving silence and haunting images. Eisenberg could nab an original screenplay nomination, while Culkin’s outstanding performance could draw lead actor votes.  

Players

Both epic and intimate, Steve McQueen examines the price of World War II with the story of a mother desperately trying to reunite with her young son. The story centers on Rita, a single parent, who sends her mixed-race child George away for his own safety during the war. George escapes, however, and goes on a perilous journey to return home. McQueen balances stunning scenes of warfare with quiet, tender moments of the young child’s coming of age. Saoirse Ronan is stellar as Rita, a role unlike others she’s played before, and newcomer Elliott Heffernan is a major discovery as George. The now 11-year-old actor could be a stealth best actor contender.

Players

Artistic idealism and integrity, immigration, the American class system, capitalism and antisemitism percolate in Brady Corbet’s post-WWII drama “The Brutalist.” Adrien Brody is architect László Tóth, a Jewish Holocaust survivor who arrives in an America; he’s been separated from his wife (Felicity Jones) by the post-war chaos. He’s eventually hired by millionaire industrialist (Guy Pearce), who champions Tóth’s vision to create a community center. That is the reductive storyline of this 3.5-plus-hour epic that won the Silver Lion at the Venice Film Festival and thrust Corbet (“Vox Lux”) into the ranks of young auteurs. He co-wrote the script with his wife, Mona Fastvold — a cinematic power couple. “The Brutalist” is even more impressive in that the film cost around $10 million and its sweep encompasses the late 1940s-1980s Europe and the U.S. 

Players

A nominee or winner by guilds and critics’ groups across a broad spectrum of disciplines (including acting, screenwriting, music, cinematography and directing), Luca Guadagnino’s story about a love triangle between three tennis players is that rare crowd-pleaser with genuine artistic bona fides. Though Zendaya has her male counterparts (and the audience) wrapped around her finger from the first frame, the performances are unilaterally nuanced and skillful, especially set to Trent Reznor and Atticus Ross’ propulsive score. 

Players

Yes, that is Timothée Chalamet playing guitar and the harmonica, and yes, that is the actor singing as Bob Dylan. James Mangold, who previously brought Johnny Cash and June Carter to life with “Walk the Line,” returns with a look at Dylan’s early life, from 1961 to 1965. But it’s not just about the music; the film delves into the emotional dynamic between the characters. That includes a stellar supporting cast, including Edward Norton channeling Pete Seeger. As the women in his life, Elle Fanning and Monica Barbaro shine – the latter nails the daunting challenge of portraying living legend Joan Baez, down to the singing.

Players

Director Edward Berger quietly snuck into the 2022 Oscar race with “All Quiet on the Western Front,” landing nine nominations for the film, including best picture. And at one point, it looked poised to take it all. For his first English-language film, Berger takes on the adaptation of Robert Harris’ novel, centering on a cardinal charged with overseeing the election of a new pope. The performances, led by Ralph Fiennes as the upstanding Cardinal Lawrence, is without fault, featuring such solid character actors as John Lithgow and Stanley Tucci. With limited screen time, Isabella Rossellini makes a big impression as knowledgeable nun. Old-fashioned in the best way possible, the film manages to carry the air of both a prestige drama and a big, entertaining crowd pleaser.

Players

Aaron Schimberg delves into identity, transformation and self-worth in this Sundance breakout. Sebastian Stan delivers a nuanced performance as actor Edward, a man living with neurofibromatosis who undergoes experimental treatment and ends up looking like … the handsome Sebastian Stan. When Oswald enters his life (actor Adam Pearson, who has the condition in real life), Edward understands all is not great because this guy, with his old face, is everything he wasn’t and still isn’t: charismatic, whip smart, funny — and Oswald gets the girl (Renate Reinsve) that Edward pines for. Out of the box thinking on an old trope from Schimberg could entice voters.

Players

The first “Dune” overperformed at the Oscars in 2021, snagging six statues. Rather than suffer a sophomore slump in quality, “Part Two” was equally well-received by audiences and critics. His previous snub in the directing category could work in favor of Denis Villeneuve, who has yet to be recognized by the Academy. Everyone recognizes the degree of difficulty in adapting Frank Herbert’s behemoth book series, so expect Villeneuve and co-writer Jon Spaihts to repeat their nominations in the screenplay category. Although the film is sure to garner a lot of below-the-line support for its excellent crafts. the acting is also notable — but is a much bigger question mark. A true ensemble, it would be hard to single out a specific performance, and lead Timothée Chalamet will likely be putting his efforts behind his buzzy turn as Bob Dylan in “A Complete Unknown.” But previous Oscar winner Javier Bardem is a true standout for his role as a true believer and could gain recognition.

Players

Jacques Audiard explores good and evil and moral ambiguities, the nature of human beings to change and the ways we keep ourselves emotionally afloat, all through the tale of a drug kingpin who discovers her true self as a trans woman (Karla Sofía Gascón), Rita, the lawyer who helps her (Zoe Saldaña) and the magnate’s unsuspecting wife, Jessi (Selena Gomez). And it’s a musical, with 16 songs by Camille Dalmais and Clément Ducol. It’s an audacious and gritty take on the genre, with songs not only dealing with the characters’ inner thoughts and yearnings, but also corruption, violence and plastic surgery. The film unspooled in competition at Cannes, winning the Jury Prize while the three leads won best actress. 

Players

Sir Ridley Scott has yet to be awarded an Oscar. Could his return to the arena with “Gladiator II” be the film that finally honors him? The first one picked up several prizes, including best picture. Paul Mescal, Denzel Washington and Pedro Pascal lead the sequel, which picks up 25 years after the end of the first film. Washington’s presence as a wealthy gladiator dealer with ruthless ambition is a breath of fresh air in the epic. The emperor twins Fred Hechinger and Joseph Quinn (Caracalla and Geta) are wonderfully evil. Scott’s world-building required production designer Arthur Max to flood the arena with water for a mock naval battle and build a river for the film’s finale. It’s a visual spectacle that should land Scott a well-deserved director nod, and possibly his first win. It’s time, Academy. 

Players

Mike Leigh is adored by the Academy, with seven career nominations and his latest reteams him with his “Secrets and Lies” lead Marianne Jean-Baptiste, playing a bitter woman with tense interpersonal relationships. In a crowded best actress race, Jean-Baptiste has been picking up critics’ awards left and right — winning both New York Film Critics Circle and Los Angeles Film Critics Circle and picking up a British Independent Film Award. That kind of passionate support could help put the film over the top.

