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Sep 20, 2022 10:43am PT
‘RRR’ Team Reacts to India Not Selecting It for Oscars, Urges Academy to Vote for It in Other Categories
Variance Films will launch a full awards campaign and will seek the best picture nomination
By Clayton Davis
https://variety.com/wp-content/uploa...1&h=383&crop=1
DVV Entertainment

India has selected Pan Nalin’s “Last Film Show” (“Chhello Show”) to represent the country in the best international feature category at the upcoming 95th Academy Awards, but it’s not going over well in social media circles. That’s due to the popularity and love for the historical epic, “RRR” from S.S. Rajamouli, which has been a fan-favorite and box office hit stateside.

The good news is the U.S. distributor for the film has opted to launch a full awards campaign for the action drama and is calling on the 10,000 Academy members to consider voting for the film in all categories.

“RRR” will be submitted for best picture, director (S.S. Rajamouli), original screenplay (Rajamouli and V. Vijayendra Prasad), lead actor (for both N.T. Rama Rao Jr and Ram Charan), supporting actor (Ajay Devgn), supporting actress (Alia Bhatt), original song (“Naatu Naatu”), original score (M.M. Keeravaani), cinematography, production design, film editing, costume design, makeup and hairstyling, sound and visual effects.

The film is not yet available on the Academy Streaming Room, which is part of a strategy to get as many voters to see it on the big screen in order to highlight its epic scale and breathtaking visuals.

“Over the last six months, we have seen the joy that S.S. Rajamouli’s ‘RRR’ has brought to global audiences,” says the president of Variance Films, Dylan Marchetti. “We have seen the film gross over $140 million worldwide to become one of India’s highest grossing films of all time and become the first film in history to trend globally on Netflix for over 14 weeks. We have seen the film fill up theaters with cheering audiences months after its initial release, including the historic TCL Chinese IMAX theater in Hollywood, where it will play next Friday to an audience that sold out of one of the largest theaters in the country in just 15 minutes. Most importantly, we have heard fans from around the world tell us that they believe this is one of the best films of the year from any nation. We agree. We proudly invite the Academy to consider ‘RRR’ in all categories.”

The three-hour action epic follows two patriotic but philosophically opposed men (Ram Charan and N.T. Rama Rao Jr.), who team up to rescue a girl from British colonial officials in 1920s Delhi. A global smash with huge box office receipts, the film found a pathway to the American cultural zeitgeist with consumers discovering it on Netflix. The film, distributed by Variance Films in the U.S., has been one of the most popular titles of the year, becoming a trending topic on social media over the past few months.

With ₹240 crores (US $30 million) worldwide on its first day, “RRR” broke the record for the biggest opening day collectively earned by an Indian film.

Spoken in the Telugu language, it would have represented the first “Tollywood” film to enter the Oscar race, but politics can play a role in what the country has submitted over the years. In Oscar history, only three Indian films have been nominated for best international feature — ”Mother India” (1957), “Salaam Bombay!” (1988) and “Lagaan” (2001), and none have won.

Full disclosure: I haven’t seen “Last Film Show,” a partly autobiographical drama set against the backdrop of Indian cinemas witnessing a massive transition from celluloid to digital — a story that seems to be fitting with a common trend of humanity’s love for cinema with films like “The Fabelmans” and “Empire of Light” in the Oscar mix.

As we’ve seen with nearly every Academy Awards ceremony, it’s not always about “what is the best” but rather “what they’ve seen.” So India’s missteps of not selecting “The Lunchbox” (2013) or “The Disciple” (2020), which many presumed to be “slam dunk” choices, fit their most recent move.

With the film out of the running for international feature, the studio is hopeful that Academy voters will be more inclined to check it off. In addition, Variance Films is hoping it can make waves like other non-English language films not representing its countries, such as “City of God” (2003), which was nominated for directing, or last year’s “Parallel Mothers,” which nabbed mentions for Penelope Cruz and original score.

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Rajamouli also did Baahubali. I've seen RRR and loved it. Maybe I'll post a review later...

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Sep 26, 2022 10:13pm PTSamuel Goldwyn Head Weighs in on Controversial India Oscar Selection and ‘RRR’ Snub, Calls ‘The Last Film Show’ a ‘Strong Contender’
By Patrick Frater
https://variety.com/wp-content/uploa...1&h=383&crop=1
Pan Nalin

U.S distributor Samuel Goldwyn Films president Peter Goldwyn has weighed in on the backlash to India’s selection of its competitor for this year’s best international film race at the Oscars, calling candidate “The Last Film Show,” which it will release in North America, “a really strong contender.”

