Barbenheimmer and "Killers of the Flower Moon" are all over the BAFTA longlists

by Cláudio Alves

Even at the BAFTAs, these three are inescapable.

Since its 2020 overhaul, the British Academy has been changing its rules, aiming for more diversity within its ballot. So far, the effort's been relatively successful, though last year's choices were too Oscar-y for some people's tastes. I tend to prefer when BAFTA maintains a certain idiosyncratic identity, honoring less-seen national gems along the way. Judging by the just-released longlists, it seems we're heading down a similar path to last season's, with three Oscar frontrunners scoring in fifteen categories. That doesn't mean the Brits have lost their uniqueness. Look at the love for All of Us Strangers, including listings for all its principal cast…

BEST FILM

• ALL OF US STRANGERS (9 longlists overall, twice represented in Supporting Actor)
• ANATOMY OF A FALL (7 longlists overall)
• BARBIE (15 longlists overall)
• THE HOLDOVERS (7 longlists overall)
• KILLERS OF THE FLOWER MOON (15 longlists overall)
• MAESTRO (12 longlists overall)
• OPPENHEIMER (15 longlists overall)
• PAST LIVES (6 longlists overall)
• POOR THINGS (14 longlists overall)
• THE ZONE OF INTEREST (10 longlists overall) 

Since the British Academy continues to tweak its voting methodologies, each category probably deserves some clarification. Best Film has the most straightforward process, being open to the entire BAFTA voting body, who got to pick from a pool of 234 eligible titles. There are no committee additions or anything of the sort working here. Furthermore, five films will be nominated from the longlist.

As expected, some European productions got a boost from this organization. Specifically, they're All of Us Strangers and the two Sandra Hüller movies. This means more for those excluded, like the Society of the Snow and Saltburn. The latter got into eleven longlists, so a lack of Best Film honor is notable but not too disappointing for its fans. The biggest Oscar hopefuls left out include American Fiction (4 longlists), The Color Purple (2 longlists), May December (2 longlists), Air (1 longlist), and Spider-Man: Across the Spider-Verse (3 longlists).

BEST DIRECTOR 

• Raine Allen-Miller, RYE LANE
• Sofia Coppola, PRISCILLA
• Bradley Cooper, MAESTRO
• Emerald Fennell, SALTBURN
• Greta Gerwig, BARBIE
• Jonathan Glazer, THE ZONE OF INTEREST
• Andrew Haigh, ALL OF US STRANGERS
• Cord Jefferson, AMERICAN FICTION
• Yorgos Lanthimos, POOR THINGS
• Christopher Nolan, OPPENHEIMER
• Alexander Payne, THE HOLDOVERS
• Charlotte Regan, SCRAPPER
• Martin Scorsese, KILLERS OF THE FLOWER MOON
• Celine Song, PAST LIVES
• Justine Triet, ANATOMY OF A FALL
• Molly Manning Walker, HOW TO HAVE SEX 

Well, this is the category with the most complicated voting process. BAFTA's director branch members vote for their 16 favorite achievements, of which a maximum of 11 get longlisted with supposed gender parity between male, female, and non-binary. The top two vote-getters from this group are automatically nominated, regardless of gender identity. A jury chooses the remaining longlisted titles from a pool of the remaining eight most-voted male, female, and non-binary filmmakers. Then, another jury will consider the 14 longlisted titles still in the running since two are automatically nominated from the general branch votes. They pick four films, and then the entire BAFTA will decide the winner. 

The system is so different from the Academy's that one inevitably gets contenders with no hope of Oscar glory. Despite the byzantine way to get there, bringing attention to less mainstream contenders is a good thing. Just look at the longlisting of How to Have Sex and Scrapper. The biggest misses, regarding the whole season, are Todd Haynes and JA Bayona. It seems that Society of the Snow isn't destined to be Netflix's next All Quiet on the Western Front after all.

BEST LEADING ACTRESS 

• Fantasia Barrino, THE COLOR PURPLE
• Annette Bening, NYAD
• Lily Gladstone, KILLERS OF THE FLOWER MOON
• Sandra Hüller, ANATOMY OF A FALL
• Greta Lee, PAST LIVES
• Mia McKenna-Bruce, HOW TO HAVE SEX
• Carey Mulligan, MAESTRO
• Vivian Oparah, RYE LANE
• Margot Robbie, BARBIE
• Emma Stone, POOR THINGS

The acting categories have a system almost as convoluted as the one in place for directors. The Actors' branch members vote for their favorite performances, from which the top seven get longlisted. Then, there's a longlist-specific jury that adds three picks, adding up to ten finalists. The top three vote-getters from the branch are automatically nominated, while another jury will assess the remaining seven longlisted titles and pick three nominees. In the end, six performances will be nominated in each acting category. 