Players

While it’s already been selected by Brazil to compete for best international film at the Oscars, this gripping true story could pose a serious threat in other races. Directed by Walter Salles, “I’m Still Here” is adapted from Marcelo Rubens Paiva’s tender memoir about his family. Set in 1970 Brazil, patriarch Rubens Paiva goes missing during a bloody military dictatorship. His wife Eunice is also questioned and tortured, but eventually returned. She goes on to rebuild her life with her five children and though the story comes from tragedy, there is also triumph. Fernanda Torres has earned raves for her performance as Eunice – who is portrayed in her later years by Torres’ real-life mother, Fernanda Montenegro. (Salles directed Montenegro to a best actress nomination for their 1998 film “Central Station.”) “I’m Still Here” won the screenplay prize at the Venice Film Festival, and it might prove to be irresistible to Academy voters, as well. 

Players

Animated features have a hard time getting respect as serious cinema, let alone hope for a slot as a best picture nominee. In 1991, “Beauty and the Beast” landed a spot, and that’s when there were only five category nominees. In 2010, “Up” cracked the list, followed by “Toy Story 3,” both in a 10-pic field. “Inside Out 2” could be the third Pixar offering to grab a nomination, especially as it marries high-quality storytelling with blockbuster box office — $1.6 billion worldwide, the biggest film of the year. In the sequel, Riley’s new emotions, brought on by puberty, wrestle with her old ones in a colorful, rollicking tale that nevertheless is packed with heart-string-pulling emotions.   

Players

With his narrative debut, RaMell Ross’ adaptation of Colson Whitehead’s eponymous novel has galvanized critics and audiences alike. The film’s inventive, first-person perspective renders the horrors endured by Ross’ two main characters — brought vividly to life by Ethan Herisse and Brandon Wilson — in impressionistic but deeply impactful dimensions, while Aunjanue Ellis-Taylor’s virtuoso supporting turn underscores how every contributor on the project, big or small, helped create a cinematic tone poem as beautiful as it is harrowing. 

Players

Pedro Almodóvar’s vision has matured, and the artist has been contemplating life as we age, death and bonds that transcend traditional friends and families. “The Room Next Door” centers on war correspondent Martha (Tilda Swinton) who decides to end her life through assisted suicide with her friend Ingrid (Julianne Moore) helping. Almodóvar’s first English-language film is essentially a two-hander between the two women as they discuss art, their lives, mistakes, joys and other human essentials. But Almodóvar’s screenplay is about those that death leaves behind, and life — and how we deal with it and what we make of it. Winner of the Venice Film Festival Golden Lion, the film has also scooped up four European Film Award nominations.  

Players

Although the events of Sept. 5, 1972, are well-documented, Tim Fehlbaum’s film nevertheless keeps audiences on the edge of their seats. The thriller follows the unfolding crisis at the Munich Summer Olympics Games when Palestinian terrorists took 11 members of the Israeli Olympic team hostage, all told through the eyes of the ABC Sports broadcasting team scrambling to cover this news event and subsequent tragedy (all 11 hostages were killed). The film is mostly confined to the broadcast studio but never feels claustrophobic; the live-wire cast led by Peter Sarsgaard and John Magaro, makes the most of their settings. Film opened the Horizons Extra section at the Venice Film Festival.  

Players

In telling the true story of prison inmates seeking rehabilitation through theater, director Greg Kwedar expertly blends fact and fiction. In fact, the cast is largely made up of people playing themselves, starting with Clarence Maclin’s breathtaking turn as Divine Eye, a newcomer to the Rehabilitation Through the Arts (RTA) program at Sing Sing Correctional Facility. After earning his first best actor nomination for “Rustin,” Colman Domingo seems certain to return to the race for his turn as John “Divine G” Whitfield, a wrongly imprisoned man who becomes a mentor and friend to Divine Eye. The film manages to be inspiring and uplifting without shying away from harsh truths or ever turning treacly, and audiences have responded enthusiastically. Hollywood loves movies about art, and this true story might be impossible to resist.   

Players

After cinching a best picture win with “Oppenheimer” earlier this year, Universal could have back-to-back champs with this adaptation of the Broadway musical. Both fans of the stage production and skeptical viewers have raved about director Jon M. Chu’s film. Like “Oppenheimer,” it’s both a critical and box-office success, but unlike Christopher Nolan’s film, it has the advantage of premiering right in the heart of awards season. With all the crafts on point, it should clean up with below-the-line support, especially when it comes to sound categories. Ariana Grande seems a shoo-in for a supporting actress nomination, while Cynthia Erivo is a solid choice in the more competitive best actress category. But its entire company is flawless, which makes it a strong contender for the coveted ensemble prize at the SAG Awards – often an indicator of best picture glory.  

Players

Based on the book by Peter Brown, DreamWorks Animation’s latest is another 2024 animated feature that could grab a best pic nomination. The story revolves around robot Roz (superbly acted by Lupita Nyong’o), who gets stranded on a planet only inhabited by animals. Roz finds herself raising a gosling with the help of a fox as the film really soars into musings on family, parenthood and community. Director/writer Chris Sanders’ previous credits include the beloved “Lilo & Stitch” and the “How to Train Your Dragon” screenplays, and the same sensibilities that made those toons classics are at play here.  

Players

A previous winner in this category for 2002’s “The Pianist,” Brody could return to the Oscar race for his portrait of an immigrant architect trying to live the American Dream.

Last nominated for 2017’s “Call Me by Your Name,” Chalamet transforms into music legend Bob Dylan for the biopic; bonus points for his star turn in “Dune: Part II.”

The former James Bond could land his first Oscar nomination for playing a gay expat in 1950s Mexico City in this adaptation of William Burroughs’ autobiographical novel. 

After landing his first nom in this category for “Rustin” earlier this year, Domingo looks set to return to the ring with this true story of a wrongfully convicted man who finds redemption through performing.

In addition to writing and directing the acclaimed indie, Eisenberg is pitch perfect as the put-upon cousin of Kieran Culkin’s eccentric dreamer.

A two-time Oscar nominee, Fiennes is commanding as a cardinal leading the search for a new pope in this smart and tense thriller.

While genre films often struggle at the Oscars, Grant is earning raves for playing a man who subjects a pair of Mormon missionaries to several cat-and-mouse games.

The “Moonlight” standout puts his heart, soul and sweat into his portrayal of one-legged wrestling champion Anthony Robles. 

Playing “Saturday Night Live” creator Lorne Michaels, LaBelle’s performance dances nimbly on the razor’s edge between frantic desperation and the fearless bravado needed to fulfill his ahead-of-its-time ambition. 