Directed by Pan Nalin (“Samsara,” “Valley of Flowers”), the Gujarati-language film is the story of a nine-year old boy pursuing his dreams in cinema. It debuted at the Tribeca Festival in 2021 and has since played fests in Palms Springs, Seattle and Mill Valley. “Last Film Show” will have its commercial release in Gujarat, India on Oct. 14, 2022, giving it the necessary qualifying theatrical run in its home territory.

The selection by the Film Federation of India was announced last week, immediately sparking a backlash, led by cries that popular blockbuster musical “RRR” was snubbed. Director SS Rajamouli’s action film has done huge business worldwide, with some arguing it would offer a more accessible experience to Oscar voters.

Variance Films, the stateside distributor of “RRR,” still plans to mount an Oscar campaign urging Academy voters to consider the film in other categories.

“Last Film Show” has also attracted its own backlash, with online claims suggesting that it hews too closely to Giuseppe Tornatore’s 1988 Italian classic “Cinema Paradiso.”

BN Tiwari, president of the Federation of Western India Cine Employees, has even claimed that “Last Film Show” is foreign-produced and should not be considered as an Indian work. The film is represented in international markets by France’s Orange Studios and is structured as a majority Indian-minority French co-production using the bilateral treaty between the two countries. Indian companies involved in the production include: Jugaad Motion Pictures, Monsoon Films, Chhello Show LLP and Roy Kapur Films. The French co-producer is Virginie Films.

“We believe that ‘Last Film Show’ speaks to the heart and soul of cinema, which will be appealing not only to moviegoers in the United States but also Academy members,” said SGF president Peter Goldwyn. “We believe that the film is a really strong contender this year, and we’re excited to bring it to American audiences. We are also eager to bring our expertise with Academy Awards campaigns to the release of this title.”

“Orange Studio was the first believer in Pan Nalin’s beautiful film ‘Last Film Show.’ We acquired the movie at the script level and came on board to handle the world sales of the film. The film has been sold to multiple territories and we are looking forward to its release in Italy on 24th November and Japan on 20th January (2023). However, the most important releases will be in India on 14th October and in the U.S. with our distributor Samuel Goldwyn Films towards the end of the year, which coincides with the Oscar campaign,” said Kristina Zimmerman, CEO of Orange Studio (“The Father,” “The Artist”).

“Our years of experience tells us that ‘Last Film Show’ has a huge chance of winning the hearts of moviegoers around the world and especially Academy Award members. And we plan to dedicate our total attention to running a successful Oscar campaign in coordination with our partners at Samuel Goldwyn Films for ‘Last Film Show,'” she said.

Variance said that “RRR” will be submitted for best picture, director (S.S. Rajamouli), original screenplay (Rajamouli and V. Vijayendra Prasad), lead actor (for both N.T. Rama Rao Jr and Ram Charan), supporting actor (Ajay Devgn), supporting actress (Alia Bhatt), original song (“Naatu Naatu”), original score (M.M. Keeravaani), cinematography, production design, film editing, costume design, makeup and hairstyling, sound and visual effects.

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THE 95TH ACADEMY AWARDS | 2023
Dolby Theatre at Ovation Hollywood
Sunday, March 12, 2023
Honoring movies released in 2022

ACTOR IN A LEADING ROLE
NOMINEES
AUSTIN BUTLER
Elvis
COLIN FARRELL
The Banshees of Inisherin
BRENDAN FRASER
The Whale
PAUL MESCAL
Aftersun
BILL NIGHY
Living

ACTOR IN A SUPPORTING ROLE
NOMINEES
BRENDAN GLEESON
The Banshees of Inisherin
BRIAN TYREE HENRY
Causeway
JUDD HIRSCH
The Fabelmans
BARRY KEOGHAN
The Banshees of Inisherin
KE HUY QUAN
Everything Everywhere All at Once

ACTRESS IN A LEADING ROLE
NOMINEES
CATE BLANCHETT
Tár
ANA DE ARMAS
Blonde
ANDREA RISEBOROUGH
To Leslie
MICHELLE WILLIAMS
The Fabelmans
MICHELLE YEOH
Everything Everywhere All at Once

