2024 Oscar nominations: See the full list of nominees
Oppenheimer leads the way for the 2024 Academy Awards nominations, followed closely by Barbie, Poor Things, and Killers Of The Flower Moon
Aux News Killers Of The Flower Moon
Oppenheimer set the pace as nominations were announced Tuesday morning for the 2024 Academy Awards, with Christopher Nolan’s historical epic securing 13 nods, including for Best Picture, Best Actor, and Best Director. Yorgos Lanthimos’ Poor Things followed closely with 11 nominations, while Martin Scorsese’s Killers Of The Flower Moon received 10, and Barbie landed eight. The nominations for the 96th Academy Awards, which take place March 12 on ABC, were revealed by Jack Quaid and Zazie Beetz.
Killers Of The Flower Moon marks Scorsese’s 10th nomination for Best Director, breaking his tie with Steven Spielberg for the second-most nominations in the category (William Wyler holds the record with 12 nominations). Scorsese and Spielberg are the only people nominated for Best Director in six different decades.
Meanwhile, Todd Haynes’ May December, which gained awards circuit buzz in particular for Charles Melton’s performance, was largely shut out of the nominees list, recognized only for its screenplay. And Wes Anderson’s Asteroid City didn’t make it on to the nominee list at all. You can check out The A.V. Club’s list of 2024's biggest snubs and surprises here.
Scroll on for the complete list of the 2024 Academy Award nominees.
Best Picture
American Fiction
Anatomy Of A Fall
Barbie
The Holdovers
Killers of the Flower Moon
Maestro
Past Lives
Poor Things
Oppenheimer
The Zone Of Interest
Best Director
Jonathan Glazer, The Zone of Interest
Yorgos Lanthimos, Poor Things
Christopher Nolan, Oppenheimer
Martin Scorsese, Killers of the Flower Moon
Justine Triet, Anatomy of a Fall
Best Actress
Annette Bening, Nyad
Lily Gladstone, Killers of the Flower Moon
Sandra Hüller, Anatomy of a Fall
Carey Mulligan, Maestro
Emma Stone, Poor Things
Best Actor
Bradley Cooper, Maestro
Colman Domingo, Rustin
Paul Giamatti, The Holdovers
Cillian Murphy, Oppenheimer
Jeffrey Wright, American Fiction
Best Supporting Actress
Emily Blunt, Oppenheimer
Danielle Brooks, The Color Purple
America Ferrera, Barbie
Jodie Foster, Nyad
Da’Vine Joy Randolph, The Holdovers
Best Supporting Actor
Sterling K. Brown, American Fiction
Robert De Niro, Killers of the Flower Moon
Robert Downey Jr., Oppenheimer
Ryan Gosling, Barbie
Mark Ruffalo, Poor Things
Best Original Screenplay
Bradley Cooper and Josh Singer, Maestro
Justine Triet and Arthur Harari, Anatomy of a Fall
David Hemingson, The Holdovers
Samy Burch, May December
Celine Song, Past Lives
Best Adapted Screenplay
Cord Jefferson, American Fiction
Greta Gerwig & Noah Baumbach, Barbie
Christopher Nolan, Oppenheimer
Tony McNamara, Poor Things
Jonathan Glazer, Zone Of Interest
Best Animated Feature
The Boy And The Heron
Elemental
Nimona
Spider-Man: Across the Spider-Verse
Robot Dreams
Best International Feature Film
Germany, The Teachers’ Lounge
Italy, Io Capitano
Japan, Perfect Days
Spain, Society Of The Snow
United Kingdom, The Zone Of Interest
Best Documentary Feature Film
Bobi Wine: The People’s President
The Eternal Memory
Four Daughters
To Kill A Tiger
20 Days In Mariupol
Best Documentary Short Film
The ABCs of Book Banning
The Barber Of Little Rock
Island In Between
The Last Repair Shop
NÇi Nai & Wài Pó
Best Makeup And Hairstyling
Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue, Golda
Kazu Hiro, Kay Georgiou and Lori McCoy-Bell, Maestro
Luisa Abel, Oppenheimer
Nadia Stacey, Mark Coulier and Josh Weston, Poor Things
Ana López-Puigcerver, David Martí and Montse Ribé, Society Of The Snow
Best Original Score
Laura Karpman, American Fiction
John Williams, Indiana Jones And The Dial of Destiny
Robbie Robertson, Killers Of The Flower Moon
Ludwig Göransson, Oppenheimer