Law could land his first Oscar nomination since 2003’s “Cold Mountain” for playing the determined FBI agent out to bring down a white supremacy group.

The first “Gladiator” won Russell Crowe his Oscar. Could Mescal follow in his footsteps as he takes over the mantle in this Ridley Scott epic?

Powell shows off his versatility in this modern noir for which he scored a Golden Globes nom. 

Whatever you think of Donald Trump, it’s hard to find fault with Stan’s performance as the future president, seen in his early years under the tutelage of Roy Cohn.

After playing Boy Willie Charles in a 2022 Broadway revival of the August Wilson play, Washington brings his portrait of a man determined to let go of the past and sell a family heirloom to the big screen.

Adams winningly limns a loving mom trying to find a life balance as she transforms into a dog at night. 

A recent recipient of her first Golden Globe nomination, Anderson enters the awards race with a performance whose delicacy underscores the fragility of the late-in-life predicament her character Shelly faces. 

The Tony winner and two-time Oscar nominee is pitch perfect as Elphaba, the woman who will become The Wicked Witch of the West.

After sharing the best actress prize with her costars at the Cannes Film Festival, Gascón  looks poised to make history for her turn as the titular drug lord who undergoes gender reassignment surgery.

The British thespian plays a depressed woman in this reunion with Mike Leigh, who directed her to an Oscar nom for 1996’s “Secrets and Lies.”

The Oscar winner for “Girl, Interrupted” takes on the daunting task of portraying legendary opera singer Maria Callas in her final, troubled days.

The Oscar winner (and five-time nominee) continues to take on challenges. Here she plays a CEO who allows her relationship with a younger coworker to upset her perfectly manicured life.

The breakout performance of the year, Madison is utterly captivating as a sex worker who thinks she’s met her Prince Charming — the spoiled son of a Russian oligarch.

Moore has earned raves for her brave and bold performance as a faded movie star desperate to recapture her youthful glory — leading to body horror extremes.

The four-time Oscar nominee (also contending in supporting with “Blitz”) is deeply affecting as a recovering addict in this adaptation of the Amy Liptrot memoir.

At 95, Squibb would set a record as the oldest Oscar nominee if she is recognized for her funny and feisty turn as a grandmother tracking down the scammers who took her money.

At 95, Squibb would set a record as the oldest Oscar nominee if she is recognized for her funny and feisty turn as a grandmother tracking down the scammers who took her money.

The actor stars as Eunice Paiva, whose life was turned upside-down after her husband disappeared during the Brazilian Military Dictatorship, forcing her to start over with her five children.

Winslet could add an eighth Oscar nomination to her growing list of accolades thanks to her gritty, transformative performance as model-turned-WWII photographer Lee Miller.

Calling her character a “girl boss” understates the complexity of her Golden Globes-nominated performance, which binds tenacious drive and unrealized ambition with conflicted love in a mesmerizing, zero-sum game. 

While much of the praise has rightly gone to Mikey Madison at the title character, Borisov proves to be a funny, charming match in his American film debut.

Playing a goofball who is equal parts endearing and frustrating, the Emmy-winning “Succession” star could land his first Oscar nom. 

Maclin plays a version of himself — an incarcerated man who finds redemption through a prison theater program — and leaves an indelible impression.

The ensemble portraying the news team covering the 1972 Munich Olympics hostage crisis are all fantastic, but Magaro packs a punch as producer Geoffrey Mason, who doesn’t hesitate to show emotion.

The three-time nominee completely transforms into musician and activist Pete Seeger opposite Timothée Chalamet’s Bob Dylan.

Despite an impressive career, Pearce has never been recognized by the Academy. His steely performance as a mercurial client of Adrien Brody’s architect should change that.

Sarsgaard is commanding as legendary TV producer Roone Arledge, who guided the ABC Sports Team covering the 1972 Olympics into capturing history when a hostage crisis breaks out.

The Emmy and Tony winner eerily channels fixer Roy Cohn, the man who made Donald Trump, with an insightful and concise performance.

Last nominated in this category for 2009’s “The Lovely Bones,” Tucci is a standout as a candidate for pope who might not be all he seems.

The two-time Oscar winner looks certain to land his ninth acting nomination for his scene-stealing turn as a former slave who now mentors the titular gladiator. 

Barbaro rises to the daunting task of portraying legendary singer Joan Baez, a professional and personal match to Timothée Chalamet’s Bob Dylan.

The esteemed actor shines as the immigrant mother and aspiring painter who struggles to raise two kids on her own in America.

Deadwyler is hypnotic as Berniece, a woman in 1936 Pittsburg who refuses to part with a piece of family history.

A previous nominee for “King Richard,” Ellis-Taylor brings her warmth and gravitas to the role of a loving grandmother of a boy sent to a corrupt reform school.

Gomez goes from the obedient wife of a drug dealer to a woman reborn when she believes her spouse is dead. Her “Mi Camino” number is a cry of liberation.

As Glinda, the pop star has won over even the most skeptical critics, showcasing perfect comic timing and impressive song and dance skills.

Last nominated for 2014’s “The Theory of Everything,” Jones has never been better as the patient and loyal wife to Adrien Brody’s immigrant architect.

Playing a woman who’s so supportive of her family she lets herself down, Lopez amplifies the conflict — and vulnerability — raging inside Anthony Robles’ mother Judy. 

Qualley scored a Golden Globe nomination playing the younger version of Demi Moore whose frantic ambition drives the film to its horrific climax in this ambitious satire.  

Also a contender for her lead turn in “The Outrun,” the four-time Oscar nominee plays a factory worker and loving mother raising a mixed race son in WWII-era London.

While the men around her bluster on, Rossellini’s quiet nun in this Vatican-set thriller speaks volumes with a glance — and a curtsy.

Saldaña is earning some of the best reviews of a heralded career as Rita, the lawyer who helps Emilia start a new life.

The auteur wrestles with death and what it means for those who must carry on with life in his first English-language feature. 

Audiard reimagines his opera of the same name as a musical celebrating a trio of powerful women set against a rhapsodic, telenovela-esque backdrop. 

Baker stages the chaos of a Russian fixer’s intervention in a quickie marriage between a stripper and an oligarch’s son with chaotic exuberance.

Chronicling the drama of a tumultuous papal enclave, Berger delivers a handsome and slightly mysterious portrait of the halls of power and the maneuvering within them.

