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Oscar Nominations 2018: The Complete List

Oscar Nominations 2018: The Complete List:
Oscar selections for the 90th yearly honors were reported on Tuesday morning from the Samuel Goldwyn Theater in Beverly Hills, Calif.

Date:Sunday, March 4, 2018
Venue:Dolby Theatre Hollywood,Los Angeles,California,U.S
Time: 8:00 pm ET / 5:00 pm PT
Host:Jimmy Kimmel
Producer:Michael De Luca & Jennifer Todd

Oscar Live

Foundation President John Bailey was joined by Tiffany Haddish and Andy Serkis to uncover the chosen people in 24 classifications.

Guillermo del Toro’s “The Shape of Water” proceeded with its honors demonstrate streak, standing out with 13 selections. “Dunkirk” took after behind with eight gestures and Martin McDonagh’s “Three Billboards Outside Ebbing, Missouri”with seven. Each of the three movies earned best picture designations. Whatever remains of the class was balanced by “Call Me By Your Name,” “Breaking point,” “Get Out,” “Apparition Thread,” “Woman Bird,” and “The Post.”

The Academy Awards — facilitated by Jimmy Kimmel for the second time — will air Oscar Live on ABC on March 4.

Here is the rundown of 2018 Oscar selections:

Best Picture:

“Call Me by Your Name”

“Breaking point”


“Get Out”

“Woman Bird”

“Apparition Thread”

“The Post”

“The Shape of Water”

“Three Billboards Outside Ebbing, Missouri”

Lead Actor:

Timothée Chalamet, “Call Me by Your Name”

Daniel Day-Lewis, “Ghost Thread”

Daniel Kaluuya, “Get Out”

Gary Oldman, “Breaking point”

Denzel Washington, “Roman J. Israel, Esq.”

Lead Actress:

Sally Hawkins, “The Shape of Water”

Frances McDormand, “Three Billboards Outside Ebbing, Missouri”

Margot Robbie, “I, Tonya”

Saoirse Ronan, “Woman Bird”

Meryl Streep, “The Post”

Supporting Actor:

Willem Dafoe, “The Florida Project”

Woody Harrelson, “Three Billboards Outside Ebbing, Missouri”

Richard Jenkins, “The Shape of Water”

Christopher Plummer, “All the Money in the World”

Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”

Supporting Actress:

Mary J. Blige, “Mudbound”

Allison Janney, “I, Tonya”

Lesley Manville, “Ghost Thread”

Laurie Metcalf, “Woman Bird”

Octavia Spencer, “The Shape of Water”


“Dunkirk,” Christopher Nolan

“Get Out,” Jordan Peele

“Woman Bird,” Greta Gerwig

“Apparition Thread,” Paul Thomas Anderson

“The Shape of Water,” Guillermo del Toro

Energized Feature:

“The Boss Baby,” Tom McGrath, Ramsey Ann Naito

“The Breadwinner,” Nora Twomey, Anthony Leo

“Coco,” Lee Unkrich, Darla K. Anderson

“Ferdinand,” Carlos Saldanha

“Adoring Vincent,” Dorota Kobiela, Hugh Welchman, Sean Bobbitt, Ivan Mactaggart, Hugh Welchman

Energized Short:

“Dear Basketball,” Glen Keane, Kobe Bryant

“Garden Party,” Victor Caire, Gabriel Grapperon

“Lou,” Dave Mullins, Dana Murray

“Negative Space,” Max Porter, Ru Kuwahata

“Revolting Rhymes,” Jakob Schuh, Jan Lachauer

Adjusted Screenplay:

“Call Me by Your Name,” James Ivory

“The Disaster Artist,” Scott Neustadter and Michael H. Weber

“Logan,” Scott Frank and James Mangold and Michael Green

“Molly’s Game,” Aaron Sorkin

“Mudbound,” Virgil Williams and Dee Rees

Unique Screenplay:

“The Big Sick,” Emily V. Gordon and Kumail Nanjiani

“Get Out,” Jordan Peele

“Woman Bird,” Greta Gerwig

“The Shape of Water,” Guillermo del Toro, Vanessa Taylor

“Three Billboards Outside Ebbing, Missouri,” Martin McDonagh


“Sharp edge Runner 2049,” Roger Deakins

“Breaking point,” Bruno Delbonnel

“Dunkirk,” Hoyte van Hoytema

“Mudbound,” Rachel Morrison

“The Shape of Water,” Dan Laustsen

Best Documentary Feature:

“Math device: Small Enough to Jail,” Steve James, Mark Mitten, Julie Goldman

“Faces Places,” JR, Agnès Varda, Rosalie Varda

“Icarus,” Bryan Fogel, Dan Cogan

“Last Men in Aleppo,” Feras Fayyad, Kareem Abeed, Soren Steen Jepersen

“Solid Island,” Yance Ford, Joslyn Barnes

Best Documentary Short Subject:

“Edith+Eddie,” Laura Checkoway, Thomas Lee Wright

“Paradise is a Traffic Jam on the 405,” Frank Stiefel

“Heroin(e),” Elaine McMillion Sheldon, Kerrin Sheldon

“Blade Skills,” Thomas Lennon

“Activity Stop,” Kate Davis, David Heilbroner

Best Live Action Short Film:

“DeKalb Elementary,” Reed Van Dyk

“The Eleven O’Clock,” Derin Seale, Josh Lawson

“My Nephew Emmett,” Kevin Wilson, Jr.