Though it's impossible to know for sure, one imagines McKenna-Bruce and Oparah are beneficiaries of the jury intervention. The saddest exclusions include Natalie Portman, Teyana Taylor, Aunjanue Ellis-Taylor, and Cailee Spaeney. In the latter case, it's especially annoying since Priscilla got listed elsewhere. It's worth noting that the British Academy is infamously resistant to honoring Black performers, so Barrino's ability to get in, even if her film was mostly ignored, may mean she's stronger than suspected.

Carey Mulligan is a previous BAFTA winner, so she might have some home advantage. However, I'm rooting for the How to Have Sex star to get that support for a performance of singular insight and verve. 

BEST LEADING ACTOR

• Bradley Cooper, MAESTRO
• Leonardo DiCaprio, KILLERS OF THE FLOWER MOON
• Colman Domingo, RUSTIN
• Paul Giamatti, THE HOLDOVERS
• Barry Keoghan, SALTBURN
• George McKay, FEMME
• Cillian Murphy, OPPENHEIMER
• Andrew Scott, ALL OF US STRANGERS
• Jeffrey Wright, AMERICAN FICTION
• Teo Yoo, PAST LIVES 

Keoghan, Murphy, and Scott are BAFTA-beloved artists whose films got across-the-board support in these longlists, so they may well be our three automatic nominees. McKay is a likely jury safe, and maybe Teo Yoo, too. As it stands, this seems Murphy's to lose, or perhaps Scott's. Whatever the case, it's the luck of the Irish for the win.

This is bad news for Zac Efron, Joaquin Phoenix, and Christian Friedel. The German thespian has particular cause to feel snubbed since the British Academy loved his film, and they're not against showering Teutonic talent with gold as we saw last year.

BEST SUPPORTING ACTRESS

• Emily Blunt, OPPENHEIMER
• Danielle Brooks, THE COLOR PURPLE
• America Ferrera, BARBIE
• Jodie Foster, NYAD
• Claire Foy, ALL OF US STRANGERS
• Sandra Hüller, THE ZONE OF INTEREST
• Julianne Moore, MAY DECEMBER
• Cara Jade Myers, KILLERS OF THE FLOWER MOON
• Rosamund Pyke, SALTBURN
• Da'Vine Joy Randolph, THE HOLDOVERS

Three cheers for Cara Jade Myers, whose Killers of the Flower Moon performance is one of the film's acting highlights, a sharp characterization formed through quick glimpses of a woman on the verge. Sadly, of these ten, she feels most unlikely to get nominated. Moore, too, since the BAFTAs are so cold toward Haynes' latest.

Though the Best Supporting Actress race remains fluid, some exclusions deserve mention. They're Taraji P. Henson in The Color Purple, Rachel McAdams in Are You There God? It's Me, Margaret. and Penélope Cruz in Ferrari. Then again, the last time the Spanish star found her way into the Oscar ballot, she did it with minimal precursor support. Indeed, she missed the BAFTA longlist altogether for Parallel Mothers.

BEST SUPPORTING ACTOR

• Jamie Bell, ALL OF US STRANGERS
• Robert Downey Jr., OPPENHEIMER
• Jacob Elordi, SALTBURN
• Ryan Gosling, BARBIE
• Anthony Hopkins, ONE LIFE
• Paul Mescal, ALL OF US STRANGERS
• Robert De Niro, KILLERS OF THE FLOWER MOON
• Mark Ruffalo, POOR THINGS
• Dominic Sessa, THE HOLDOVERS
• Ben Whishaw, PASSAGES  

Melton suffered from the May December apathy, while Dafoe's absence is more mysterious. Maybe the industry is more inclined to reward the veteran actor than one supposed, even when he comes into the race with one of the year's most beloved pictures. Other Oscar hopefuls who got no love from the British were Sterling K. Brown in American Fiction, Colman Domingo in The Color Purple, and Glenn Howerton in Blackberry. 

