Oscar prognostication isn’t too far removed from sports gambling – mix a little historical know-how, some savvy statistical analysis, a few educated guesses and a dash of gut instinct, take your best stab and you’ll still probably lose to Paul the Octopus.
Having spent decades trying to fine tune the art, I still find myself throwing my hands up as often as not. For every year where I flaunted my oracular talents for such calls as Crash or Spotlight, or even Juliette Binoche’s unexpected English Patient win over Lauren Bacall (the subject of a bet which won me lunch from Binoche’s publicist), there have been occasions like last year where Moonlight’s win over favorite La La Land quite literally blew up my entire system.
As I’ve now had a year to reflect on that gargantuan boner of a miscall, I can say with some certainty that perspective is everything. Was I too emotionally invested in a La La Land win to read the tea leaves? Definitely. But 2016 was also a watershed that saw a quantum paradigm shift in the metrics that guide Oscar prognostication – a change that had been many years in the works, but which didn’t fully mature until that historically embarrassing moment when Warren Beatty and Faye Dunaway forever displaced any association of their pairing with Bonnie and Clyde by reading the wrong winner from the wrong envelope.
Then again, in all my years as a member of the Los Angeles Film Critics Association, where winners are chosen by only a few dozen people, all of whom I know well, not once have I ever been able to reliably predict even a fraction of the eventual winners. So why does anyone, professional or otherwise, even bother predicting what 6,687 wildly unpredictable motion picture professionals will like in any given year?
Because it’s fun.
Which brings us to this year’s field of nominees, arguably one of the most unpredictable in history precisely because 2017 lacked any obvious standouts. The year everyone always likes to reference when hoping for a massive upset is, of course, 1981 when Chariots of Fire benefited from an apparent split between the two early favorites, On Golden Pond and Warren Beatty’s Reds. What sets this year apart, however, is that for the first time in Oscar history, not only is there no odds-on favorite, there isn’t even the usual pair of frontrunners. By my accounting there are a whopping five films – which used to constitute the entire field of nominees until 2009 – any one of which could reasonably walk away with Best Picture on Sunday night.
The reasons for the paradigm shift are myriad, but understood: largely as a response to accusations that Academy membership had ossified into a homogenous block of old white men, many of whom hadn’t worked professionally in decades, an unprecedented number of new members were admitted over a two year span – a total of 1457 men and women from 57 countries. That’s more than three times the number of new members typically admitted over the same period, representing the largest demographic shift in Academy membership since the early 1970s. This remarkable new class enlarged Academy membership by more than 30%, instantly making the organization more international, younger and less homogenous in every demographic category. It also makes the Academy more representative of actual working artists. Combine that with the “preferential ballot” or “instant runoff” system that was introduced in 2009, where voters rank their Best Picture choices from a field of up to ten nominees rather than choosing a single “first past the post” winner from a field of five, and it becomes quite clear that any attempt to predict the Best Picture of 2017 is little better than a roll of the dice.
But that’s not all.
For beyond its own internal upheavals and paradigm shifts, the Academy is facing an existential identity crisis not unlike that being faced by countless other industries and organizations. On the heels of one of the lowest-rated Oscarcasts in history, 2017 was devastating for the theatrical movie business, marking the fewest admissions in over twenty-two years. The rise of streaming, VOD and countless other leisure activities has diminished the role of movies in American life, which in turn has made the Oscars look more like the Spirit Awards – since 2005 only two Studio-branded films (Warner Bros. releases The Departed and Argo) have won Best Picture. Then there were the hashtag campaigns: #OscarSoWhite, #TimesUp, #MeToo, the attendant demise of longtime master Oscar campaigner Harvey Weinstein, daily political drama with which most movies can’t hope to compete, the erasure of the traditional movie star and the rise of a celebrity president whose popularity in Hollywood ranks somewhere south of nil.
