First things first, just what everyone wants to read the morning after Oscar Sunday: stats. At this year’s ceremony — which, thanks to an earlier start time, blessedly wrapped up before 10:30 p.m. Et — 13 women won Oscars. 11 of those winners enjoyed their first Academy Award win ever. That means that, at the 2024 Oscars, nearly 85 percent of its female winners smashed one of Hollywood’s highest, brightest ceilings for the first time.
As ever, that stat comes with a caveat or two, as some of the night’s biggest wins for female stars were repeats: Billie Eilish (alongside brother Finneas O’Connell) picked up her second Best Song win for the Barbie track “What Was I Made for,” making her the youngest two-time Oscar winner ever. And, perhaps most notably, a stunned Emma Stone won her second Best Actress statuette for her work in “Poor Things,” beating out first-time nominee Lily Gladstone...
As ever, that stat comes with a caveat or two, as some of the night’s biggest wins for female stars were repeats: Billie Eilish (alongside brother Finneas O’Connell) picked up her second Best Song win for the Barbie track “What Was I Made for,” making her the youngest two-time Oscar winner ever. And, perhaps most notably, a stunned Emma Stone won her second Best Actress statuette for her work in “Poor Things,” beating out first-time nominee Lily Gladstone...
- 3/11/2024
- by Kate Erbland
- Indiewire
The films in the running for the 2024 Best Visual Effects Oscar are “The Creator,” “Godzilla Minus One,” “Guardians of the Galaxy Vol. 3,” “Mission: Impossible – Dead Reckoning Part One,” and “Napoleon.” Our odds currently indicate that “Godzilla Minus One” (10/3) is the frontrunner, followed in order by “The Creator” (18/5), the new “Guardians” entry (9/2), “Napoleon” (9/2), and the latest “Mission: Impossible” chapter (9/2).
Included among the 17 individuals in this lineup are 13 first-timers who constitute the category’s largest newcomer rate since the minimum annual amount of nominated films was set at five in 2011. This vast majority comprises all four “Godzilla Minus One” team members, dual contender Simone Coco (“Mission: Impossible” and “Napoleon”), three artists from “The Creator”, two from “Guardians of the Galaxy” (Theo Bialek and Alexis Wajsbrot), two more from “Mission: Impossible” (Jeff Sutherland and Alex Wuttke), and one more from “Napoleon” (Luc-Ewen Martin-Fenouillet).
The third “Guardians” volume is the 14th Marvel...
Included among the 17 individuals in this lineup are 13 first-timers who constitute the category’s largest newcomer rate since the minimum annual amount of nominated films was set at five in 2011. This vast majority comprises all four “Godzilla Minus One” team members, dual contender Simone Coco (“Mission: Impossible” and “Napoleon”), three artists from “The Creator”, two from “Guardians of the Galaxy” (Theo Bialek and Alexis Wajsbrot), two more from “Mission: Impossible” (Jeff Sutherland and Alex Wuttke), and one more from “Napoleon” (Luc-Ewen Martin-Fenouillet).
The third “Guardians” volume is the 14th Marvel...
- 3/7/2024
- by Matthew Stewart
- Gold Derby
“Eternals,” the newest entry into the Marvel Cinematic Universe, comes from the Oscars’ reigning best director Chloé Zhao, but has been met with tepid reception from critics. Ahead of its release in theaters on Friday, the film is currently sitting at 53% on Rotten Tomatoes, the lowest score for an MCU film, which is baffling considering it’s sitting under “Thor: The Dark World” (2013) and “Iron Man 2” (2010). It’s unlikely it will join “Black Panther” (2018), the only Marvel feature to be nominated for best picture at the Oscars, but what about the other categories?
The visual effects category seems to present the best opportunity for a nom. “Dune,” from Denis Villeneuve, is so far the only surefire contender in that category. I was surprised to learn recently that no film directed by a woman has ever won for best visual effects. “There’s no way,” I said to a friend,...
The visual effects category seems to present the best opportunity for a nom. “Dune,” from Denis Villeneuve, is so far the only surefire contender in that category. I was surprised to learn recently that no film directed by a woman has ever won for best visual effects. “There’s no way,” I said to a friend,...
- 11/4/2021
- by Clayton Davis
- Variety Film + TV
The films in the running for the 2021 Best Visual Effects Oscar are “Love and Monsters,” “The Midnight Sky,” “Mulan,” “The One and Only Ivan,” and “Tenet.” Our odds currently indicate that “Tenet” (31/10) will be the winner, followed in order by “The Midnight Sky” (39/10), “Mulan” (9/2), “The One and Only Ivan” (9/2), and “Love and Monsters” (9/2).