On the other hand, Elordi, Whishaw, and Hopkins make up the category's surprise inclusions. Will the internet's boyfriend score a nod for Emerald Fennell's sophomore effort? I'm one of those Saltburn haters who thinks Elordi left the film unscathed, acing its tricky tone better than any of his colleagues. In other words, I wouldn't sneer at a nomination if it materializes.

BEST CASTING

• ALL OF US STRANGERS
• ANATOMY OF A FALL
• BARBIE
• THE HOLDOVERS
• HOW TO HAVE SEX
• KILLERS OF THE FLOWER MOON
• MAESTRO
• OPPENHEIMER
• SALTBURN
• SCRAPPER

All members of the Casting branch got to vote in this longlist. However, a jury will decide the five nominees that advance to the next voting phase before all BAFTA members can pick the winner. Perhaps this will be where the All of Us Strangers love will falter. After all, it's odd to celebrate a casting achievement almost exclusively devoted to four roles that went to relatively big names. Something like How to Have Sex seems much more deserving, but that's just my perspective.

BEST ORIGINAL SCREENPLAY

• Noah Baumbach & Greta Gerwig, BARBIE
• Nathan Bryon & Tom Melia, RYE LANE
• Samy Burch, MAY DECEMBER
• Alex Convery, AIR
• Bradley Cooper & Josh Singer MAESTRO
• Emerald Fennell, SALTBURN
• Arthur Harari & Justine Triet, ANATOMY OF A FALL
• David Hemingson, THE HOLDOVERS
• Celine Song, PAST LIVES
• Molly Manning Walker, HOW TO HAVE SEX

For once, the voting process is simple for BAFTA. Basically, it's the same as the Academy's, with the writers' branch picking their favorites without any jury influence. It's also worth noting that Barbie will compete as an adapted screenplay with AMPAS. The biggest misses here are for The Iron Claw and Asteroid City, two critically lauded feats that can't catch a break this awards season.

BEST ADAPTED SCREENPLAY

• Rebecca Angelo & Lauren Schuker Blum, DUMB MONEY
• Kelly Fremon Craig, ARE YOU THERE GOD? IT'S ME, MARGARET.
• Simon Farnaby & Paul King, WONKA
• Jonathan Glazer, THE ZONE OF INTEREST
• Andrew Haigh, ALL OF US STRANGERS
• Cord Jefferson, AMERICAN FICTION
• Tony McNamara, POOR THINGS
• Christopher Nolan, OPPENHEIMER
• Eric Roth & Martin Scorsese, KILLERS OF THE FLOWER MOON
• Andrew Kevin Walker, THE KILLER

Since Barbie isn't here, there's the idea of an open slot to play with. Common wisdom points toward All of Us Strangers, a British success that might win if the voters feel inclined to favor their national cinema. Still, fingers crossed for Kelly Fremon Craig.

BEST EDITING

• Jonathan Alberts, ALL OF US STRANGERS
• Victoria Boydell, SALTBURN
• Eddie Hamilton, MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE
• Nick Houy, BARBIE
• Jennifer Lame, OPPENHEIMER
• Yorgos Mavropsaridis, POOR THINGS
• Thelma Schoonmaker, KILLERS OF THE FLOWER MOON
• Laurent Sénéchal, ANATOMY OF A FALL
• Michelle Tesoro, MAESTRO
• Paul Watts, THE ZONE OF INTEREST 

The process is almost identical to the Academy's, with no jury votes getting in the way. Because of that, seeing some personal favorites and Oscar hopefuls fail to make the cut is especially dispiriting. Of all the so-called "below-the-line" categories, I assumed this would be where Ferrari got the most support, but it seems not. These choices are also discouraging for The Holdovers and Past Lives, both of which managed to crack the BAFTA's Best Film longlist.

BEST CINEMATOGRAPHY

• Greig Fraser & Oren Soffer, THE CREATOR
• Hoyte van Hoytema, OPPENHEIMER
• Matthew Libatique, MAESTRO
• Erik Messerschmidt, FERRARI
• Rodrigo Prieto, BARBIE
• Rodrigo Prieto, KILLERS OF THE FLOWER MOON
• Robbie Ryan, POOR THINGS
• Linus Sandgren, SALTBURN
• Dariuz Wolski, NAPOLEON
• Lukasz Zal, THE ZONE OF INTEREST 

In this race, the voting process is the same as AMPAS's, with the branch voting for the five nominations and the wider body selecting a final winner. The Creator, Ferrari, and Napoleon are somewhat unexpected choices, but this longlist is hardly surprising. The biggest misses are Dan Laustsen's Color Purple lensing, and maybe Ed Lachman's black-and-white rendering of El Conde. Since Prieto got two mentions, it's worth wondering why Messerschmidt couldn't do the same. After all, considering that screenplay longlist, one presumes The Killer was more popular with BAFTA than Michael Mann's latest.