“The Silent Child,” Chris Overton, Rachel Shenton

“Watu Wote/All of Us,” Katja Benrath, Tobias Rosen

Best Foreign Language Film:

“A Fantastic Woman” (Chile)

“The Insult” (Lebanon)

“Cold” (Russia)

“On Body and Soul (Hungary)

“The Square” (Sweden)

Film Editing:

“Infant Driver,” Jonathan Amos, Paul Machliss

“Dunkirk,” Lee Smith

“I, Tonya,” Tatiana S. Riegel

“The Shape of Water,” Sidney Wolinsky

“Three Billboards Outside Ebbing, Missouri,” Jon Gregory

Sound Editing:

“Infant Driver,” Julian Slater

“Cutting edge Runner 2049,” Mark Mangini, Theo Green

“Dunkirk,” Alex Gibson, Richard King

“The Shape of Water,” Nathan Robitaille, Nelson Ferreira

“Star Wars: The Last Jedi,” Ren Klyce, Matthew Wood

Sound Mixing:

“Infant Driver,” Mary H. Ellis, Julian Slater, Tim Cavagin

“Cutting edge Runner 2049,” Mac Ruth, Ron Bartlett, Doug Hephill

“Dunkirk,” Mark Weingarten, Gregg Landaker, Gary A. Rizzo

“The Shape of Water,” Glen Gauthier, Christian Cooke, Brad Zoern

“Star Wars: The Last Jedi,” Stuart Wilson, Ren Klyce, David Parker, Michael Semanick

Creation Design:

“Excellence and the Beast,” Sarah Greenwood; Katie Spencer

“Cutting edge Runner 2049,” Dennis Gassner, Alessandra Querzola

“Breaking point,” Sarah Greenwood, Katie Spencer

“Dunkirk,” Nathan Crowley, Gary Fettis

“The Shape of Water,” Paul D. Austerberry, Jeffrey A. Melvin, Shane Vieau

Unique Score:

“Dunkirk,” Hans Zimmer

“Apparition Thread,” Jonny Greenwood

“The Shape of Water,” Alexandre Desplat

“Star Wars: The Last Jedi,” John Williams

“Three Billboards Outside Ebbing, Missouri,” Carter Burwell

Unique Song:

“Relentless River” from “Mudbound,” Mary J. Blige

“Puzzle of Love” from “Call Me by Your Name,” Sufjan Stevens

“Keep in mind Me” from “Coco,” Kristen Anderson-Lopez, Robert Lopez

“Defend Something” from “Marshall,” Diane Warren, Common

“This Is Me” from “The Greatest Showman,” Benj Pasek, Justin Paul

Cosmetics and Hair:

“Breaking point,” Kazuhiro Tsuji, David Malinowski, Lucy Sibbick

“Victoria and Abdul,” Daniel Phillips and Lou Sheppard

“Ponder,” Arjen Tuiten

Ensemble Design:

“Excellence and the Beast,” Jacqueline Durran

“Breaking point,” Jacqueline Durran

“Apparition Thread,” Mark Bridges

“The Shape of Water,” Luis Sequeira

“Victoria and Abdul,” Consolata Boyle

Visual Effects:

“Edge Runner 2049,” John Nelson, Paul Lambert, Richard R. Hoover, Gerd Nefzer

“Watchmen of the Galaxy Vol. 2,” Christopher Townsend, Guy Williams, Jonathan Fawkner, Dan Sudick

“Kong: Skull Island,” Stephen Rosenbaum, Jeff White, Scott Benza, Mike Meinardus

“Star Wars: The Last Jedi,” Ben Morris, Mike Mulholland, Chris Corbould, Neal Scanlan

“War for the Planet of the Apes,” Joe Letteri, Dan Lemmon, Daniel Barrett, Joel Whist

Oscar 2017 Winner Predictions Live Action Short

The 89th Academy Awards function, introduced by the Academy of Motion Picture Arts and Sciences (AMPAS), will respect the best movies of 2016 and will occur at the Dolby Theater in Hollywood, California on February 26, 2017. Amid the function, AMPAS will introduce Academy Awards (ordinarily alluded to as Oscars) in 24 classifications. Oscar Live The service, broadcast in the United States by ABC, will be created by Michael De Luca and Jennifer Todd. TV have Jimmy Kimmel will have the service surprisingly.

