The buzz on potential Oscar contenders from the first half of 2024 seems quieter than usual. Nonetheless, stars such as Zendaya, Cannes winner Jesse Plemons and Hollywood’s new “hit man,” Glen Powell, will be among those hoping to stay afloat in the awards conversation until the end of the season.
Significant financial successes from the top of the box office charts are worth celebrating. Warner Bros.’ sci-fi epic sequel, “Dune: Part Two,” could become the seventh movie nominated in all seven technical categories, following its 2022 predecessor. Pixar’s big comeback, “Inside Out 2,” might vie for more than just a spot in the best animated feature category.
This year also features several one-offs — films hoping for one or two mentions in a year likely to be dominated by legacy studios and streaming giants. As we approach this year’s midpoint, Variety is listing possible awards contenders in 20 of the 23 Oscar categories that could be in the running by the end of the year.
Amazon MGM’s “Challengers,” directed by Italian auteur Luca Guadagnino, boasts an impressive turn from Zendaya in a femme fatale role that could bring the 27-year-old her first Oscar nod. If it can sustain until the fall season, it might also contend for original screenplay or a best picture slot.
Yorgos Lanthimos’s anthology film “Kinds of Kindness” may not be everyone’s cup of tea, but that’s typical for the Greek filmmaker’s audacious outings (“The Favourite,” “The Killing of a Sacred Deer”). After debuting at the Cannes Film Festival, the black comedy garnered a best actor trophy for Oscar nominee Jesse Plemons (“The Power of the Dog”). Depending on whether he campaigns for lead or supporting actor, Plemons could earn his second nod. However, anything outside of Plemons might be too tall of an order.
Netflix is also in the running with the animated adaptation of the Japanese superhero “Ultraman: Rising” and, more notably, Richard Linklater’s dark rom-com “Hit Man.” The streamer acquired the film at TIFF in 2023, resulting in another big win for star Glen Powell, who also co-wrote the script adapted from the Texas Monthly article by Skip Hollandsworth. Netflix will work to keep it on voters’ minds throughout the year, aiming for at least some Golden Globes traction.
Box office receipts fuel awards campaigns, which is why we might see efforts from studios with franchise movies such as DreamWorks Animation’s “Kung Fu Panda 4,” 20th Century Studios’ “Kingdom of the Planet of the Apes,” and WB’s “Godzilla x Kong: The New Empire,” among the top 10 domestic grossers so far.
However, money isn’t everything. Sony’s “The Garfield Movie,” featuring Chris Pratt as the world-famous Monday-hating cat, has accumulated an impressive $207 million globally. But that won’t be enough to overcome the film’s critical panning and mount an Oscar campaign.
What happens when a movie doesn’t get audiences in the door? Is the 81% Rotten Tomatoes score enough for Universal Pictures to push for recognition for David Leitch’s action-ode to stunt performers, “The Fall Guy”? Or perhaps a Golden Globes push in the comedy races for stars Ryan Gosling and Emily Blunt? It’s worth it, especially for sound and editing, and with a stunt Oscar on the horizon.
The first official best picture rankings will be posted on Monday, July 1.
** Not all listed crew members are official. The Academy of Motion Picture Arts and Sciences and its various committees ultimately decide on credits.
International Feature: ‘The Devil’s Bath’
While no official country selections have been made yet, Veronika Franz and Severin Fiala’s Austrian hopeful “The Devil’s Bath,” which premiered at the Berlin Film Festival and won the Silver Bear for Outstanding Artistic Contribution, could be a strong contender for the International Feature prize.
Acquired by IFC Films, the film follows Agnes in 18th-century Austria as she begins to have evil thoughts while preparing for marriage. As Jessica Kiang for Variety beautifully stated in her review: “If the story is so pitilessly bleak you may want to look away, the filmmaking craft is so compelling that you can’t.”
“The Devil’s Bath” marks another standout entry in what promises to be a stellar year for the horror genre.
Documentary Feature: ‘Frida’
Original Song: ‘Jeezu’ from ‘The Book of Clarence’
Writer-director Jeymes Samuel’s sophomore feature effort, following “The Harder They Fall,” showcases the talents of Doja Cat, Kodak Black, and Adekunle Gold with the foot-tapping song “Jeezu” in Sony Pictures’ “The Book of Clarence.”
It’s rare for such an audacious endeavor to have a January release. Modest reviews and tepid box office might impact its Oscar chances, but the contemporary music set against a biblical backdrop offers a unique twist.
Alongside a bold performance by Lakeith Stanfield, Samuel collaborates with prominent Black music artists to maintain the film’s integrity. Any of the tracks from the movie, such as “Hallelujah Heaven,” could be considered for awards. However, rap and hip-hop have often come up short at the Oscars, despite wins like Eminem’s “Lose Yourself” from “8 Mile” and Three 6 Mafia’s “It’s Hard Out Here for a Pimp” from “Hustle & Flow.”