BEST PRODUCTION DESIGN

• Nathan Crowley, WONKA
• Maria Djurkovic & Sophie Phillips, FERRARI
• Jack Fisk & Adam Willis, KILLERS OF THE FLOWER MOON
• Sarah Greenwood & Katie Spencer, BARBIE
• Shona Heath, James Price & Szusza Mihalek, POOR THINGS
• Ruth De Jong & Claire Kaufman, OPPENHEIMER
• Arthur Max, Celia Bobak & Elli Griff, NAPOLEON
• Chris Oddy, Joanna Kus & Katarzyna Sikora, THE ZONE OF INTEREST
• Adam Stockhausen & Kris Moran, ASTEROID CITY
• Kevin Thompson, Liz Ainley & Rena DeAngelo, MAESTRO 

Another race with a similar method to the one the Academy uses. The Color Purple is something of a snub, though it's unsurprising in the big picture, considering how little BAFTA cared for the musical. Then, the only real shock is Saltburn's absence. I think the production design and cinematography are the picture's best audiovisual elements – that shared bathroom is so ludicrously dramatic that one can't help but love it. Justice for the vampiric interiors!

BEST COSTUME DESIGN 

• Mark Bridges, MAESTRO
• Sophie Canale, SALTBURN
• Milena Canonero, ASTEROID CITY
• Dave Crossman & Janty Yates, NAPOLEON
• Jacqueline Durran, BARBIE
• Lindy Hemming, WONKA
• Ellen Mirojnick, OPPENHEIMER
• Massimo Cantini Parrini, FERRARI
• Holly Waddington, POOR THINGS
• Jacqueline West, KILLERS OF THE FLOWER MOON 

For some strange reason, Costumes and Makeup artists share a BAFTA branch, so they all vote in the longlist and nominees of both categories. Interestingly, before the CDG and AMPAS got so attuned to each other in the past three years, the BAFTA vote was a better indicator of what would get Oscar-nominated. That's encouraging for the CDG-snubbed Canonero, Hemming, and Parrini. On the other hand, it's time one says goodbye to Priscilla's Oscar chances, no matter how exquisitely Stacey Battat dressed her stars. Also, Ann Roth robbed, again.

BEST MAKEUP & HAIR

• BARBIE
• FERRARI
• GOLDA
• KILLERS OF THE FLOWER MOON
• MAESTRO
• NAPOLEON
• OPPENHEIMER
• POOR THINGS
• PRISCILLA
• WONKA

Though the results are somewhat different, the method and logistics are the same as with Best Costume Design. If Golda keeps showing up, it may be time to start considering it an Oscar contender. There's also the matter of Napoleon and Ferrari, two biopics that received criticism for unconvincing aging cosmetics but still got the branch's support. I'm saddest about Wonka's inclusion since Keegan-Michael Key's fat suit and accompanying makeup job represent the musical's most loathsome facets. 

Barbie and Priscilla are also out of Academy consideration, having fallen off the race in the Academy's own shortlist process. AMPAS preferred The Last Voyage of the Demeter, Society of the Snow, and Beau Is Afraid to the other BAFTA picks.

BEST SPECIAL VISUAL EFFECTS

• BARBIE
• THE CREATOR
• GUARDIANS OF THE GALAXY VOL. 3
• INDIANA JONES AND THE DIAL OF DESTINY
• MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE
• NAPOLEON
• OPPENHEIMER
• POOR THINGS
• SPIDER-MAN: ACROSS THE SPIDER-VERSE
• WONKA 

The British Academy has a similar method to AMPAS's, though they don't include presentations by the longlisted contenders to members of their branch. The British voters also considered Oppenheimer eligible despite its scant use of digital trickery amid an onslaught of optical effects. While eligible, Wonka and Barbie weren't shortlisted for the Oscar either.