ACTRESS IN A SUPPORTING ROLE
NOMINEES
ANGELA BASSETT
Black Panther: Wakanda Forever
HONG CHAU
The Whale
KERRY CONDON
The Banshees of Inisherin
JAMIE LEE CURTIS
Everything Everywhere All at Once
STEPHANIE HSU
Everything Everywhere All at Once

ANIMATED FEATURE FILM
NOMINEES
GUILLERMO DEL TORO'S PINOCCHIO
Guillermo del Toro, Mark Gustafson, Gary Ungar and Alex Bulkley
MARCEL THE SHELL WITH SHOES ON
Dean Fleischer Camp, Elisabeth Holm, Andrew Goldman, Caroline Kaplan and Paul Mezey
PUSS IN BOOTS: THE LAST WISH
Joel Crawford and Mark Swift
THE SEA BEAST
Chris Williams and Jed Schlanger
TURNING RED
Domee Shi and Lindsey Collins

CINEMATOGRAPHY
NOMINEES
ALL QUIET ON THE WESTERN FRONT
James Friend
BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS
Darius Khondji
ELVIS
Mandy Walker
EMPIRE OF LIGHT
Roger Deakins
TÁR
Florian Hoffmeister

COSTUME DESIGN
NOMINEES
BABYLON
Mary Zophres
BLACK PANTHER: WAKANDA FOREVER
Ruth Carter
ELVIS
Catherine Martin
EVERYTHING EVERYWHERE ALL AT ONCE
Shirley Kurata
MRS. HARRIS GOES TO PARIS
Jenny Beavan

DIRECTING
NOMINEES
THE BANSHEES OF INISHERIN
Martin McDonagh
EVERYTHING EVERYWHERE ALL AT ONCE
Daniel Kwan and Daniel Scheinert
THE FABELMANS
Steven Spielberg
TÁR
Todd Field
TRIANGLE OF SADNESS
Ruben Östlund

DOCUMENTARY FEATURE FILM
NOMINEES
ALL THAT BREATHES
Shaunak Sen, Aman Mann and Teddy Leifer
ALL THE BEAUTY AND THE BLOODSHED
Laura Poitras, Howard Gertler, John Lyons, Nan Goldin and Yoni Golijov
FIRE OF LOVE
Sara Dosa, Shane Boris and Ina Fichman
A HOUSE MADE OF SPLINTERS
Simon Lereng Wilmont and Monica Hellström
NAVALNY
Daniel Roher, Odessa Rae, Diane Becker, Melanie Miller and Shane Boris

DOCUMENTARY SHORT FILM
NOMINEES
THE ELEPHANT WHISPERERS
Kartiki Gonsalves and Guneet Monga
HAULOUT
Evgenia Arbugaeva and Maxim Arbugaev
HOW DO YOU MEASURE A YEAR?
Jay Rosenblatt
THE MARTHA MITCHELL EFFECT
Anne Alvergue and Beth Levison
STRANGER AT THE GATE
Joshua Seftel and Conall Jones

FILM EDITING
NOMINEES
THE BANSHEES OF INISHERIN
Mikkel E.G. Nielsen
ELVIS
Matt Villa and Jonathan Redmond
EVERYTHING EVERYWHERE ALL AT ONCE
Paul Rogers
TÁR
Monika Willi
TOP GUN: MAVERICK
Eddie Hamilton

INTERNATIONAL FEATURE FILM
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Germany
ARGENTINA, 1985
Argentina
CLOSE
Belgium
EO
Poland
THE QUIET GIRL
Ireland

MAKEUP AND HAIRSTYLING
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Heike Merker and Linda Eisenhamerová
THE BATMAN
Naomi Donne, Mike Marino and Mike Fontaine
BLACK PANTHER: WAKANDA FOREVER
Camille Friend and Joel Harlow
ELVIS
Mark Coulier, Jason Baird and Aldo Signoretti
THE WHALE
Adrien Morot, Judy Chin and Anne Marie Bradley

MUSIC (ORIGINAL SCORE)
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Volker Bertelmann
BABYLON
Justin Hurwitz
THE BANSHEES OF INISHERIN
Carter Burwell
EVERYTHING EVERYWHERE ALL AT ONCE
Son Lux
THE FABELMANS
John Williams