Amid all this brave new chaos, just what should the job of the Academy be? Should the Oscars primarily focus on promoting the movie business? Or honor great cinematic artistry? Or promote social justice? It can’t be all three, and it won’t be anything at all unless the Academy can pay its bills and stem the bleeding that has brought the annual telecast to the precipice of irrelevance. We are but ten years away from Oscar’s centennial – also the centennial of the sound era – and it’s anyone’s guess what that moment will look like.
When I taught collegiate film history, I was often asked, “What’s the point of the Academy Awards? Isn’t it just a popularity contest?” To which I would reply, “Yes. It absolutely is. And that’s why it matters.” Not because the Oscars honor what is objectively best, but because they give us a snapshot of what the people who make the movies value at a given point in time. We don’t need the Oscars to tell us what movies are good – everyone knows what they like and what they don’t. But we do need the Oscars to take Hollywood’s temperature and convey its temperament, as it’s the only outward metric we have that can do so. And in that regard, the Oscars remain culturally indispensable and historically invaluable… even when the movies aren’t.
Without further ado, my picks:
Best Visual Effects:
Four sequels and a semi-sequel/reboot in the category that most represents what ails the movie business. This is the only category in which all five nominees are studio releases, three of which have no other nominations. Only one of the five, however, had any overt artistic aspirations (which may be why it tanked at the box office). For that reason alone, expect voters to express their general discontent with the state of the industry by awarding Blade Runner: 2049 the first of its two Oscars in this category.
Best Film Editing:
It used to be that editing was a reliable harbinger of Best Picture given that editing was typically tied to Director which was tied to Picture. Those linkages have largely vanished in recent years, but a Best Picture nomination is still meaningful. Three of these nominees are also Best Picture nominees, which makes for a horse race, but expect Lee Smith to take the statuette for his work on Dunkirk. A beloved and thrice-nominated veteran editor whose list of credits with Peter Weir and Christopher Nolan alone constitute some of the best films of the past 40 years, the Australian-born Smith is due for his first win, and Dunkirk’s slick time-shift device and multiple storylines constitute the perfect excuse to make that a reality.
Best Costume Design:
Phantom Thread would seem to be the logical front-runner here, given that it’s a film entirely about fashion design – but its competition is considerable. I’m calling Beauty and the Beast’s Jacqueline Durran the odds-on favorite given that voters typically use this category to award period films and opulent design work. It’s true that two years ago the similarly opulent live-action Cinderella lost the award to Mad Max: Fury Road, but this year offers no comparable competition other than Durran herself, as she is also nominated for her work on Best Picture nominee The Darkest Hour. Voters don’t typically like double-nominees to go home empty-handed – especially if they’re double-nominated in the same category – so Durran should be an easy call to take home her second Academy Award for Beauty and the Beast… unless, of course, voters are foolish enough to make the misinformed assumption that the aquatic suit worn by actor Doug Jones in The Shape of Water was designed by costumer Luis Sequeira. I’m wagering they know better.
Best Makeup and Hairstyling:
Darkest Hour. I’m not even going to bother explaining why.
Best Cinematography:
Roger Deakins is considered one of the greatest cinematographers in history. He has never received an Oscar. He’s been nominated fourteen times. Ordinarily, the fact that Blade Runner: 2049 isn’t nominated for Best Picture would weigh against it in a category where three other films are. In this case, it doesn’t matter. Deakins will win handily, ending his historic draught, and Blade Runner: 2049 will win its second Oscar of the evening.
Best Production Design:
Oscar voters have been increasingly of a “share the wealth” mentality for a few years now, so look for The Shape of Water to earn a statuette in this category. Guillermo del Toro is among the most singular visual stylists in cinema, and he inspires visionary design work from his collaborators. Voters will acknowledge that here.