BEST ORIGINAL SCORE 

• Jon Batiste, AMERICAN FICTION
• Jerskin Fendrix, POOR THINGS
• Ludwig Göransson, OPPENHEIMER
• Daniel Pemberton, SPIDER-MAN: ACROSS THE SPIDER-VERSE
• Martin Phipps, NAPOLEON
• Robbie Robertson, KILLERS OF THE FLOWER MOON
• Mark Ronson & Andrew Wyatt, BARBIE
• Joby Talbot, WONKA
• John Williams, INDIANA JONES AND THE DIAL OF DESTINY
• Anthony Willis, SALTBURN 

The British Academy has no Original Song category, so this is the only representation their Music branch gets, unlike the Oscars. That might give Barbie a boost since those iconic tunes will be heavy on the voters' minds. The same thing might work for Wonka, which didn't get into either Oscar shortlist. Napoleon is the other title to show up here, but not among AMPAS' finalists, and while I loved a lot of the tracks, its recycling of Dario Marianelli's Pride & Prejudice score as Josephine's theme sounded distracting to the extreme.

BEST SOUND

• BARBIE
• FERRARI
• KILLERS OF THE FLOWER MOON
• MAESTRO
• MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE
• NAPOLEON
• OPPENHEIMER
• POOR THINGS
• WONKA
• THE ZONE OF INTEREST 

Once again, since their voting processes are similar, it's fun to compare the BAFTA longlist with AMPAS' shortlist. In this case, there's only one difference between them. While The Creator is still up for the Oscar, Wonka stands in its place in the race for BAFTA gold.

BEST ANIMATED FILM

• THE BOY AND THE HERON
• CHICKEN RUN: DAWN OF THE NUGGET
• ELEMENTAL
• NIMONA
• SPIDER-MAN: ACROSS THE SPIDER-VERSE
• THE SUPER MARIO BROS. MOVIE
• TEENAGE MUTANT NINJA TURTLES: MUTANT MAYHEM
• WISH 

From seventeen eligible films, this octant moves forward, from which four titles will be nominated. This longlist was decided by an opt-in chapter of the general voting body without the involvement of any jury, and it'll be that way for the next phase of voting, too. Suzume and Robot Dreams have the biggest reason to be crestfallen over their absence, especially when their exclusion opened up space for the likes of Wish. Apologies, dear readers, if you're tired of my complaints about Disney's latest flick, but I truly loathe it. Not even the animation makes up for it, and that used to be a given with the studios' output.

BEST DOCUMENTARY

• 20 DAYS IN MARIUPOL
• AMERICAN SYMPHONY
• BEYOND UTOPIA
• THE DEEPEST BREATH
• HIGH & LOW – JOHN GALLIANO
• LITTLE RICHARD: I AM EVERYTHING
• MAD ABOUT THE BOY: THE NOËL COWARD STORY
• THE PIGEON TUNNEL
• STILL: A MICHAEL J. FOX MOVIE
• WHAM! 

So many artist profiles here may lead them to cancel each other off. That would be good news for 20 Days in Mariupol, Beyond Utopia, and The Deepest Breath. I'd guess one of those three will win.

In this category, the longlist was determined by an opt-in chapter open to all interested voters, but the final nomination ballot will include a jury vote. The top two titles that the general BAFTA members selected are automatically nominated. Then, a jury working from this shortlist fills the final three slots. Yes, it's convoluted, but that's the BAFTAs for you. Hopefully, that inspires some odd results rather than more of the same. Overall, 60 films competed for this honor.

BEST FILM NOT IN THE ENGLISH LANGUAGE

• 20 DAYS IN MARIUPOL
• ANATOMY OF A FALL
• THE BOY AND THE HERON
• THE EIGHT MOUNTAINS
• FALLEN LEAVES
• PAST LIVES
• SOCIETY OF THE SNOW
• THE TASTE OF THINGS
• THE TEACHERS' LOUNGE
• THE ZONE OF INTEREST 

All voters can participate in this race as long as they opt into a BAFTA chapter dedicated to the specific category. Five films will be nominated in the final ballot.

Unlike with the Oscars, the eligible titles come from self-submissions (59 total) rather than a selecting committee for each country. Hence, we get more than one French nominee, among other things. My favorite inclusion here is The Boy and The Heron, but I wonder if it can overcome anti-animation bias. It and Past Lives are the only non-European titles. The American flick and the Hüller vehicles are also in the Best Film race, so one presumes they'll secure this honor.