MUSIC (ORIGINAL SONG)
NOMINEES
APPLAUSE
from Tell It like a Woman; Music and Lyric by Diane Warren
HOLD MY HAND
from Top Gun: Maverick; Music and Lyric by Lady Gaga and BloodPop
LIFT ME UP
from Black Panther: Wakanda Forever; Music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; Lyric by Tems and Ryan Coogler
NAATU NAATU
from RRR; Music by M.M. Keeravaani; Lyric by Chandrabose
THIS IS A LIFE
from Everything Everywhere All at Once; Music by Ryan Lott, David Byrne and Mitski; Lyric by Ryan Lott and David Byrne

BEST PICTURE
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Malte Grunert, Producer
AVATAR: THE WAY OF WATER
James Cameron and Jon Landau, Producers
THE BANSHEES OF INISHERIN
Graham Broadbent, Pete Czernin and Martin McDonagh, Producers
ELVIS
Baz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick and Schuyler Weiss, Producers
EVERYTHING EVERYWHERE ALL AT ONCE
Daniel Kwan, Daniel Scheinert and Jonathan Wang, Producers
THE FABELMANS
Kristie Macosko Krieger, Steven Spielberg and Tony Kushner, Producers
TÁR
Todd Field, Alexandra Milchan and Scott Lambert, Producers
TOP GUN: MAVERICK
Tom Cruise, Christopher McQuarrie, David Ellison and Jerry Bruckheimer, Producers
TRIANGLE OF SADNESS
Erik Hemmendorff and Philippe Bober, Producers
WOMEN TALKING
Dede Gardner, Jeremy Kleiner and Frances McDormand, Producers

PRODUCTION DESIGN
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Production Design: Christian M. Goldbeck; Set Decoration: Ernestine Hipper
AVATAR: THE WAY OF WATER
Production Design: Dylan Cole and Ben Procter; Set Decoration: Vanessa Cole
BABYLON
Production Design: Florencia Martin; Set Decoration: Anthony Carlino
ELVIS
Production Design: Catherine Martin and Karen Murphy; Set Decoration: Bev Dunn
THE FABELMANS
Production Design: Rick Carter; Set Decoration: Karen O'Hara

SHORT FILM (ANIMATED)
NOMINEES
THE BOY, THE MOLE, THE FOX AND THE HORSE
Charlie Mackesy and Matthew Freud
THE FLYING SAILOR
Amanda Forbis and Wendy Tilby
ICE MERCHANTS
João Gonzalez and Bruno Caetano
MY YEAR OF DICKS
Sara Gunnarsdóttir and Pamela Ribon
AN OSTRICH TOLD ME THE WORLD IS FAKE AND I THINK I BELIEVE IT
Lachlan Pendragon

SHORT FILM (LIVE ACTION)
NOMINEES
AN IRISH GOODBYE
Tom Berkeley and Ross White
IVALU
Anders Walter and Rebecca Pruzan
LE PUPILLE
Alice Rohrwacher and Alfonso Cuarón
NIGHT RIDE
Eirik Tveiten and Gaute Lid Larssen
THE RED SUITCASE
Cyrus Neshvad

SOUND
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel and Stefan Korte
AVATAR: THE WAY OF WATER
Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers and Michael Hedges
THE BATMAN
Stuart Wilson, William Files, Douglas Murray and Andy Nelson
ELVIS
David Lee, Wayne Pashley, Andy Nelson and Michael Keller
TOP GUN: MAVERICK
Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon and Mark Taylor

VISUAL EFFECTS
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Frank Petzold, Viktor Müller, Markus Frank and Kamil Jafar
AVATAR: THE WAY OF WATER
Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett
THE BATMAN
Dan Lemmon, Russell Earl, Anders Langlands and Dominic Tuohy
BLACK PANTHER: WAKANDA FOREVER
Geoffrey Baumann, Craig Hammack, R. Christopher White and Dan Sudick
TOP GUN: MAVERICK
Ryan Tudhope, Seth Hill, Bryan Litson and Scott R. Fisher

WRITING (ADAPTED SCREENPLAY)
NOMINEES
ALL QUIET ON THE WESTERN FRONT
Screenplay - Edward Berger, Lesley Paterson & Ian Stokell
GLASS ONION: A KNIVES OUT MYSTERY
Written by Rian Johnson
LIVING
Written by Kazuo Ishiguro
TOP GUN: MAVERICK
Screenplay by Ehren Kruger and Eric Warren Singer and Christopher McQuarrie; Story by Peter Craig and Justin Marks
WOMEN TALKING
Screenplay by Sarah Polley