Best Sound Editing / Best Sound Mixing:
These two awards don’t always go hand-in-hand, but in years where there’s a standout achievement in both categories, voters notice. That was the case in 2016 with Mad Max: Fury Road and it’ll be the case this year with Dunkirk. Not surprisingly, the same five films are nominated in both categories, a strong indication that one film will sweep. All are strong contenders, but war films typically do best in these categories thanks to their complex, showy soundscapes. Chalk up a twofer for Dunkirk.
Best Original Song:
Benj Pasek and Justin Paul won last year for La La Land’s “City of Stars.” “This is Me” is a good tune, but nobody liked The Greatest Showman, so take them off the list. If there’s anyone who can hum a single bar of the nominated songs from Mudbound, Call Me by Your Name or Marshall, they should be competing on Jeopardy. Coco is a celebration of music and song, and “Remember Me” will win this in a walk.
Best Original Score:
Personally, I’d love to see Johnny Greenwood take this award – Phantom Thread is simply dazzling work. But he’s up against four of the biggest heavyweights in the business. The Shape of Water and its thirteen nominations will pick up a bit more momentum here and win another Oscar for France’s Alexandre Desplat – his second out of nine nominations – a far cry from John Williams’ forty-two nominations and four wins in this category. But at just 56, thirty years shy of fellow nominee Williams, he has time to make up the gap.
Best Animated Short:
This category basically comes down to yet another Pixar short – Lou – and Glen Keane’s extraordinary hand-drawn accompaniment to Kobe Bryant’s poetic farewell in Dear Basketball. Lou is a predictably slick, polished and heartfelt Pixar effort, which is why it won’t win. Dear Basketball delivers something this category rarely sees – a free-form, non-narrative, deeply personal essay enhanced by the craft of animation. It’s impossible to not be awed and inspired by the work – and what Oscar voter doesn’t want to see Kobe Bryant collect an Academy Award?
Best Live Action Short:
This is a particularly strong category this year, with excellent work from across the globe. The recent Parkland high school shootings in Florida might seem to give a boost to DeKalb Elementary, which is based on an actual incident, but current events also give added gravitas to My Nephew Emmett, a dramatization of events leading up to the murder of Emmett Till in 1955 Mississippi, and Watu Wote / All of Us, a German student film based on a 2015 incident in Kenya centering on that nation’s conflict between Christians and Muslims. Objectively, there’s really no competition here – four of the nominees feel like short films. Watu Wote / All of Us feels like a miniature feature film. What’s more, the two women who wrote and directed it elected to make a film in a country and language not their own, which is extraordinarily risky and ambitious for a short film. That they succeeded so brilliantly only magnifies the achievement. Emotionally powerful and technically proficient, Watu Wote / All of Us should handily win this award.
Best Documentary – Short Subject:
Here, too, contemporary events dovetail with many of the nominees, notably Traffic Stop and Heroin(e). Only one of the nominees, however, feels bigger, grander and more ambitious than its short format would normally allow. Knife Skills is a powerful, gut-wrenching, tear-jerking and ultimately inspiring story of a Cleveland restauranteur and his efforts to give ex-convicts a new lease on life by training them to work not just in the restaurant business, but in what he hopes to make the best restaurant in the city. This isn’t just the best film in this category – it’s one of the best films of these Academy Awards.
Best Documentary – Feature:
In keeping with a general desire to reward films boasting upbeat, aspirational and inspirational themes, the four films here that deal with weighty, topical themes will not win. That’s not to say that they aren’t good – they are all exceptionally good and would make for a real race in any other year. But Agnès Varda is a living legend, one of the pioneers of the French New Wave, the widow of French legend Jacques Demy, a former USC School of Cinema instructor who counts among her former students a substantial number of current Oscar voters, and a recipient of an honorary Oscar just this past November. She’s also, at 89, the oldest Oscar nominee in history. For those reasons and more, her touching, inspirational and wholly unorthodox documentary road trip with graphic artist/photographer JR, Faces Places, will make her the oldest Oscar winner in history.