OUTSTANDING BRITISH FILM 

• ALL OF US STRANGERS
• CHICKEN RUN: DAWN OF THE NUGGET
• THE DEEPEST BREATH
• THE GREAT ESCAPER
• HOW TO HAVE SEX
• NAPOLEON
• THE OLD OAK
• ONE LIFE
• POOR THINGS
• RYE LANE
• SALTBURN
• SCRAPPER
• TETRIS
• WONKA
• THE ZONE OF INTEREST  

All the usual suspects are accounted for, with no significant "snubs" to report. Ten of this batch of fifteen will get nominated. Half of them will be decided by an opt-in chapter open to the entire voting body, and the other half shall be determined by a jury. The apparent frontrunners are Andrew Haigh's ghost story, Lanthimos' Golden Lion victor, and Glazer's Oscar submission. There were 76 eligible films.

OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER

• BLUE BAG LIFE
• BOBI WINE: THE PEOPLE'S PRESIDENT
• EARTH MAMA
• THE END WE START FROM
• HOW TO HAVE SEX
• IF THE STREETS WERE ON FIRE
• IS THERE ANYBODY OUT THERE?
• POLITE SOCIETY
• RYE LANE
• SCRAPPER 

Unlike other categories, this is an entirely juried race. A predetermined group of voters decides both longlist and nominees. Half of them will get nominated, and my bets go to How to Have Sex. If it weren't for All of Us Strangers, that Un Certain Regard champion would have ruled over the British Independent Awards. Speaking of BIFA, I wish the BAFTA voters were more like them, celebrating their national cinema rather than rubber-stamping Hollywood fodder vying for Oscar gold. Overall, 52 filmmaking achievements were submitted in this category.

BEST BRITISH SHORT ANIMATION

• CRAB DAY
• SWEET LIKE LEMONS
• THE SMEDS AND THE SMOOS
• VISIBLE MENDING
• WILD SUMMON
• WORLD TO ROAM 

Both short categories are presided over by a jury that picks its six longlisted titles and three eventual nominees. The entire voting body determines the winner in the awards' final phase. It should be noted that Wild Summon is also contending for the Oscar.

BEST BRITISH SHORT FILM

• ESSEX GIRLS
• FESTIVAL OF SLAPS
• FINDING ALAA
• GORKA
• JELLYFISH AND LOBSTER
• JILL, UNCREDITED
• MIGHTY PENGUINS
• THE ONE NOTE MAN
• SUCH A LOVELY DAY
• YELLOW 

How curious that the Oscar-shortlisted Ben Whishaw-starring Good Boy didn't make it into BAFTA's good graces. On the other hand, The One Note Man and Yellow appear in both lists.

So, that's all for today. This week's awards wrap-up will come a couple of days late since there's so much to discuss here. What do you think of these lists?

Comments

[Mike in Canada]

I'm a fan of Elordi in Saltburn too. I'm not bugged that he isn't gaining traction oscar-wise, but he's giving that perfect blend of specificity and opaqueness to which I'll always cotton.

[Fabio Dantas Flappers]

Jamie Bell!
Paul Mescal!
Claire Foy!

Man, that's great. That's all I want in Oscar nominations morning...

And Bening and Foster are alive!!!
Don't underestimate them!

[Philip H.]

Sadly, I think this is the end of the line for Penelope Cruz this season.

She couldn't even break into a six-wide Globes list (and we know the Globes worships stars), ando she couldn't crack this list either. When she made it into the Oscars list for Parallel Mothers without precursors, she had serious heat with critics in an Almodovar film. No one cares about Ferrari. I'd say Rachel McAdams is the only supporting actress with any heat with critics outside of Da'Vine Joy Randolph.

The SAG awards could revive Penelope, and while that's possible, that seems more likely for Taraji P. Henson tbh. If that doesn't happen, this is certainly the end of Taraji's road this season too.

America Ferrera is seeming more and more likely, and I'm not sure how I feel about that.

I'd say Supporting Actress at this point is looking like...

- Da'Vine Joy Randolph
- Danielle Brooks
- Emily Blunt
- Julianne Moore

With Jodie Foster and America Ferrera fighting it out for the last spot. Rachel McAdams is a serious dark horse that could spoil. Rosamund Pike would only happen if they love Saltburn, and I don't see it happening.

Or maybe The Academy will be head over heels for KOTFM in a massive way and nominate Cara Jade Myers a la Marina de Tavira in Roma.

I hated May December, but Charles Melton was great. Him missing the shortlist is ridiculous.