Included among the 20 individuals in this year’s lineup are six past nominees, three of whom have triumphed here at least once before. The “Love and Monsters” team consists entirely of rookie nominees. The remaining 10 first-timers are: Matthew Kasmir, Max Solomon, and David Watkins (“The Midnight Sky”), Sean Faden, Steve Ingram, and Seth Maury (“Mulan”), Santiago Colomo Martinez, Greg Fisher, and Ben Jones (“The One and Only Ivan”), and David Lee (“Tenet”).
After collecting a pair of prizes for “Inception” (2011) and “Interstellar” (2015), Andrew Lockley (“Tenet”) has earned a third bid for a collaboration with writer-director Christopher Nolan...
Included among the 20 individuals in this year’s lineup are six past nominees, three of whom have triumphed here at least once before. The “Love and Monsters” team consists entirely of rookie nominees. The remaining 10 first-timers are: Matthew Kasmir, Max Solomon, and David Watkins (“The Midnight Sky”), Sean Faden, Steve Ingram, and Seth Maury (“Mulan”), Santiago Colomo Martinez, Greg Fisher, and Ben Jones (“The One and Only Ivan”), and David Lee (“Tenet”).
After collecting a pair of prizes for “Inception” (2011) and “Interstellar” (2015), Andrew Lockley (“Tenet”) has earned a third bid for a collaboration with writer-director Christopher Nolan...
- 4/22/2021
- by Matthew Stewart
- Gold Derby
Bennett is only the third woman nominated in the category, also won by Suzanne Benson in 1986; UK VFX highlighted at awards.
On a night in which British talent dominated the field for best VFX Oscar, Sara Bennett, co-founder of UK studio Milk, became the first female VFX supervisor to win the award.
Along with artists from Double Negative, Andrew Whitehurst, Paul Norris and Mark Ardington, Bennett won for Alex Garland’s stylish sci-fi Ex Machina.
She is only the third woman to receive a nomination in the famously male-heavy category, which VFX artist Suzanne Benson won for Aliens (1986).
Bennett said: “I am beyond excited!! We are thrilled and honoured to be recognised by The Academy for our work on Ex-Machina. It was a privilege to work with Alex Garland, to bring his incredible vision to life, alongside Andrew Whitehurst and the Dneg team. I would love to see more women in prominent creative roles in our Industry...
On a night in which British talent dominated the field for best VFX Oscar, Sara Bennett, co-founder of UK studio Milk, became the first female VFX supervisor to win the award.
Along with artists from Double Negative, Andrew Whitehurst, Paul Norris and Mark Ardington, Bennett won for Alex Garland’s stylish sci-fi Ex Machina.
She is only the third woman to receive a nomination in the famously male-heavy category, which VFX artist Suzanne Benson won for Aliens (1986).
Bennett said: “I am beyond excited!! We are thrilled and honoured to be recognised by The Academy for our work on Ex-Machina. It was a privilege to work with Alex Garland, to bring his incredible vision to life, alongside Andrew Whitehurst and the Dneg team. I would love to see more women in prominent creative roles in our Industry...
- 2/29/2016
- ScreenDaily
Bennett is only the third woman nominated in the category, also won by Suzanne Benson in 1986; UK VFX triumphs at awards.
In a night in which British talent dominated the field for Best VFX Oscar, Sara Bennett, co-founder of UK studio Milk, became the first female VFX supervisor to win the award.
Along with artists from Double Negative, Andrew Whitehurst, Paul Norris and Mark Ardington, Bennett won for Alex Garland’s stylish sci-fi Ex Machina.
She is only the third woman to receive a nomination in the category, which VFX artist Suzanne Benson won for Aliens (1986).
Bennett said: “I am beyond excited!! We are thrilled and honoured to be recognised by The Academy for our work on Ex-Machina. It was a privilege to work with Alex Garland, to bring his incredible vision to life, alongside Andrew Whitehurst and the Dneg team. I would love to see more women in prominent creative roles in our Industry – I was...
In a night in which British talent dominated the field for Best VFX Oscar, Sara Bennett, co-founder of UK studio Milk, became the first female VFX supervisor to win the award.
Along with artists from Double Negative, Andrew Whitehurst, Paul Norris and Mark Ardington, Bennett won for Alex Garland’s stylish sci-fi Ex Machina.
She is only the third woman to receive a nomination in the category, which VFX artist Suzanne Benson won for Aliens (1986).
Bennett said: “I am beyond excited!! We are thrilled and honoured to be recognised by The Academy for our work on Ex-Machina. It was a privilege to work with Alex Garland, to bring his incredible vision to life, alongside Andrew Whitehurst and the Dneg team. I would love to see more women in prominent creative roles in our Industry – I was...
- 2/29/2016
- ScreenDaily
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