Expanding the world of the stage musical for the screen, Chu imbues with depth and complexity the fracturing relationship between two women destined to become witches.

Already awarded the Silver Lion at Venice, Corbet’s sprawling vision for the epic life of a Holocaust survivor-turned-artist exudes polished ambition. 

Fargeat escalates the story of an older woman combating professional, social and physical obsolescence into gruesome body-horror spectacle. 

Fehlbaum creates tension and a breakneck pace without ever leaving the main set of a broadcast booth in this dramatic retelling of the Munich Olympics tragedy. 

Kapadia has staked her spot this awards season by painting three elegant but deeply felt portraits of modern Indian women fighting for their identities against the patriarchal culture around them. 

Mangold elegantly recreates the era of Bob Dylan’s switch to electric instrumentation, emphasizing both the enigmatic artist’s musical, cultural and personal circumstances.

McQueen’s WWII story maintains an atmosphere of constant uncertainty and danger as it navigates racial dynamics for a mixed-race child and his mother during wartime London.

The acclaimed Iranian filmmaker has earned raves (and five prizes at Cannes) for his timely political thriller; his visual work and his skill with actors are equally impressive.

Ross’ iconoclastic approach circumvents the material’s risks of becoming a “Black trauma narrative,” instead portraying its characters’ devastating treatment with irresistible, heartfelt lyricism. 

The Brazilian helmer tackles his country’s oppressive history in this powerful story of a woman who fights back. 

Scott rekindles the muscular intensity of his 2000 best picture winner with a next-generation story about a vengeance-seeking arena fighter and his calculating benefactor.

Villeneuve renders the unforgiving conditions of Arrakis in larger than life dimensions, both dwarfing the characters’ choices and showing their far-reaching impact.

Baker’s script not only captures the measures his title character will take in order to achieve her capitalistic ambitions, but he also examines the psychology of a person with those goals. 

Corbet chronicles the life of fictional architect László Tóth with both skillful historical accuracy and artistic flair, weaving the tragedy of real events with deep emotion. 

Eisenberg balances the inherent emotion of visiting Holocaust sites with the discombobulating energy of an estranged relative for a uniquely poignant character study. 

Fargeat’s script examines the sociocultural phenomena that renders older women obsolete, while pinpointing the emotional underpinnings that drive the individual need to remain “youthful.” 

The story of ABC Sports’ coverage of the 1972 Olympic hostage crisis, this script overlaps with timely issues while examining the larger responsibilities — and general importance — of news media.

Kapadia’s film irises in from the larger observations and anxieties of the population of Mumbai to focus on three women navigating pivotal — but different — moments in their lives.

Inspired by the real chaos behind the first episode of the long-running comedy show, Kenan and Reitman weave together myth and reality with mesmerizing intensity.

Leigh’s unique collaboration with his performers produces a nuanced and emotionally resonant character study about a depressed woman and her complicated familial relationships.

McQueen adds the complexity of race into the familiar rhythms of a WWII story in order to explore the unique challenges faced by marginalized individuals during wartime. 

Reijn’s script delivers an erotic thriller for the age of consent, where the power and success of a female CEO complicates her desire for an intern at her company, threatening all she’s achieved. 

Rasoulof combines real-world Iranian politics with the more intimate story of a person whose complicity with institutional corruption exacerbates the risks they face, and the feelings that go with them.

Based on the novel “What Are You Going Through” by Sigrid Nunez, Almodóvar tenderly portrays the lives of two women reuniting after years of estrangement, and the weight shared by the time apart. 

Audiard’s translation of his own opera — itself an adaptation of Boris Razon’s 2018 book “Écoute” — balances novelistic details with sumptuous melodrama to bring it to life on screen. 

Kwedar’s collaboration on the script with real formerly-incarcerated individuals draws authenticity into this script about the rehabilitative potential of art. 

A chapter from Bob Dylan’s well-documented life gets spotlighted, juxtaposing his instinctual creativity in this particular moment with the sweep of his larger career.

The adaptation of Marcelo Rubens Paiva ‘s autobiography of the same name, Hauser’s script beautifully illustrates a Brazilian lawyer’s transition into political activism after the disappearance of her husband.

Picking up where the previous film left off, LeFauve and Holstein’s script further explores the complications that arise from adolescence — and how loved ones support and navigate those changes.

Fox’s collaboration with Holzman, who originally co-wrote the musical, lends an authenticity to the adaptation as she infuses it with cinematic flair and sociopolitical subtext. 

Scarpa’s script uses the spine of the first film’s story and then adds nuance — and timely political themes — to push the series’ semi-historical timeline forward with thrilling intensity.

Straughan’s adaptation condenses the detailed insider intrigue of Robert Harris’ eponymous novel while also giving its privileged world cinematic scope — and intensity.

Villeneuve transforms the desert landscape of Arrakis into a playground for everything from microscopic character development to political commentary to intergalactic warfare.

This hand-painted French delight from directors Sébastien Laudenbach and Chiara Malta won the top prize at Annecy in 2023 as well as the Caesar for animated feature. It captures the challenges a single mother faces in dealing with her daughter.  

Director Gints Zilbalodis’ wordless yet hypnotizing award-winning journey follows a bright-eyed black cat and its animal companions through threatening CG environments, designed by a small team entirely via Blender. Also repping Latvia in the international feature race. 

Director Kelsey Mann’s sequel to the hit “Inside Out,” which introduces new emotions in Riley’s pubescent brain, was not only a critical hit, but it is also the biggest-grossing movie of 2024. 

Kenji Kamiyama’s anime-styled Middle Earth saga has the blessing of the lord of “Lord of the Rings” Peter Jackson and focuses on a female warrior hero in a standalone prequel. 

Adam Elliot’s stop-motion heartbreaking yet uplifting tale of childhood trauma won the top prize at the Annecy Festival. With lovely voice acting turns by Sarah Snook and Kodi Smit-McPhee. 

The sequel to the 2016 Oscar nominee, from David Derrick Jr., Jason Hand and Dana Ledoux Miller, returns with almost all the principals from the first pic, except in the song department, where buzzy writers Emily Bear and Abigail Barlow take over from Lin-Manuel Miranda. It set a B.O. record with its Thanksgiving holiday five-day debut of $225 million. 

Documentary director Morgan Neville turns his lens on musician Pharell Williams, but with an unconventional twist: this biopic is animated, casting everyone as Lego figures.

Director Josh Cooley guides the origin story of Optimus Prime and Megatron, which gets a boost of energy by the quality animation that is the opposite of a Saturday morning cartoon. 