Best Foreign Language Film:
This is a popular category for upsets, and may be again this year. Many of the most acclaimed foreign language films of the year didn’t make the final five. Of those that did, all but the Hungarian entry could be considered serious contenders. The Square, from Sweden, was a surprise winner at the Cannes Film Festival, but remains perhaps too quirky to win. Likewise, Russia’s Loveless is powerful but bleak, which doesn’t usually play well in this category. Despite recent rules changes, this award is still largely determined by the tastes of older voters on the Foreign Language Film Committee that chooses the nominees. It’s a requirement that voters see all five nominated films, which favors those voters who’ve already done so in the nominating process. That likely narrows it down to Lebanon’s The Insult and Chile’s A Fantastic Woman. A desire to see the Chilean film’s transgender star take the stage in an Oscarcast first may sway younger and more progressive voters, but I’m betting that Ziad Doueiri’s powerful parable about sectarian conflict and hope on the doorstep of the war in Syria will carry the day. Look for The Insult to win this one by a nose. Full disclosure: the forthcoming DVD/Blu-ray release of the film also features an audio commentary with yours truly and Doueiri, so I’m admittedly biased. But it still feels like a winner to me.
Best Animated Feature Film:
The Breadwinner has scored some impressive firsts – it was the choice of the Los Angeles Film Critics Association, and is noteworthy not just for its tale of female oppression and empowerment in Afghanistan, but because it’s the first ever film in this category made entirely by women. It’s also another feather in the cap of the burgeoning Irish animation industry. In any other year, it would be a runaway winner. This is not that year. This year belongs, yet again, to Pixar. Coco is a visual and musical feast with a soaring heart and eye-popping design. Whatever its minor imperfections, voters won’t care – they’re cuckoo for Coco.
Best Adapted Screenplay:
For my money, Molly’s Game is far and away the best of this lot. But Aaron Sorkin has already won an Oscar, and the film didn’t quite catch fire in any other categories. The same can be said of Mudbound, which seems to have fallen victim to lingering ambivalence about Netflix. That leaves Call Me by Your Name, which won the WGA award and has also done well with critics groups, including the Los Angeles Film Critics Association which awarded it Best Picture. What really secures this award for Call Me by Your Name is that it was written by 89-year-old legend James Ivory of Merchant/Ivory fame. Just eight days younger than Agnès Varda, Ivory is the second-oldest Oscar nominee in history. Like Varda, he will elevate that title to second-oldest Oscar winner on Sunday night. It’s a deserving script, but more than anything this is the Academy’s chance to honor Ivory not just for his screenplay, but for a directing career that has given the world such classics as Howards End, A Room With a View and The Remains of the Day. Many artists have won awards for their work in Merchant/Ivory movies – everyone, it seems, except for the late Ismail Merchant and James Ivory. The Academy will remedy that oversight on Sunday.
Best Original Screenplay:
Four of the nominees in this category are Best Picture nominees, and they may be the four strongest nominees. If Lady Bird wins this award in an upset, expect it to be the odds on favorite for Best Picture. The more likely outcome, however, is that first-time writer/producer/director Jordan Peele will win the day with his Zeitgeist-capturing hybrid comedy/horror/thriller Get Out. Peele’s bracingly original film has already run the table on most of the major screenplay awards (including the WGA and the Los Angeles Film Critics Association) and has been a resounding success both critically and commercially, with one of the highest Rotten Tomatoes scores of the year among both critics and filmgoers. Oscar voters will not want to be the Grinches who overlook the film that everyone else loved – so expect them to join the fray and award Peele and his film a cherry-on-top Best Original Screenplay Oscar.