Jerskin Fendrix, Poor Things
Best Original Song
“The Fire Inside” from Flamin’ Hot (Music and Lyric by Diane Warren)
“I’m Just Ken” from Barbie (Music and Lyric by Mark Ronson and Andrew Wyatt)
“It Never Went Away” from American Symphony (Music and Lyric by Jon Batiste and Dan Wilson)
“Wahzhazhe (A Song for My People)” from Killers of the Flower Moon (Music and Lyric by Scott George)
“What Was I Made For?” from Barbie (Music and Lyric by Billie Eilish and Finneas O’Connell)
Best Sound
The Creator
Maestro
Mission: Impossible—Dead Reckoning Part One
Oppenheimer
The Zone of Interest
Best Animated Short Film
Letter to a Pig
Ninety-Five Senses
Our Uniform
Pachyderme
War Is Over! Inspired by the Music of John & Yoko
Best Live Action Short Film
The After
Invincible
Knight of Fortune
Red, White and Blue
The Wonderful Story of Henry Sugar
Best Visual Effects
The Creator
Godzilla Minus One
Guardians of the Galaxy Vol. 3
Mission: Impossible—Dead Reckoning Part One
Napoleon
Best Cinematography
Edward Lachman, El Conde
Hoyte van Hoytema, Oppenheimer
Matthew Libatique, Maestro
Rodrigo Prieto, Killers of the Flower Moon
Robbie Ryan, Poor Things
Best Editing
Laurent Sénéchal, Anatomy Of A Fall
Kevin Tent, The Holdovers
Thelma Schoonmaker, Killers Of The Flower Moon
Jennifer Lame, Oppenheimer
Yorgos Mavropsaridis, Poor Things
Best Costume Design
Jacqueline Durran, Barbie
Jacqueline West, Killers Of The Flower Moon
Janty Yates and Dave Crossman, Napoleon
Ellen Mirojnick, Oppenheimer
Holly Waddington, Poor Things
Best Production Design
Barbie (Production Design: Sarah Greenwood; Set Decoration: Katie Spencer)
Killers Of The Flower Moon (Production Design: Jack Fisk; Set Decoration: Adam Willis)
Napoleon (Production Design: Arthur Max; Set Decoration: Elli Griff)
Oppenheimer (Production Design: Ruth De Jong; Set Decoration: Claire Kaufman)
Poor Things (Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek)
78 Comments
Well Barbie got screwed out of Best Director, Best Actress, and Best Org Screenplay (donât give me that âadaptedâ crap). I hope it sweeps its categories.
From what I understand, Gerwig made the decision to switch to the adapted category when she lost the original screenplay category at the Golden Globes. Either way, itâs tough competition for her. Barbie was adorable, but it was uneven in many places.Â
No, the campaign was for Original; it was the Academy that decided it was Adapted.Â
I mean what the heck was Will Farrell doing with those drumsticks the entire movie
Lol. Where the fuck did you hear that bullshit? Not only is adapted far more stacked than original, Gerwig or anyone else on the production canât choose shit. Itâs the writer’s branch that decides the placing ultimately, regardless of campaign. In this case, the simple fact that the titles literally say “based on Barbie by Mattel” means it’s adapted.
You can make the argument Gerwig was up against a tough crowd. (Not saying I will, but itâs there.)But if you have room to nominate Nyad…you have room to nominate Barbie.
TEN Best Picture Nominees? That is an insane case of fence post sitting. Iâm assuming itâs business strategy; more âOscar nominatedâ films means more butts in seats. Still, seems like just the presentation of the nominees and envelope open will run about 24 minutes that night. Also, under Best Director, someone spelled âAlexander Payneâ wrong.Â
10* nominees has been a thing since 2010, after The Dark Knight was snubbed.*It used to be a hard 10, now itâs 8-10 I believe; I donât follow the rules quite as much as I used to
They went back to a hard 10 in 2021. It was 5-10 for about a decade.
Itâs been 10 for quite some time now. They expanded the field in 2009, to allow for more films which people actually saw….and given how easily the voters cast aside Barbie when the field was limited to 5, thatâs probably a good thing.