Another stop-motion treat from Nick Park and Aardman starring the oblivious inventor and his loyal dog up against “The Wrong Trousers” foe Feathers McGraw makes this a contender. 

Chris Sanders’ adaptation of Peter Brown’s book packs lots of emotion into a stunning environment, with excellent voice acting from Lupita Nyong’o and Pedro Pascal. 

An investigation into the corruption charges faced by Israeli Prime Minister Benjamin Netanyahu and his inner circle.

Journalist Shiori Itô investigates her own sexual assault, seek- ing to prosecute the high-profile offender.

Mati Diop’s Golden Bear winner is also Senegal’s international Oscar entry. It follows 26 treasures looted from the ancient African kingdom of Dahomey by France back to

Natalie Rae and Angela Patton’s film focuses on daughters of the incarcerated men who earn the privilege of a “Daddy-Daughter Dance,” and the impact of jail time and visits with their fathers. Critically acclaimed with an emotional wallop that auds are responding to. 

A generative documentary about the musician Brian Eno, with 52 quinillion possibilities so no one viewing is the same each time.

A look at the life of Mexican artist Frida Kahlo using animation and a first-person perspective through her letters and writings.

A look at the aftermath of the U.S. pullout in Afghanistan and the Taliban forces that occupied a former CIA base in Kabul.

Brendan Bellomo and Slava Leontyev captured three Ukrainian artists choosing to remain in their homeland and resist the Russian invasion.

Sundance-winning story of the secret life of a World of Warcraft gamer vividly reimagined.

“Land,” an award-winner at the Berlinale that was made by Palestinian-Israeli collective of four directors, Yuval Abraham, Basel Adra, Rachel Szor and Hamdan Ballal, over the course of five years, shows the destruction experienced by a group of Palestinian villages in the southern West Bank at the hands of the Israeli military. A festival hit looking for U.S. distribution.

Gena, a queer artist from a small town in Russia, stages radical performances in public and puts her life in danger.

Award-winning doc from Julian Brave NoiseCat and Emily Kassie, uncovers the harrowing story of the systematic abuse and deaths at an Indian residential school in Canada. Lily Gladstone is an exec producer, and doc will also stream on Disney+ and Hulu. 

Johan Grimonprez examines the political moves behind the 1961 assassination of Congolese leader Patrice Lumumba.

Timely doc from Stephen Maing and Brett Story follows the unionization effort of Amazon Warehouse workers. Despite success on the festival circuit, no distributor picked up the film, but the directors self-released the acclaimed film in October, earning more critical kudos. 

Will Ferrell and his best friend Harper Steele, who happens to be a trans woman, embark on a cross-country trip to test America’s tolerance with heartwarming and heartbreaking results. A hit at Sundance and on Netflix.

An incident between two 6-year-old boys at an elementary school sparks parental and teacher conflict. 

Acclaimed filmmaker Mati Diop’s documentary follows 26 treasures looted from the ancient African kingdom of Dahomey by France as they travel back to their rightful home in Benin. Feature won the Golden Bear at the Berlinale. 

Jacques Audiard’s bold take on the musical about a drug kingpin who undergoes gender-affirming surgery to live their true life as a woman won the Jury Prize at Cannes while its three female leads took home the best actress honors.  

Animated tale of a black cat in a flood- ravaged Earth who joins with other animals friends in a compelling journey. 

A collection of 22 short films made in Gaza to shed light on the war in the area and give voice to the local filmmakers.

Magnus von Horn’s striking black and white tale of a poor woman in post-WWI Copenhagen who society and poverty grinds down and the horrors and tiny amount of hope that emerge from this neglect. Pic played to critical acclaim in competition at Cannes. 

A man schemes to get into his grandma’s favor before she dies, but the film takes an unexpected, sweet turn.

Walter Salles digs into his past with this timely story of Brazilian political oppression and its deadly consequences for one family. Winner of the screenplay award at Venice, the film’s heart is Fernanda Torres’ devastating and inspiring lead turn. 

Anarchic energy overflows in Rich Peppiatt’s lightly fictionalized docudrama about the eponymous Irish rap group, whose songs feed into anti-establishment, anti-authority and anti-colonial stances — it’s what every music biopic should be.

Doc director Sandhya Suri turns to narrative fiction for this thriller about a young widow who inherits her late husband’s job as a police officer in rural India. Under the wing of an older female officer, Santosh’s investigation into a low-caste girl’s murder uncovers corruption and a broken system. 

Shot in secret by dissident Iranian auteur Mohammad Rasoulof, the acclaimed thriller led to the helmer’s sentencing of eight years in prison. He clandestinely fled the country; pic’s German producers made sure the film repped Germany in the Oscar race.  

The story of a man’s journey to find his first love — who disappeared decades ago — before his time runs out.

Set in a remote Italian village in 1944, the arrival of a music teacher changes the course of everyone’s lives. A festival favorite.

Described as a “surreal comedy” that tells the unrelated stories of several characters, the film has won awards and captured critics’ honors.

Jiří Mádl sets his thriller at a radio station during 1968’s Prague Spring, a brief period of economic and political liberalization that ended when the Soviet Union invaded the country. Timely pic is the country’s third highest-grossing Czech film of all time, grossing $6 million-plus. 

Benjamin Wallfisch’s score combines orchestral and electronic music and references themes and music from “Alien” films.

Emmy-winner Cristobal Tapia de Veer (“The White Lotus”) brings a mesmerizing sound to the erotic tale starring Nicole Kidman.

Composer Danny Elfman relished returning to the characters and updating the sounds from the 1988 original.

Chanda Dancy’s score for the Zoë Kravitz feature evokes psychological tension to enhance the thriller’s building sense of uneasiness.

Hans Zimmer’s harsh string textures conveyed the terror, especially for a child, of the Nazi bombing of London in 1940. Playful recorders reflect the few happy moments for the kids in the story.

Composer Daniel Blumberg recorded a small ensemble of musicians across Europe, including renowned London pianist John Tilbury, for Brady Corbet’s three-hour epic of the Jewish immigrant experience.  

Double Oscar winners Trent Reznor and Atticus Ross (“The Social Network,” “Soul”) delivered a pulsating electronica score for Luca Guadagnino’s tennis-pro love triangle starring Zendaya.

The ethereal sounds of Cristal Baschet glass rods lend an unusual tone to the Vatican thriller about choosing a new pope; German composer Volker Bertelmann added strings and prepared piano.