Best Supporting Actress:
Actors are the single largest branch in the academy, represented by four of the twenty-four awards categories, so their influence is significant. In recent years that has made the Screen Actors Guild Awards a very strong predictor of eventual Oscar winners. The two haven’t always been perfectly in sync, but this year they will be. The four SAG Award winners are all heavy favorites, beloved by their peers. In this category that’s going to favor Allison Janney for her splashy, show-stopping turn as Tonya Harding’s hard-driving, hard-living mother in I, Tonya. Her only real competition comes from equally popular Laurie Metcalf as a very different kind of mother in the other mother-daughter tandem of Lady Bird, a performance that would normally have the edge here as Lady Bird also has a Best Picture nomination. Like Get Out’s screenplay, however, Janney’s performance has received outsized attention all season long, and it’s the only real chance I, Tonya has for an award, so the Academy will oblige.
Best Supporting Actor:
Three Billboards Outside Ebbing, Missouri is one of the odds-on favorites this year and it was the big winner at the SAG Awards. The actors branch of the Academy made its love for the film known by nominating three of its performers, two of them in this category. Woody Harrelson, however, disappears from the movie right at the point where Sam Rockwell really takes over, and that’s going to give the enormously popular Rockwell the edge. The only other performance from a Best Picture nominee is Richard Jenkins in The Shape of Water, which was also honored with three acting nominations. But The Shape of Water is widely seen as a director’s showpiece first and foremost whereas Three Billboards is deemed an acting showpiece. Rockwell should have a memorable speech at the ready.
Best Actress:
Recent years had seen a trend where Best Picture nominees were so male-centric, that four of five Best Actor nominees would be for roles in Best Pictures where the reverse was true of Best Actress nominees. This year, there’s parity: four of the nominated performances are for Best Picture nominees. Frances McDormand, who previously won for Fargo, could enter the history books as Oscar’s thirteenth double-Best Actress winner, joining such luminaries as Ingrid Bergman, Bette Davis, Elizabeth Taylor, Jodie Foster and fellow nominee Meryl Streep. Her SAG Award win for Three Billboards Outside Ebbing, Missouri makes her the favorite to do so. If she and Rockwell capture their two awards, as expected, the evening’s Best Picture odds for Three Billboards will be significantly improved. If there’s a challenger in this category, it’s Sally Hawkins in The Shape of Water. A Hawkins win would make hers the first “mute” performance to win an Oscar since 1970 when John Mills won for David Lean’s Ryan’s Daughter. All indications, though, are that McDormand has this one in the bag.
Best Actor:
This may be the easiest category to prognosticate this year. Four of the nominees are for Best Picture performances. The fifth is perennial nominee and two-time winner Denzel Washington, whose performance in Roman J. Israel, Esq. is that film’s only nomination. Count him out immediately. Timothée Chalamet and Daniel Kaluuya are both young, promising actors enjoying their first-ever nominations – they will be back. Count them out. Daniel Day-Lewis is the all-time champion in this category, its only three-time winner and one of the only winners in any acting category with more than two, an honor he shares with no less than four-time Best Actress winner Katharine Hepburn. Count him out. That leaves Gary Oldman, one of the most acclaimed actors of his generation, and one of the best actors never to have won an Academy Award. That his makeup-laden performance as Winston Churchill in Darkest Hour is also the most acclaimed performance of his career makes this the ultimate no-brainer. By the time this award is announced, Oldman’s makeup will already have won an award – it would be the ultimate insult to then snub the actor inside the makeup. In 2011, The Iron Lady won both makeup and Best Actress for Meryl Streep’s performance as Margaret Thatcher; everyone who checked those boxes at that time will do so again for Oldman this year, and for precisely the same reasons. If there’s a sure bet among any of the twenty-four categories this year, it’s Gary Oldman in Darkest Hour.