Date:Sunday, February 26, 2016
Venue:Dolby Theatre Hollywood,Los Angeles,California,U.S
Time: 7:00 pm ET / 4:00 pm PT
Host:Jimmy Kimmel
Producer:Michael De Luca & Jennifer Todd

oscar live
In related events, the Academy held its 8th Annual Governors Awards ceremony at the Grand Ballroom of the Hollywood and Highland Center on November 12, 2016.On February 11, 2017, in a ceremony at the Beverly Wilshire Hotel in Beverly Hills, California, the Academy Awards for Technical Achievement will be presented by John Cho and Leslie Mann.[5]What makes Oscar’s short film categories difficult to predict isn’t always the lack of exposure most of the nominees have prior to being nominated (though it certainly doesn’t help the Oscar bloggers who don’t bother to do their homework). What really turns them into a round of Final Jeopardy is that, unlike with most other categories where you can either rely on political Hollywood narratives or fall back on the escapism of craft, these races embody the fuzzy in-between, and as such are more vulnerable to outside trends. For instance, we can’t help but notice how the most recent handful of winners in this category—after years of jaded, recession-era snarkfests taking the gold—have drifted toward a benign generosity and lighter touch perfectly in tune with the complacency of Barack Obama’s lame-duck years.

Oscar Live Such is the foul mood of the moment that we can’t discount the possibility of this year’s award going to what my conspirator Ed Gonzalez referred to as “the worst film ever nominated for the Oscar,” Aske Bang’s Silent Nights, which is nothing short of clickbait in film form. A well-meaning Danish girl with a racist, alcoholic, bed-shitting mother meets a handsome but shifty undocumented immigrant from Ghana just before Christmas, and you’ll never guess what happens next! The film is careful enough to slot scenes depicting the displaced vagrant love interest getting rolled by both young Arab men and white nationalists, so as not to alienate anyone who finds rhetorical value in the phrase “all lives matter.” But, to echo my own assessment of a 2013 loser in this category, it’s “this lineup’s most obnoxiously self-satisfied case of well-heeled white-savior guilt run amok.” Or, as Ed more crisply pointed out, “a fucking Shrinky Dinks version of a Paul Haggis film.”

If the two most recent category trends of boho narcissism and world-sheltered gentility hold strong, and didn’t peak with last year’s Stutterer, then neither The Railroad Lady nor Timecode can be ruled out, but so far as hipster-friendly entertainments go, both are far more generically friendly than memorably hipster. Juanjo Giménez’s charming Timecode, in particular, lacks the residue of ironic contempt directed inward that has marked such past winners as The New Tenants and Curfew, and is all the better for it. Oscar Live 2017 Building unpretentiously toward a “Dancing with the Guards” finale, it’s downright loving in its tribute to the clock-punchers of the world (the “fools who dream,” as you prefer), which can only partially be said for Timo von Gunten’s The Railroad Lady, or A Crusty But Benign Old Baker Can Be Amélie Too as directed by Wes Anderson in a jaunty beret. Star power has sometimes tipped the scales in this category, so Jane Birkin’s presence doesn’t hurt, but her film plays out like exactly what most trailers at Landmark Cinemas promise. It’s old-world cinema, and the AMPAS just purged many of those who, like Birkin’s railroad lady, only recently just “sent” their “first Internet.”

As it may be with virtually any category that doesn’t resolve in favor of La La Land, Oscar seems primed to rally behind everything that macro- or micro-aggressively congratulates the Academy’s anti-Trump sentiments. And here we have both: Sélim Azzazi’s grim Enemies Within, a sturdily made, claustrophobic two-hander set in 1990s France amid the Algerian civil war, and Kristof Deák’s dainty Sing, which takes place in 1991 Hungary as Soviet troops are withdrawing. Both films depict the struggles of those fighting to retain their sense of identity in environments that insist, in fact subsist, on compromise. Both the Algerian man attempting to secure French citizenship when his nation seemed willing to shed his kind (an attitude, we hasten to point out, France may be on the cusp of reasserting) and the chorines told by their dictatorial choirmaster to mime singing rather than risk polluting the concert hall with their vocals share our current sense of indignation.

But Sing, for all its beautifully observed moments of bonhomie between the off-key heroine and her main conspirator, registers only through metaphor. RuPaul’s Drag Race superfans though we may be here at Slant Magazine, “category is” realness this year. Those chanteuses aren’t lip syncing for their lives, and what may or may not pass through the lips of Enemies Within’s Algerian interrogee could put his own constituencies up for elimination.

Will Win: Enemies Within

Could Win: Sing

Should Win: Sing