Songwriters Camille Dalmais and Clément Ducol not only penned the songs, they also created an evocative, voice-filled underscore for the groundbreaking crime-drama musical from director Jacques Audiard. 

Tamar-kali used orchestral and hip-hop sounds for the tale of champion boxer Claressa Shields.

English composer Harry Gregson-Williams powerfully evoked the sound of ancient Rome using a 90-piece orchestra and 100-voice choir plus ancient woodwinds, primitive horns and vocal soloists.

Kevin Costner’s epic unspooled to a John Debney score that referenced classic Westerns.

Andrea Datzman built on the themes of the original film to evoke Riley’s budding adolescence and her new emotions.

Moaning, sometimes shrieking voices, along with grim and frightening orchestral dissonance from composer Robin Carolan add to the intensity of Robert Eggers’ take on the vampire tale.

Spanish composer Albert Iglesias’ 14th collaboration with director Pedro Almodóvar was a classically styled score for this story of a writer accompanying a dying friend through the final stages of cancer.  

Grammy-winning guitarist Bryce Dessner turned to orchestral sounds for this score that evokes freedom for the prison-set drama.

Aaron Zigman was inspired by Aaron Copland, Samuel Barber and the sound of the Big Band era in his emotional score for the WWII-set drama.

Broadway songwriter Stephen Schwartz collaborated with Hollywood veteran John Powell on the underscore for the adaptation, incorporating new music and creating a magical soundscape for Oz.

Traditional orchestra, augmented with unusual percussion effects, was composer Kris Bowers’ approach to this animated tale of a robot who learns maternal skills by caring for an orphaned gosling. 

Amelia Warner’s music used thematic motifs for the post-WWI setting but also gave emotional scope to the main’s characters journey.

Auli’i Cravalho, as Pacific Ocean wayfarer Moana, sings of her fears about leaving home and the excitement of the unknown that beckons in this anthem by Abigail Barlow and Emily Bear.

Trent Reznor and Atticus Ross’ song for the sexy tennis drama is itself a sultry electronic-infused danceable number.

Zoe Saldaña’s showstopper in this twisty musical is a hip-hop infused, Spanish-language song (by Camille Dalmais and Clément Ducol) calling out the hypocrisy of Mexican leaders complicit in drug-cartel killings. 

Kristen Wiig, with ukulele accompaniment, co-wrote and performs this lighthearted tribute to old friends Will Ferrell and former “Saturday Night Live” writer Harper Steele at the close of their cross-country road-trip doc. 

Veteran songwriter Diane Warren (15 noms, one honorary Oscar) places life into context (“it’s all part of a bigger plan”) in this song H.E.R. performs at the end of Tyler Perry’s World War II movie.

Maren Morris’ ode to risk-taking (“safe only gets you so far”) underscores a touching sequence in the animated epic where robot Roz teaches young Brightbill to fly and eventually leave their island home.

Adrian Quesada and Abraham Alexander’s soulful and quite catchy song sums up the feeling of hope and freedom in the film.

Selena Gomez’s karaoke sequence in this cutting-edge musical (by songwriters Camille Dalmais and Clément Ducol) illuminates her character’s complex personality and sets the finale in motion.

Elton John and Brandi Carlile co-wrote and sing this uplifting duet, which plays under the end titles of the doc and sings the praises of his tenacity and perseverance through the years.

Country star Lainey Wilson penned and sang this song to coping with a whirlwind life and discovering who you are.

Pharrell Williams’ bouncy title song, trumpeting the value of hard work and persistence (“till it starts paying off”), plays at the conclusion of Morgan Neville’s animated biographical doc.

The Irish rappers incorporate their native Irish language in their racous music, infused with refreshing rebellion and edge.

Lin Manuel-Miranda penned this duet between young lions Mufasa (Aaron Pierre) and Sarabi (Tiffany Boone) in classic movie musical style.

Saoirse Ronan, as a factory worker in WW II London, performs this faux-period romantic song (by Nicholas Britell and Taura Stinson) on camera in Steve McQueen’s period drama.

James Mangold reunites with his go-to DP for this Bob Dylan biopic. Papamichael used wide lenses to capture the dynamic between the film’s leads and utilized the same lenses to home in on the live performances. 

Daniels was inspired by Federico Fellini’s “Nights of Cabiria.” (1957). However, he shot on 35 mm, paying homage to New York thrillers from the 1970s.

Crawley shot Brady Corbet’s epic on 35mm and printed on 70mm stock. He alternated between handheld and VistaVision for some of the film’s grand sequences — such as the quarry visit where Adrien Brody’s László Tóth and Harrison Lee Van Buren (Guy Pearce) pick out marble. 

Fontaine’s images tell a unique story every time the cardinals cast their vote. Each frame created a new level of intensity as the drama progresses to electing the new pope. 

Fraser is a pioneer in the field. For the “Dune” sequel, he used infrared technology to capture an epic arena fight sequence. The sandworm ride scene was inspired by avalanche and surf videos, which Fraser turned into a white-knuckle action ride. 

Jacques Audiard shot his gritty thriller about a drug lord who seeks change on soundstages, which Guilhaume used to his advantage. To control the lighting of the cast, he used sources visible in the scenes like lamps and candles. His goal was to drive emotion and focus less on technique. 

Ridley Scott and his go-to DP Mathieson used multiple cameras to capture the action. Scott was inspired by paintings of gladiators in exotic locales, with Mathieson delivering painterly-like images for the epic. 

Lachman still has not won an Oscar for his work. Perhaps “Maria” gives him a long overdue win. Pairing with Pablo Larraín, he shot the film using 35mm, 16mm and Super 8mm at different times to take audiences through Maria Callas’ last days while remembering highlights from her operatic past.

Not only did Blaschke shoot on 35mm film, but he also incorporated candlelight in his lighting for a dramatic result. Romantic moonlight was also part of his world for this retelling of the gothic horror classic.

No female has ever won an Oscar for cinematography. With “Wicked’s” visual aesthetic rooted in nature, Brooks used sunrise to shoot Glinda, and sunset for Elphaba. Brooks wanted to frame the narrative as the most beautiful love story between these two women, these two best friends. 

Phelps transformed a real New York mansion into the home of the Russian oligarch where a lot of the film iunspools. Lavish art and modern-day furnishings in the vast space reflected the family’s  status.

To recreate World War II London, Stockhausen built sets that included underground shelters, a bomb factory, the Café de Paris jazz club and a family home. Steve McQueen wanted as much as possible to be done in camera and for Stockhausen to destroy them in order to create that authenticity. 