Original Score: ‘Young Woman and the Sea’
Talented composer Amelia Warner has shown promise as a future Oscar-nominated musician, with notable works in “Mary Shelley” and “Mr. Malcolm’s List.” She delivers the best musical cues of her career in the crowd-pleasing sports drama “Young Woman and the Sea,” directed by Joachim Rønning and starring Daisy Ridley.
With a big name like Jerry Bruckheimer as a producer, Disney will ensure the film is part of its awards roster later in the year, positioning the music as a key element in its feel-good moments.
Also in the discussion: “Challengers” (Amazon MGM); “Dune: Part Two” (Warner Bros.); “Inside Out 2” (Pixar)
Visual Effects: ‘Kingdom of the Planet of the Apes’
We’ve been here before with the “Planet of the Apes” franchise.
For over 50 years, the visuals have impressed audiences, bringing awe and wonder with its depiction of highly intelligent apes, especially with the 2011 reboot. Though the well-reviewed trilogy has been financially successful, the visual effects Oscar has remained elusive.
20th Century Studios, now under Disney, hopes to change that with well-received continuations that could finally earn the franchise its overdue recognition.
Also in the discussion: “Dune: Part Two” (Warner Bros.); “The Fall Guy” (Universal Pictures); “Furiosa: A Mad Max Saga” (Warner Bros.)
Sound: ‘Stopmotion’
How the horror genre isn’t recognized continuously in the sound categories is beyond my comprehension. IFC’s mix of live-action and adult animation (not meeting the 75% threshold to be considered in animated feature, unfortunately) boasts an eerie, often spine-tingling aural work that almost feels like it’s infiltrating your DNA.
While the indie company can do its best to get the Academy voters to recognize this story about an animator who struggles to control her demons, a concentrated effort on the artisans could be enough to get it minimally in the awards race.
Also in the discussion: “The Bikeriders” (Focus Features); “Dune: Part Two” (Warner Bros.); “Kingdom of the Planet of the Apes” (20th Century Studios)
Makeup and Hairstyling: ‘Furiosa: A Mad Max Saga’
Living in the shadow of a technical masterpiece like “Mad Max: Fury Road” (2015), which won six Oscars, is challenging. However, “Furiosa” rises to the occasion with its epic scope, featuring Anya Taylor-Joy stepping into Charlize Theron’s iconic role as the titular character. The transformative makeup on Taylor-Joy and Chris Hemsworth’s unrecognizable portrayal of Warlord Dementus ensures the film will likely make the Oscar shortlist for makeup and hair design.
Also in the discussion: “Dune: Part Two” (Warner Bros.); “Kinds of Kindness” (Searchlight Pictures); “Young Woman and the Sea” (Walt Disney Pictures)
Film Editing: ‘We Grown Now’
I love “We Grown Now.” Writer-director Minhal Baig’s bold and beautiful story of two young boys who discover the joys and sorrows of growing up in a public housing complex in 1992 is a sensitive distant cousin to another Oscar-embraced fantasy-esque coming-of-age film, “Beasts of the Southern Wild.”
It encompasses textured editing from Stephanie Filo, already recognized at last year’s Film Independent Spirit Awards, giving the film its ultimate heartbeat. Sony Pictures Classics picked it up, and if enough voters discover it, it would be a fine and very worthy addition to the awards race.
Also in the discussion: “Dune: Part Two” (Warner Bros.); “The Fall Guy” (Universal Pictures); “Thelma” (Magnolia Pictures);
Costume Design: ‘One Life’
Director James Hawes’s British biopic tells the poignant true story of humanitarian Nicholas Winton, portrayed exquisitely by Anthony Hopkins, who recalls his efforts to save groups of Jewish children before World War II.
Among the familiar genre of Holocaust-themed films, the memorable costumes of this drama stand out. Costume designer Joanna Eatwell, a two-time Emmy nominee for “Wolf Hall” and “Carnival Row,” brings her finest attention to detail, significantly contributing to the film’s artistry.
Also in the discussion: “Dune: Part Two” (Warner Bros.); “Furiosa: A Mad Max Saga” (Warner Bros.); “Kinds of Kindness” (Searchlight Pictures)
Cinematography: ‘I Saw the TV Glow’
Writer-director Jane Schoenbrun’s surreal horror film, which premiered at the Sundance Film Festival, showcases a visually compelling aura thanks to cinematographer Eric K. Yue. While the indie circuit is more likely to embrace elements from the genre (you can too, Academy), it’s remained on my mind with its powerful meditation on the trans experience, and an often hypnotic framework that shows beauty through terror.
Also in the discussion: “Civil War” (A24); “Dune: Part Two” (Warner Bros.); “We Grown Now” (Sony Pictures Classics)