Best Director:
This one’s also an easy call. Gerwig and Peele are first-time directors and first-time nominees who will be back. Their films are also more screenplay-driven than director-driven. Paul Thomas Anderson is due, but Phantom Thread has divided critics and audiences. Christopher Nolan is also due, and if there’s a spoiler here, the director of Dunkirk is it. But with DGA and Golden Globe wins in his pocket, Guillermo del Toro will handily take this award for The Shape of Water. The film’s thirteen nominations – one shy of the record – speaks to its broad popularity across branches, which is almost always a sign of broad popularity for the director. Last year La La Land became the first film with fourteen nominations to lose Best Picture… but Damien Chazelle still won Best Director. Guillermo del Toro should expect to receive, at a minimum, the same validation this year. Other factors securing this win: del Toro is larger than life, figuratively and literally, with a grandiose wit and a beloved, teddy bear personality that has left him virtually without any detractors anywhere in the business; and with close friends and fellow Mexican émigrés Alfonso Cuarón and Alejandro González Iñárritu having won three of the last four Best Director Oscars, the sentimental attachment to giving the three amigos something to talk about at private gatherings will consume voters with a sense of irresistible cuteness. Guillermo del Toro wins this award handily.
Best Picture:
Here’s where it gets weird. My bonked La La Land prediction last year relied on several factors: the only other two films to earn fourteen nominations, Titanic and All About Eve, both went on to Best Picture wins; and in all but one of the eight years since 2009 when the Oscars switched to a field of more than five nominees, the Best Picture winner has corresponded with the winner of the Producers Guild of America Award, which uses the same “preferential ballot” system of ranking films in order of preference rather than picking an outright winner. Those statistics should have spelled a La La Land victory. What I overlooked were the two metrics that weighed against it: 1) No film has won Best Picture without at least being nominated for the SAG “best ensemble” award since the first year of the SAG Awards in 1995, and 2) that one exception to the PGA-Oscar tandem was the preceding year when the PGA honored The Big Short and Oscar went with Spotlight. What does this tell us? For starters, it says that the new class of Oscar voters has pulled the preferential ballot closer to the tastes of SAG and away from the tastes of the PGA. But it also tells us something about the way the preferential ballot has changed the math for Best Picture. An analysis of the two periods when the Academy Awards had more than five nominees reveals a curious trend regarding Best Picture winners and the films that win the most awards in a given ceremony. The twelve-year period between 1931 and 1943 saw six Best Picture winners that failed to win the most awards of the evening – fully 50%. That changed with the reduction of the category to five nominees in 1944, and over the course of the next sixty-five years, right up to Slumdog Millionaire’s historic win in 2008, only eight more Best Picture winners failed to at least tie for the most awards of the evening. Best Picture awards dominance becomes even more pronounced after 1977 when Star Wars took home five Oscars to eventual Best Picture winner Annie Hall’s four. Over the course of the next thirty-one years, only one eventual Best Picture winner would fail to win the most awards of the evening – in 2004 when, as in 1977, The Aviator captured five awards, but four-award winner Million Dollar Baby won Best Picture.
That all changed in 2009. With the preferential ballot’s “instant runoff” tabulation system, films with the fewest first place votes are discarded and their second place votes awarded as first place votes instead, until a winner emerges. The result since 2009 has been that only once has Best Picture also captured the most awards of the evening… which was that first year when The Hurt Locker led the evening with six awards including Best Picture. Over the next seven years, not once has the eventual Best Picture winner won the most awards outright. In three of those years the Best Picture winner tied for most awards, and in four – including four of the last five – the film that won the most awards would not go on to win Best Picture. What we can deduce from this is that films which would have won in previous years, based on a straight count of first place votes, are not winning when second place votes are factored into the mix. This means that even extremely popular films can fail to win Best Picture if they come into the evening with a significant number of detractors. To the extent that the preferential ballot was designed to insure a more broadly popular winner, this calculus has been successful; the four most recent Best Picture winners that did not win the most awards – Moonlight, Spotlight, 12 Years a Slave and Argo – all benefitted from widespread popularity and extremely low negatives. Simply put, they were “safe.” But this is also the new system’s greatest deficiency, as “safe” winners have tended to be smaller, artier films of little interest to the general public whom the Oscars desperately need to sustain ratings.