Becker designed the world of the film’s protagonist, architect László Tóth, spanning the late 1940s to the 1980s. Becker designed structures that Tóth would have built as a Bauhaus-trained architect with a Brutalist influence.

Audouy transformed modern-day New Jersey into 1960s New York for the story of Bob Dylan’s rise in the music scene. The Newport Folk Festival was re-created for the film, while a bustling Jersey street was transformed into old bodegas and cafes and liquor stores for one scene. 

Davis and her team could not film in the Sistine Chapel, so they utilized flat-packed sets at Rome’s Cinecittà Studios, which they, along with local artisans, repainted in 10 weeks. For the Casa Santa Marta residence, Davis alluded to something sinister and created a prison-like feeling for the cardinals, who assembled to elect their new Pope.  

Ridley Scott wanted to imply the grandeur of the Roman Empire by going bigger and better, so Max fired on all cylinders. Tasked with building Rome’s Colosseum set, Max’s team constructed it higher than the real one to accommodate a sequence in which the amphitheater is filled with water for a mock naval battle. His team also built a river in Malta for the film’s climax. 

Two-time Oscar nominee Dyas faithfully re-created Maria Callas’ Parisian apartment, paying attention to the opera singer’s bedroom, dressing area and study. Extensive research and access to photography as well as Callas’ apartment allowed him to craft a color palette that reflected the era.

Filmed on location in Eastern Europe, Lathrop’s designs take viewers into a gothic world of horror and lust between Count Orlok and Ellen. He built over 60 sets and interiors featured in the film. He also unleashed 5000 rats, who dock themselves in the harbor as Orlok seeks out his true love. 

Wagner faithfully built the circa 1972 ABC Sports broadcast facility control room, where much of the film unfolds as the crew covers a hostage crisis at the Summer Olympics. The sets were built at Bavaria Studios in Munich, and the period equipment came from museums. Experts constructed and rebuilt the machinery so they actually worked. 

Six-time Oscar nom Crowley built the fantastical lands in “Wicked,” from Shiz University to Munchkinland, where a team planted 9 million tulips. Crowley created giant rotating bookshelves for the library for Fiyero’s grand “Dancing Through Life” number, a 16-foot train, and the magical Emerald City, which was inspired by the 1893 Chicago World’s Fair. 

Sebastian Stan gets transformed into a 1970s Donald Trump. He gained weight and needed prosthetic lift pieces that organically de-aged him.

Director Tim Burton wanted practical effects for his sequel, which meant hours in the makeup chair for the cast playing characters in the afterlife. As the titular Beetlejuice, Michael Keaton was aged to reflect the years since the 1988 original.

Sebastian Stan plays Edward, a man with neurofibromatosis, a genetic condition that causes tumors to grow on the skin and bone. The makeup team applied tumors made of silicone onto his face — weighing up to two extra pounds. 

The makeup of Baron Harkonnen (Stellan Skarsgård) took six hour to apply, while the transformation of Austin Butler into Feyd-Rautha took three. Elsewhere, intricate face tattoos were based on ancient traditions.

Face tattoos, acne scars and prosthetics were important to Emilia’s pre-transition look. Once she transitions, softness and grace are key with yellow, beige and brown tones.

Subtle changes were made to Angelina Jolie as she transforms into opera superstar Maria Callas including a prosthetic nose and the graying of her hair. Additionally, the team had to re-create looks from over six operatic numbers, from “Tosca” to “Madame Butterfly.” 

The hair and makeup team spent three and a half to four hours transforming Bill Skarsgård into vampire Count Orlok, while the rest of the cast was outfitted with 19^th century hairstyles. And Lily Rose Depp needed eye blood so she could cry blood-red tears. 

Some 80% of the effects in “The Substance” were practical. A special suit was made for the mutated monster in the film’s finale, while Demi Moore needed arms, legs and full face prosthetics as her character aged and decomposed. 

It took many tests to find the perfect green for Elphaba’s (Cynthia Erivo) skin, enhanced with freckles and tattooed eyebrows when she enrolls in Shiz University. As Glinda, Ariana Grande’s blonde wigs each took three months to make. 

Billy Zane endured hours in the makeup chair to play “The Godfather” himself, Marlon Brando. The end result is uncanny.

Could Oscar nom number four push Phillips to a win? Phillips tracks Bob Dylan’s journey in the early 1960s via denim, browns and black, with Timothée Chalamet going through 65 outfit changes as he transforms into the rockstar. 

Four-time Academy Award winner Atwood built the iconic wide-striped Beetlejuice outfit for Michael Keaton, this time making it moldier. Winona Ryder’s goth girl turned mom turned reality tv host outfit was inspired by Elvira, Mistress of the Dark.

Christl made changes to the vestments worn by the Catholic cardinals — whose look in real life is quickly recognizable — to bring them to the screen. The first change: the fabric. Christl opted for a heavier wool than what their actual robes are made of. She subtly used the accessory of the crosses to define each cardinal’s political view. 

West, who won the Oscar for “Dune: Part One,” returns to Arrakis and Giedi Prime as the sequel expands on the women in the film. She turned to local artisans in Budapest and jewelry makers in the Middle East, and found inspiration in 1920s Tiffany jewelry, Balenciaga and even the haute couture renaissance of the 1950s. 

Seeking her first Oscar nom, Montel approached the titular character with a look that needed to be sensitive and delicate, sexy but chic. Even in pants, it was a must that her femininity was apparent. Rita (Zoe Saldaña) was transformed with silk and cashmere once she gained confidence. 

Janty Yates won the Academy Award for “Gladiator” in 2000, and she’s back — with David Crossman — for its sequel. Gold on gold and decadence were the themes this time around for the mad Emperor twins. Crossman made over 2000 costumes created for the gladiators and Roman military. 

Two-time Oscar nominee Parrini created a number of looks for Angelina Jolie in Pablo Larraín’s “Maria.” His work ranged from building operatic performance looks for “Tosca” and “Madame Butterfly” to stunning silk gowns worn by opera legend Maria Callas at events. Her most iconic piece of costuming was the robe she wears in private, almost a security blanket for a woman who was trying to keep her dignity while sick. 

Muir reunites with Robert Eggers for his version of the classic gothic vampire film. She dressed men in suits and cravats; women in corsets and hats; and Willem Dafoe’s Professor Albin Eberhart Von Franz in a top hat and heavy long coat. She has never been nominated. 

Glicker takes audiences back to Oct. 11, 1975, with a cowboy shirt for Lorne Michaels and platforms for Rosie Shuster. Glicker also recreated John Belushi’s iconic bee costume – but desaturated some of the yellow to make it look like a poorly made outfit. 