âNominated for Best Pictureâ just doesnât mean what it used to, does it
To be clear, I donât have an issue with any of the films nominated, and I assume the reasoning was strategic back in 2010: the cache âOscar nominated filmâ gets is a boon to the marketplace. Something like Anatomy of a Fall gets attention when it might otherwise be overlooked. As an avid in-theater viewer, Iâm all for whatever will keep that tradition alive, even though with each passing year it feels more and more like rooting for 8-track tapes.Â
So – Anatomy of a Fall is one of the ten best pictures of the year – but itâs not one of the best five best international pictures of the year?
I think the originating country has to choose it, and whoever decides these things in Germany went with the other one. (Possibly as a tactical decision, hoping Anatomy Of A Fall would get that Best Picture nomination.)
Anatomy of a Fall is French. Why would Germany have a say in the matter?
Anatomy of a Fall is French. Why would Germany have a say in the matter?
maybe it has anything to do with the amount of english spoken? obviously parasite was up for both and doesnât have a word of english, so iâm not sure.
Correct – each country gets one submission for Best International. After that itâs fully up to the Academy for BP noms.
Franceâs official selection for Best International Feature was The Taste of Things.
Be angry though, thatâs useful.
The differentiation between âAmericanâ and âInternationalâ films is becoming less clear. The Zone of Interest is listed as being from the UK, which is where Glazer is from, but the producers are from all over including 2 from Poland: The Polish Film Institute is a State run concern and Extreme Emotions is also Polish. JW Films is based in the US and Access is a joint US/British Company while Film 4 is based in the UK.
France didnât submit it (hedging that it would get a Best Picture nom). They submitted The Taste of Things.
Greta Gerwig and Margot Robbie left out of the Director and Actress categories seem like huge snubs, unless thereâs some eligibility thing Iâm missing.
Iâd argue theyâre only huge snubs if some other nominee didnât deserve it. Thatâs one hell of a contest for best director and they have all earned a nomination. Alexander Payne also seems like a snub, but I canât argue with any of the current choices.
Yes, I also wouldnât use âsnubâ. In some cases, itâs more âweâre out of roomâ.
Perhaps, but Nyad absolutely does not deserve any recognition.
On the other hand, Barbie didnât need the extra ticket money that Oscar nominations can bring. At this point, theyâd just be deepening the Scrooge McDuck pool.
Kinda funny how the Oscars are now about boosting the box office than, you know, recognizing achievement in film.
Thanks Harvey Weinstein!(Also, Nyadâs streaming. It only got enough of a theatrical release to get nominated. So…no box office boost anyway!)
Making films is about boosting the box office (or streaming numbers, or whatever financial metric is in this season). I was thinking about smaller movies, which rarely make decent bank, even by the modest standards of their budget and release scope, and that can use any help they get. Following the nominations list, many of these films will prompt another short cinema run, as people go off to find out what the fuss was about (not every movie has a Netflix behind it). Every small-budget film that turns a solid profit, whether itâs off the back of awards-nomination publicity, or just being a sleeper hit, helps get the next really good small movie made. However: I apologise unreservedly for all the harm Iâve done to you by wanting more small movies to do well.
I cannot believe Annette Benning has never won an Oscar.
I really enjoyed Fosterâs performance and her abs.
Yeah, all due respect to Oliver Stone, Gerwig made something affecting and of substance, and entertaining, out of a movie about Barbie dolls, which is really pretty impressive. Iâm not a hardcore Barbie fan, but I thought it was really great, and it would have been nice for Gerwig to have gotten some recognition. Same for Robbie. She did some really good work, and Iâd easily switch her out for Carey Mulligan or maybe Annette Bening. I love those two, but Iâd say those movies and their performances were good but conventional.
Margot Robbie didnât just do good work. Sheâs the glue that holds that movie together. Iâve watched Barbie multiple times, and she is the heart of that thing. Itâs performances like hers that really should but rarely do get honored in the lead acting categories. Do you realize just how hard it would be to do what she does in that movie? She has this perfect balance of parody, with all of its silliness, along with serious pathos we can all empathize with. And she really does commit. One of my favorite moments is when sheâs on the ground crying after realizing the Kens have taken over. You genuinely feel for her in this horrible moment, but sheâs also making you bust out laughing with how well sheâs emulating Barbie doll physicality. Itâs pitch perfect.Iâm not saying she would have won the award, but I bet thereâs at least one she deserves the nomination more than.