WRITING (ORIGINAL SCREENPLAY)
NOMINEES
THE BANSHEES OF INISHERIN
Written by Martin McDonagh
EVERYTHING EVERYWHERE ALL AT ONCE
Written by Daniel Kwan & Daniel Scheinert
THE FABELMANS
Written by Steven Spielberg & Tony Kushner
TÁR
Written by Todd Field
TRIANGLE OF SADNESS
Written by Ruben Östlund

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Mar 12, 2023 4:59pm PT
‘Everything Everywhere All at Once’ Dominates Oscars With Seven Wins, Including Best Picture (Full Winners List)
By Brent Lang, William Earl
https://variety.com/wp-content/uploa...size=681%2C383
Getty Images

“Everything Everywhere All at Once” was named best picture at the 95th Academy Awards on Sunday, capping off an improbable awards season run by winning the movie business’s highest honor.

The film, a gonzo adventure about a Chinese-American laundromat owner grappling with an IRS audit and inter-dimensional attackers, earned seven statues, including original screenplay and directing honors for its creators Daniel Kwan and Daniel Scheinert (collectively known as the Daniels). The victory is a triumph for A24, the indie studio that pushed the zany film to an impressive $100 million at the box office, a stunning achievement at a time when the market for arthouse movies has shriveled. The studio also managed the rare feat of nabbing all four acting honors — three of which were won by “Everything Everywhere All at Once” and one by “The Whale.”

It was a night of comebacks and reassessments. “Everything Everywhere All at Once’s” Michelle Yeoh became the first Asian woman to be recognized as best actress. The honor came after a long career in martial arts and action movies like “Crouching Tiger Hidden Dragon” and “Yes, Madam.”

“Ladies, don’t ever let anyone tell you that you are past your prime,” Yeoh said. “For all the little boys and girls who look like me watching tonight, this is a beacon of hope and possibilities,” she added.

Brendan Fraser took best actor honors for his performance as a morbidly obese man trying to reconnect with his estranged daughter in “The Whale.” Fraser, once a prominent actor known for his work in popcorn flicks such as “George of the Jungle” and “The Mummy,” had spent the last decade and change away from the spotlight dealing with health and personal struggles. His win continues his remarkable resurgence.

“I started in this business 30 years ago, and this – they certainly didn’t come easily to me, but there was a facility that I didn’t appreciate at the time until it stopped,” Fraser said, acknowledging his career setbacks. He thanked his director Darren Aronofsky for “throwing me a creative lifeline and hauling me aboard.”

Ke Huy Quan won best supporting actor for his performance as Yeoh’s frazzled husband in “Everything Everywhere All at Once.” A former child star who appeared in “Indiana Jones and the Temple of Doom” and “The Goonies,” Quan had given up on acting in recent years, frustrated by his lack of opportunities. Accepting his award, he fought back tears while sharing his personal history.

“My journey started on a boat,” he said. “I spent a year in a refugee camp and somehow I ended up here on Hollywood’s biggest stage. They say stories like this only happen in the movies. I cannot believe it’s happening to me. This is the American dream.”

“Dreams are something that you have to believe in,” he added. “I almost gave up on mine. To all of you out there, please keep your dreams alive.”

Jamie Lee Curtis, a veteran headliner of horror hits such as “Halloween” and the daughter of Hollywood legends Janet Leigh and Tony Curtis, won best supporting actress for her turn as an IRS inspector in “Everything Everywhere All at Once.”

Curtis dedicated her statue “to all of the people who have supported the genre movies that I’ve made for all these years” and also acknowledged her family history in entertainment, noting, “my mother and my father were both nominated for Oscars in different categories.” Choking up, she ended with: “I just won an Oscar.”

With its multiverse storyline, and off-beat touches such as a character with hot dog hands and weaponized *****s, “Everything Everywhere All at Once” represents a radical departure from the kind of staid prestige fare that historically dominated the Oscars, but the Academy of Motion Picture Arts & Sciences has changed dramatically in recent years. In the wake of the#OscarsSoWhite controversy after no actors of color were nominated in two consecutive years, the Academy made a big push in 2016 to diversify the pool of voters. In subsequent years its membership has gotten younger, and now includes more people of color and women.