Among this year’s nine nominees, an unprecedented five films could be legitimately in the running for the top award: Dunkirk, Get Out, Lady Bird, The Shape of Water and Three Billboards Outside Ebbing, Missouri. Dunkirk was an early and obvious favorite, a classical “Oscar” film based purely on its scale, subject matter and credentials. If it carries the day here, however, it will have to do so having won none of the guild or critics awards that typically create Oscar momentum. The Shape of Water won both the PGA and DGA awards, which used to be Best Picture harbingers. But the same could be said of La La Land last year. The same factors that undermined La La Land are likely to similarly impact The Shape of Water this year. Accusations of plagiarism in recent weeks and a general distaste among some for the film’s subject matter won’t hurt del Toro personally, but they could easily prevent the film from securing enough second place votes to win the big prize. Like La La Land, The Shape of Water also failed to secure a SAG “Best Ensemble” nomination. Three Billboards, on the other hand, won the SAG ensemble award and is very likely to win two of the four acting awards, which would seem to make it a frontrunner for Best Picture… except that writer/director Martin McDonagh did not receive a Best Director nomination. Only twice since 1931 has a film won Best Picture without a nomination for its director – Driving Miss Daisy in 1989 and Argo in 2012. It’s possible that the same forces that propelled Argo to a win despite the omission of Ben Affleck in the directing category will work for Three Billboards – but, like Shape of Water, Three Billboards also suffers from a small but vocal group of detractors who may cost it those precious second-place votes. That creates an opportunity for the two most widely liked films of the season, Get Out and Lady Bird, both of which also received SAG ensemble nominations and seem to check all the same boxes that elevated Moonlight and Spotlight. Actors are fond of both films and their first-time writers/directors – Jordan Peele and Greta Gerwig – who are also veteran actors. If Peele wins Best Original Screenplay, the momentum shifts to Lady Bird and Gerwig, whose endearing, bubbly personality has been on display everywhere this awards season.
It’s not a lock by any means – this is, again, the most unpredictable class of nominees in Academy Awards history. Anything is still possible. For now, however, I’m going with Lady Bird.
So to recap, this is how I’m calling the evening:
Best Picture: Lady Bird
Best Director: Guillermo del Toro, The Shape of Water
Best Actor: Gary Oldman, Darkest Hour
Best Actress: Frances McDormand, Three Billboards Outside Ebbing, Missouri
Best Supporting Actor: Sam Rockwell, Three Billboards Outside Ebbing, Missouri
Best Supporting Actress: Allison Janney, I, Tonya
Best Original Screenplay: Jordan Peele, Get Out
Best Adapted Screenplay: James Ivory, Call Me by Your Name
Best Animated Feature Film: Coco
Best Foreign Language Film: The Insult
Best Documentary – Feature: Faces Places
Best Documentary – Short Subject: Knife Skills
Best Live Action Short Film: Watu Wote / All of Us
Best Animated Short Film: Dear Basketball
Best Original Score: The Shape of Water
Best Original Song: “Remember Me” from Coco.
Best Sound Editing: Dunkirk
Best Sound Mixing: Dunkirk
Best Production Design: The Shape of Water
Best Cinematography: Blade Runner: 2049
Best Makeup and Hairstyling: Darkest Hour
Best Costume Design: Beauty and the Beast
Best Film Editing: Dunkirk
Best Visual Effects: Blade Runner: 2049
By number of awards:
Dunkirk – 3
The Shape of Water – 3
Blade Runner: 2049 – 2
Coco – 2
Darkest Hour – 2
Three Billboards Outside Ebbing, Missouri – 2
Beauty and the Beast – 1
Call Me by Your Name – 1
Faces Places – 1
Get Out – 1
The Insult – 1
I, Tonya – 1
Lady Bird – 1