Canât say I disagree.
I made a similar comment on another thread – Barbie was a truly original creation, with a combination of source material and messaging that could easily have combined to become a trainwreck. I feel that kind of artistic uniqueness and creativity deserve recognition.
I thought Robie was fine in her role, but nothing exceptional. Gosling nailed it.If there were an award for Best Producer (not meaning Picture, but actually getting something produced with a vision), Iâd probably wish her a win there, though.
I genuinely donât understand why people think she deserves an Oscar for that performance. Hot girl plays iconic hot girl doll.
Best Supporting is looking like a really interesting category this year; Robert Downey Jr was amazing at playing completely against his type in Oppenheimer, but Ryan Goslingâs Ken almost stole the movie away entirely. And I havenât seen Holdovers but heard DaâVine Joy Randolph was amazing in it (love her in Only Murders in the Building), but Iâm also really glad the acting powerhouse that is Danielle Brooks is getting respected for that category as well. Letâs go Godzilla for best effects! Predictions for the big categories: Best picture: Killers of the Flower Moon/Zone of InterestBest director: Nolan or ScorceseBest actor: Cilian MurphyBest actress: one of the Stones, either Glad or EmmaSupporting actor: RDJSupporting actress: Danielle BrooksOriginal screenplay: Past LivesAdapted: Oppenheimy/ZoneAnimated: Boy and the HeronInternational: ZoneCinematography: Oppenheimy/Killers
daâvine stands a real chance it was a great performance in a great movie.
Agree with you on Robert Downey Jr. and Ryan Gosling. I suspect one of the two of them will win it, but Robert De Niro was also great in Killers of the Flower Moon â able to convincingly play a nice grandfatherly type and a person who was intensely cruel.I donât think Killers of the Flower Moon will win many awards apart from Best Actress. But I think itâs reputation will grow. After a career of protagonists defined by their intelligence, proactiveness, and impulsivity, we now have a strange Scorsese movie where our main character is defined by extraordinary passivity. Heâs a guy who loves his wife, yet goes along willingly with poisoning her and murdering her family, mostly because he canât seem to muster the independence or willpower to do anything else. The film has real similarities to The Irishman, which also features a character who does a terrible thing to someone he loves, mostly because he just defers to other people.
Best Supporting is almost always a stacked category. I guess by definition there are more actors eligible as supporting rather than lead roles, but regardless itâs almost always where you get the most interesting performances that leave you wanting more.
As much as I loved Minus One, rewarding its effects would kinda come off as rewarding the studio for paying its FX people shit wages.
Nice to see Brooks, Ferrera, Wright, and Domingo getting the nods.Biggest surprise for me was the absence of Still in the documentary category. Unless thatâs not eligible for some reason (which could easily be the case)?
I wish Chile had submitted El Conde as their Foreign Film nominee, it deserves to be in there. Iâm sure Oppenheimer will win the Cinematography award, but itâs nice to see El Conde nominated somewhere.Â
this is gonna be a wild wild oscars, man.happy to see almost anything nominated win anything itâs nominated for.my only real gripe is boy and the heron should be up for best picture.
I said it in yesterdayâs Longshots post, but now that itâs real, Iâm just devastated that Greta Lee didnât get nominated for Past Lives. She was incredible and to pass over her nuanced performance for some typical, awards-baity melodramatic âAâcting from Carey Mulligan in Maestro reminds me why I hate awards for art.
I just loved Past Lives and all the main threeâs performances, while I had trouble watching the Maestro in all its Oscar-baity glory. Itâs such a biopic that the acting comes out predictable albeit usually competent. Just kinda unremarkable.
Disclaimer: havenât seen Maestro, probably wonât.Carey Mulligan is spectacular at doing exactly one thing: being nominated for Oscars for being the put-upon wife.
I know it was a very Long shot, but man Godzilla Minus One was the best film I saw last year and I really feel it could have gotten some more nominations. Oh well.