Tazewell could make history as the first Black costume designer to win an Oscar. He built all his creations from scratch including Elphaba’s black witch dress — inspired by mushroom gills — Glinda’s pink bubble dress, and he decked the students of Shiz University in original uniforms. 

It wasn’t just about music for editors Andrew Buckland and Scott Morris in this Bob Dylan biopic; they had to capture the emotions and drama of the songs on the actors and actions. One example was showing how Elle Fanning’s Sylvie was impacted by the lyrics Timothée Chalamet’s Dylan and Monica Barbaro’s Joan Baez sing a duet, and she reaches her boiling point.

David Jancsó’s finest moment in the epic that covers 33 years in a three-and-a-half-hour running time is presenting the film in two halves; one about the American dream, the second about the myth. The epilogue sequence is another highlight as it presents a moral reckoning. 

Marco Costa elevates the love triangle between Zendaya, Josh O’Connor and Mike Faist with tennis games and an anxiety-filled score by Trent Reznor and Atticus Ross. Swift cuts and sometimes slow-motion shots were key to driving tension between that trio. 

Nick Emerson navigates creating tension and drama in the drama revolving around the election of a new pope in the secrecy of the Vatican. The balloting process is repeated several times, and each time needed to be different and create a new tense moment as the votes were tallied.  

Joe Walker spent 16 months cutting the film’s arena fight scene. But as epic as the action was, his focus was on the intimate and quieter moments between son and mother Paul (Timothée Chalamet) and Lady Jessica (Rebecca Ferguson), or the budding relationship between Paul and Chani (Zendaya). Getting those right were key to the film’s emotional core. 

Harry Yoon cuts Rachel Morrison’s gritty fight drama of about boxer Claressa Shields, a young Black teen who rises to win the Olympic gold medal. Training sequences are cut with raw energy, and the long takes illuminate on Claressa’s sheer grit. Yoon’s edits take us inside the ring and her fight. 

Louise Ford loves Robert Eggers’ long takes. She shows Lily Rose-Depp’s character Ellen and her conflict between light and darkness. Ford also weaves in the vampire Count Orlok’s menacing breathing with Robin Carolan’s nail-biting score to create a sense of horror. 

Robert Nassau finds the comical beats between Jesse Eisenberg and Kieran Culkin’s relationship as they head off to Poland. Long takes from Eisenberg, and many lighthearted, even improvised moments from the cast, meant there were a lot of lighter scenes that he needed to navigate in order to get to the core of the film’s drama. 

Nathan Orloff tracks the countdown to the first ever “Saturday Night Live” episode. Set in 1977, Orloff weaves long tracking shots and over-the-shoulder point of view shots of the “SNL” producer Lorne Michaels as the pressure to airtime mounts.  

Myron Kerstein trimmed over 250 hours of footage for “Wicked.” His goal was to establish how Elphaba and Glinda go from enemies to friends within 30 minutes, and then the drama ensues. His pacing needed to ensure that audiences fell in love with their friendship. 

Supervising sound editor/sound designer Lee Gilmore and supervising sound editor/ re-recording mixer Will Files aimed to make the sound design feel like the 1970s and ’80s.

Steve McQueen’s World War II drama pulls audiences in with bombs falling over London in the middle of the night. The sound of firemen battling blazes and surveying the destruction make this a terrifying world for the young boy, George, who searches for his mother in the chaos. 

The sounds of New York City in the early 1960s and of Bob Dylan and Joan Baez strumming their guitars as they make sweet music together make this film a perfect fodder for Oscar voters.  

The Deadpool corps fight scene at the end created challenges for the team, merging comedy and action through sound.

Crowd scenes and big action sequences dominated the sound palette in this sequel. The sound team also gathered new sand recordings for this return to the desert planet of Arrakis.

A special vocal tool was utilized for “Emilia Pérez,” Jacques Audiard’s musical set in the drug world of Mexico, while the team worked on mixing and editing original songs.

An army invasion, horses galloping into war, catapults and sword fights were in the mix for “Gladiator II.” A mock naval battle wasn’t just about water sounds, but also about boats colliding and fighters falling into shark-infested waters. 

Packed with musical numbers, the “Joker” sequel’s sound team recorded all the vocals live, ensuring immediacy.

The Skywalker Sound team avoided using stereotypical, harsh robot sounds for Roz, opting for something more soothing as she is a robot that is designed to help humans.

The musical spectacle placed mics everywhere and even under Cynthia Erivo’s witch hat to capture everything including the live vocals. 

Director Fede Alvarez wanted to shoot as much of this “Alien” franchise entry in-camera, which meant practical effects and puppet work were used for the xenomorphs and the creepy face huggers. VFX was used, for example, to suspend the terrifying xenomorphs in mid-air for a zero-gravity scene. 

The unconventional biopic of music star Robbie Williams sees actor Jonno Davies portraying Williams as a monkey, thanks to Weta magic and motion capture dots.  

Alex Garland’s drama about a new U.S. war between the states featured more than 1,000 invisible shots, with most used during a sequence featuring an ambush attack at the White House. 

Denis Villeneuve wanted to shoot as much of this sequel in camera. But VFX stepped in to enhance moments including the film’s opening eclipse, the battle of Arrakis, parts of the sandworm riding sequences and turning the Fremen’s eyes blue.  

The billion-dollar grossing superhero saga used many different versions of Deadpool in a climactic fight scene.

Director Ridley Scott wanted to go bigger than ever before with the sequel, and that meant Colosseum-staged fights using a rhinoceros, deadly baboons and a mock naval battle with sharks. The team also worked on environment extensions. 

Weta’s team could find itself with multiple nominations in this category. For this “Planet of the Apes” sequel, they show off their facial capture tech — there’s far more emotion and talking. They created new environments for the apes including a moored ship and a bunker.

Industrial Light and Magic delivered visual effects for the film’s six tornados using real-life storm footage, they created those effects for each tornado. Each one was bigger and more dangerous, climaxing in the F5 tornado with winds of up to 318 mph. 

Barry Jenkins’ prequel to “The Lion King” used CGI to create the main animal characters. Advances in technology meant photorealism work created a nature documentary look with sprawling savannahs and landscapes.  

Although Jon M. Chu shot almost all of “Wicked” in camera, VFX were used for creating  Elphaba’s cape during the “Defying Gravity” number, and the background as she flies over the Emerald City. Over 1,000 shots were used for the film.