The ceremony unfolded at a tense time for Hollywood. As consumers have shifted away from cable and towards subscription streaming services, major studios and their corporate parents have spent a lot of time and coin launching their own in-house Netflix challengers. The entertainment industry has also undergone a period of consolidation, with Discovery merging with WarnerMedia, Disney buying much of 21st Century Fox and Amazon snatching MGM, deals that in the first two cases left the purchaser with a lot of debt on their balance sheet. Investors have become increasingly concerned that major media companies are over-leveraged and that the new ways that they are making money with streaming have failed to replace the old ways they once profited from such as cable subscriptions and movie ticket sales. That’s hurt the share prices of everyone from Netflix to Disney to the newly rechristened Warner Bros. Discovery, sparking a period of layoffs and cost-cutting. With a possible recession looming and studios facing tangled labor negotiations with the unions representing writers, directors and actors that could lead to strikes, there were dark clouds gathering that could have overshadowed the Oscars’ celebratory air.

Presiding over it all and (mostly) keeping things light and breezy was Jimmy Kimmel, returning for the third time as the host of the Oscars. The late night comic wasted no time bringing up the big moment from last year’s ceremony, when Will Smith charged the stage and slapped Chris Rock for making a joke about his wife Jada Pinkett Smith’s bald head (Pinkett Smith suffers from alopecia which leads to hair loss).

“If anyone in this theater commits an act of violence at any point during this show you will be awarded the Oscar for best actor and permitted to give a 19-minute-long speech,” Kimmel joked.

“If anything unpredictable or violent happens during the ceremony, just do what you did last year — nothing,” he added. “Sit there and do absolutely nothing. Maybe even give the assailant a hug.”

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“All Quiet on the Western Front,” an adaptation of Erich Maria Remarque’s novel about trench life during World War I, picked up four Oscars, including the prize for best international features. Other major winners included “Pinocchio,” Guillermo del Toro’s stop-motion musical, which was named best animated film, as well as “Women Talking,” which earned best adapted screenplay for Sarah Polley.

“Navalny,” a look at Russian opposition leader Alexei Navalny, won best documentary. Yulia Navalny, the imprisoned politician’s wife, came to the stage after the award was announced with a message aimed at Vladimir Putin. “I’m dreaming of the day when you will be free and our country will be free,” she said.

The Oscars did opt not to wade fully into international affairs. For the second year in a row, the program turned down overtures by Ukrainian President Volodymyr Zelenskyy to address the global audience about his country’s struggles against Russia’s illegal invasion.

This year’s crop of best picture nominees included smaller films such as “Triangle of Sadness” and “Tár,” but also several popular favorites like “Top Gun: Maverick” and “Avatar: The Way of Water.” It’s unclear how much the inclusion of these blockbusters will lift this year’s viewership, but the Oscars have been on a ratings nosedive. Last year’s telecast drew an audience of 16.6 million, the second-lowest ratings in its history. In contrast, in 2014, the Oscars drew 43 million viewers, a sign of the telecast’s precipitous drop in popularity.

The Oscars made some notable cosmetic changes, subbing in a champagne-colored carpet for the usual red one. That choice, however, led to some last minute scrambling after a rainy weekend left organizers cutting up sections of the carpet that had been ruined by the bad weather and dirty shoe soles. However, some near disasters were averted. On Saturday, Ovation Hollywood, the shopping center and entertainment complex that hosts the Academy Awards, suffered power outages. By Sunday, though, the skies cleared and the only sign of flickering lights were the flashbulbs greeting the stars as they made their way into the auditorium.

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Here is the full list of Oscar winners:

Best Picture

“Everything Everywhere All at Once” — Daniel Kwan, Daniel Scheinert and Jonathan Wang, producers

“All Quiet on the Western Front” — Malte Grunert, producer

“Avatar: The Way of Water” — James Cameron and Jon Landau, producers

“The Banshees of Inisherin” — Graham Broadbent, Pete Czernin and Martin McDonagh, producers

“Elvis” — Baz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick and Schuyler Weiss, producers

“The Fabelmans” — Kristie Macosko Krieger, Steven Spielberg and Tony Kushner, producers

“Tár” — Todd Field, Alexandra Milchan and Scott Lambert, producers

“Top Gun: Maverick” — Tom Cruise, Christopher McQuarrie, David Ellison and Jerry Bruckheimer, producers