I also hated Saltburn (the stupidest movie I've seen in a long time), but agree the Jacob Elordi is great. He's easily the most likable presence in the film, which is shocking bc going in I kind of expected the opposite, but he did his job well for that reason.

I also saw Poor Things last weekend... I love Willem Dafoe so much, but his chances are dwindling (although he did get nominated for At Eternity's Gate, so they clearly love him, and I suspect they will go ga-ga for Poor Things). Anywho, I can see why Mark Ruffalo is rising above him, he has the showier role, and I do think I favored Ruffalo in the end.

[ScottC]

First time I watched Saltburn it came across as the Keoghan and Pike show (and I do hope she gets nominated, I like her so much as an actress, generally), of course, but watching it a second time I was blown away about how note perfect Elordi is throughout it. I've always thought he was doing strong work on Euphoria, but between this and Priscilla, well, I'm extremely impressed by him as an actor, and I'd be delighted if he was nominated for Saltburn.

Also, very happy to see Cara Jade Myers here. She pretty much stole the parts of Killers that she's in.

I'm a little surprised that Barbie did as well as it did. Wasn't sure that it would be as much a BAFTA thing as it will be an AMPAS thing. And just how well Zone of Interest did seems notable. It seemed to be cooling a bit in some Oscar discussions. But maybe it's still a strong player this season.

[Mr Ripley79]

I was happy for Scott and his co stars something this film needed was a major endorsement at a major award show.

I just don't understand the love for Oppenheimer which I found tedious and overlong,the actings fine but nothing i'd nominate not even Murphy and esp not Blunt

Sad to see Melton and Portman missing who I both felt outshined Moore whose character I just didn't get.

I never though Dafoe was more than a Globes pick,he'd be a 5 times loser and is now entering Glenn Close territory,why nominate him if he has no chance of winning.

I think The Holdovers is going to hugely beloved and Sessa will benefit,shame Carrie Preston couldn't get a bit of love this season.

Spaney has no place here,hers is the one performance I was underwhelmed by even Bening had more to do,my sister described her best when she told me "Was Priscilla even in her own movie."

Teyana Taylor is my current No 1 for Best Actress ballot but I haven't seen Stone or Huller.

I'm predicting a major Danielle Brooks or Emily Blunt snub.

I'm pleased for Golda in hair and make up

I didn't think the Brits would go for Annette and Jodie but they did,it's a film I am now crossing fingers and toes for Jodie.

[Joe G.]

The biggest snub for me is Harris Dickinson in Scrapper. He gives a beautiful performance in that film, and really communicates a lot with little dialogue. It was well liked by the BAFTAs, so I’m bummed he didn’t get long listed since he’s a rising British talent. Glad he got BIFA nominations.

I’m happy to see Dead Reckoning in sound and editing, two places where it really excelled.

I’m really happy to see Myers make it in for KOTFM. She may not get a nom, but it’s great to see her recognized for her brilliant work and I hope this leads to more significant work. She has a ton of star power. She’s the polar opposite of Lilly Gladstone’s character in a way that I think benefits the texture of the film. It also indicates, that KOFTM may be really well liked by the British academy.

[Joe G.]

Also, I suspect Barbie did well because it’s essentially a UK film. It was shot there and involved their industry quite a bit.

[charlea]

All I care about is that BAFTA nominates who they think are the most deserving nominees. Full stop. I want them to stop copying what the Globes/SAG nominate. I want them to not apply any criteria except who they think was the best (what a concept, I know). Be British! Have your own identity! Otherwise there is no point in having all these award shows that only nominate and reward the exact same people every show. There is no excuse for BAFTA having the same five nominees as, say, any SAG Awards category. No excuse. Just lazy, lazy, LAZY!

[Ryan T.]

10 nominations for ALL OF US STRANGERS is great, but it deserved more. It's fantastic all four principal actors made it to the longlist, but I really wish all of them make it to the short list. It's a tough road, but BAFTA, please this is your time to BAFTA it up! They were all just SO good.

[McGill]

I just saw All of Us Strangers. I wasn’t expecting the theatre to be so packed. It was one of the quietest audiences I’ve been in for ... years. Everyone was so attentive to every moment, really listening, wanting to catch every nuance.

I think it’s true what they say, that every person sees it in a slightly different way, and it hits them in the heart.

The cast of 4 are so achingly good. They really looked deep into each other and the relationships were so intimate it made you quiet in their presence.