“Triangle of Sadness” — Erik Hemmendorff and Philippe Bober, producers

“Women Talking” — Dede Gardner, Jeremy Kleiner and Frances McDormand, producers

Best Lead Actress

Michelle Yeoh (“Everything Everywhere All at Once”)

Cate Blanchett (“Tár”)

Ana de Armas (“Blonde”)

Andrea Riseborough (“To Leslie”)

Michelle Williams (“The Fabelmans”)

Best Lead Actor

Brendan Fraser (“The Whale”)

Austin Butler (“Elvis”)

Colin Farrell (“The Banshees of Inisherin”)

Paul Mescal (“Aftersun”)

Bill Nighy (“Living”)

Best Director

Daniel Kwan, Daniel Scheinert (“Everything Everywhere All at Once”)

Martin McDonagh (“The Banshees of Inisherin”)

Steven Spielberg (“The Fabelmans”)

Todd Field (“Tár”)

Ruben Östlund (“Triangle of Sadness”)

Best Film Editing

“Everything Everywhere All at Once” — Paul Rogers

“The Banshees of Inisherin” — Mikkel E.G. Nielsen

“Elvis” — Matt Villa and Jonathan Redmond

“Tár” — Monika Willi

“Top Gun: Maverick” — Eddie Hamilton

Best Original Song

“Naatu Naatu” from “RRR” — music by M.M. Keeravaani, lyric by Chandrabose

“Applause” from “Tell It Like a Woman” — music and lyric by Diane Warren

“Hold My Hand” from “Top Gun: Maverick” — music and lyric by Lady Gaga and BloodPop

“Lift Me Up” from “Black Panther: Wakanda Forever” — music by Tems, Rihanna, Ryan Coogler and Ludwig Goransson; lyric by Tems and Ryan Coogler

“This Is a Life” from “Everything Everywhere All at Once” — music by Ryan Lott, David Byrne and Mitski; lyric by Ryan Lott and David Byrne

Best Sound

“Top Gun: Maverick” — Mark Weingarten, James H. Mather, Al Nelson, Chris Burdon and Mark Taylor

“All Quiet on the Western Front” — Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel and Stefan Korte

“Avatar: The Way of Water” — Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers and Michael Hedges

“The Batman” — Stuart Wilson, William Files, Douglas Murray and Andy Nelson

“Elvis” — David Lee, Wayne Pashley, Andy Nelson and Michael Keller

Best Adapted Screenplay

“Women Talking” — Sarah Polley

“All Quiet on the Western Front” — Edward Berger, Lesley Paterson and Ian Stokell

“Glass Onion: A Knives Out Mystery” — Rian Johnson

“Living” — Kazuo Ishiguro

“Top Gun: Maverick” — screenplay by Ehren Kruger, Eric Warren Singer and Christopher McQuarrie; story by Peter Craig and Justin Marks

Best Original Screenplay

“Everything Everywhere All at Once” — Daniel Kwan and Daniel Scheinert

“The Banshees of Inisherin” — Martin McDonagh

“The Fabelmans” — Steven Spielberg and Tony Kushner

“Tár” — Todd Field

“Triangle of Sadness” — Ruben Östlund

Best Visual Effects

“Avatar: The Way of Water” — Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett

“All Quiet on the Western Front” — Frank Petzold, Viktor Müller, Markus Frank and Kamil Jafar

“The Batman” — Dan Lemmon, Russell Earl, Anders Langlands and Dominic Tuohy

“Black Panther: Wakanda Forever” — Geoffrey Baumann, Craig Hammack, R. Christopher White and Dan Sudick

“Top Gun: Maverick” — Ryan Tudhope, Seth Hill, Bryan Litson and Scott R. Fisher

Best Original Score

“All Quiet on the Western Front” — Volker Bertelmann

“Babylon” — Justin Hurwitz

“The Banshees of Inisherin” — Carter Burwell

“Everything Everywhere All at Once” — Son Lux

“The Fabelmans” — John Williams

Best Production Design

“All Quiet on the Western Front” — production design by Christian M. Goldbeck, set decoration by Ernestine Hipper

“Avatar: The Way of Water” — production design by Dylan Cole and Ben Procter, set decoration by Vanessa Cole

“Babylon” — production design by Florencia Martin, set decoration by Anthony Carlino

“Elvis” — production design by Catherine Martin and Karen Murphy, set decoration by Bev Dunn

“The Fabelmans” — production design by Rick Carter, set decoration by Karen O’Hara

Best Animated Short Film

“The Boy, the Mole, the Fox and the Horse” — Charlie Mackesy and Matthew Freud

“The Flying Sailor” — Amanda Forbis and Wendy Tilby

“Ice Merchants” — João Gonzalez and Bruno Caetano

“My Year of Dicks” — Sara Gunnarsdóttir and Pamela Ribon

“An Ostrich Told Me the World Is Fake and I Think I Believe It” — Lachlan Pendragon

Best Documentary Short Film

“The Elephant Whisperers” — Kartiki Gonsalves and Guneet Monga

“Haulout” — Evgenia Arbugaeva and Maxim Arbugaev

“How Do You Measure a Year?” — Jay Rosenblatt

“The Martha Mitchell Effect” — Anne Alvergue and Beth Levison

“Stranger at the Gate” — Joshua Seftel and Conall Jones

Best International Feature Film

“All Quiet on the Western Front” (Germany)

“Argentina, 1985” (Argentina)

“Close” (Belgium)

“EO” (Poland)

“The Quiet Girl” (Ireland)

Best Costume Design

“Black Panther: Wakanda Forever” — Ruth E. Carter

“Babylon” — Mary Zophres

“Elvis” — Catherine Martin

“Everything Everywhere All at Once” — Shirley Kurata

“Mrs. Harris Goes to Paris” — Jenny Beavan

Best Makeup and Hairstyling

“The Whale” — Adrien Morot, Judy Chin and Anne Marie Bradley

“All Quiet on the Western Front” — Heike Merker and Linda Eisenhamerová

“The Batman” — Naomi Donne, Mike Marino and Mike Fontaine

“Black Panther: Wakanda Forever” — Camille Friend and Joel Harlow

“Elvis” — Mark Coulier, Jason Baird and Aldo Signoretti

Best Cinematography

“All Quiet on the Western Front” — James Friend

“Bardo, False Chronicle of a Handful of Truths” — Darius Khondji

“Elvis” — Mandy Walker

“Empire of Light” — Roger Deakins

“Tár” — Florian Hoffmeister

Best Live Action Short

“An Irish Goodbye” — Tom Berkeley and Ross White

“Ivalu” — Anders Walter and Rebecca Pruzan

“Le Pupille” — Alice Rohrwacher and Alfonso Cuarón

“Night Ride” — Eirik Tveiten and Gaute Lid Larssen

“The Red Suitcase” — Cyrus Neshvad

Best Documentary Feature Film

“Navalny” — Daniel Roher, Odessa Rae, Diane Becker, Melanie Miller and Shane Boris

“All That Breathes” — Shaunak Sen, Aman Mann and Teddy Leifer

“All the Beauty and the Bloodshed” — Laura Poitras, Howard Gertler, John Lyons, Nan Goldin and Yoni Golijov

“Fire of Love” — Sara Dosa, Shane Boris and Ina Fichman

“A House Made of Splinters” — Simon Lereng Wilmont and Monica Hellström

Best Supporting Actress

Jamie Lee Curtis (“Everything Everywhere All at Once”)

Angela Bassett (“Black Panther: Wakanda Forever”)

Hong Chau (“The Whale”)

Kerry Condon (“The Banshees of Inisherin”)

Stephanie Hsu (“Everything Everywhere All at Once”)

Best Supporting Actor

Ke Huy Quan (“Everything Everywhere All at Once”)

Brendan Gleeson (“The Banshees of Inisherin”)

Brian Tyree Henry (“Causeway”)

Judd Hirsch (“The Fabelmans”)

Barry Keoghan (“The Banshees of Inisherin”)

Best Animated Feature Film

“Guillermo del Toro’s Pinocchio” — Guillermo del Toro, Mark Gustafson, Gary Ungar and Alex Bulkley

“Marcel the Shell With Shoes On” — Dean Fleischer Camp, Elisabeth Holm, Andrew Goldman, Caroline Kaplan and Paul Mezey

“Puss in Boots: The Last Wish” — Joel Crawford and Mark Swift

“The Sea Beast” — Chris Williams and Jed Schlanger

“Turning Red” — Domee Shi and Lindsey Collins

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