Godzilla Minus One could have been easily a nomination for Best Picture…
Iâm shocked it got ANY. An oscar nomination for a Japanese Godzilla movie is awesome. If the awards had any justice for impressiveness of effects vs budget that would be the clear winner out of those nominees. But objectively the ones with many, many millions more in their budgets probably had âbetter effects.â Not sure, I didnât watch any of the other nominees. Godzilla Minus One was impressive as hell.
The Mushroom cloud after the fire breath alone was insane for such a small budget. I should be happy with the 1 nod but I was hoping for a little more.Â
Iâm not sure what âbetter effectsâ even are these days. I loved this award as a kid because you could see, year after year, new amazing stuff nobodyâs really done (or done this well) before. But weâve been at a point for decades where anything that can be visually imagined, can be put up on screen if youâre willing to throw enough money at it. Whatâs the âbestâ? Whatâs even the ânewâ? Is it just something only industry FX people will ever notice? Or is it just going back to âhereâs one for the blockbustersâ, which is what it usually was anyway?
I donât know, there are a lot of high-budget films with inexplicably terrible CGI, or at least that isnât well-integrated with the practical effects. I remain bewildered that some of the best CGI is Jurassic Park and Starship Troopers.
It can always be done badly, sure, but even done well I donât know what sets that apart into that high-level, Oscar-nominated zone. When they put in their noms for this, what are they showing me that I havenât seen twenty times before and at least as well?
At this point I would say seamlessness and complete believability within the context of the movie. Whatever effect is being used, you shouldnât notice that itâs anything other than a real part of the action. I agree just making your CGI slightly more photorealistic doesnât translate into a standout accomplishment.
Barbie is an adapted screenplay because it is based on a doll.Maestro is an original screenplay because it is based on a real person. Got it.
Maestro should not have been nominated for best picture nor for best screenplay of any sort. The movie is dull and paint-by-numbers in EVERY way. On the DAY it came out several better movies were created somewhere or the world should just stop trying to make art. I wish I had spent the two hours I wasted being bored and annoyed while watching that dreck doing ANYTHING else short of directly physically harming another human. It was so, so just very bad. No gold star for effort; grownups made this self-important snooze-fest.
It looked boring to me so I skipped it. It looks like a Bradley Cooper vanity project, Oscar bait, legitimacy fodder because he finally had enough clout to get a project made to fit his ego.Â
I have not yet seen âPast Livesâ and I wonât see âZone of Interestâ but I greatly enjoyed all the other movies nominated for Best Picture. Bradley Cooperâs performance is also dull (a skilled imitation that lacks any spark of life). Carey Mulliganâs performance is lovely and moving but only sparkles at the beginning before she gets relegated to the sidelines and then dies of cancer. The east-coast real estate (both urban and rural) is truly delicious but unless you need that in your life Iâd say go with your first instinct and give it a miss!
You do know that you can spend those valuable two hours doing something better, like commenting at the A.V. Club, donât you?
I HAD THAT SAME THOUGHT. đĄ
For what itâs worth, I think thatâs a perfectly reasonable distinction. Remember also that Barbie isnât just a doll — there are books, shows, television commercials, all of which establish who the character is. Gerwig was unmistakably playing with the expectations set forth for the character in the screenplay. Itâs adapted.
of course and I was not in any way saying that barbie is should not be an adapted. A biopic should ALSO be an adapted screenplay.Â
There has to be a distinction set somewhere, so as long as Maestro isnât based upon an existing written biography then original makes sense to me.
May December is also based on real people, to the point of Photoshopping Julianne Moore into a 1998 issue of âPeople,â but they changed the names so that makes it âoriginal?â
Competition looks stacked but Iâm pulling for my boy Chris.
So happy for Bradley Cooper. He deserves the nom.
One performance I would have liked to see recognized was Holt McCallany as Fritz von Erich in The Iron Claw. That movie was generally not particularly inspired (I mean, it was fine as a biopic, if extremely depressing) but McCallany was pretty electric as the monomaniacal family patriarch.
I didnât fully appreciate his performance until I watched the âDark Side of the Ringâ episode about the Von Erichs and HOLY COW that was the exact same person!
Heâs a mesmerizing actor, and can be downright terrifying when he chooses to be.
Whatever. Godzilla Minus One should win all the awards.
Iâve seen so few movies this year that I really donât have a dog in this fight.But Iâm glad to see so many noms for Past Lives, which was amazing.Â
The uproar about âsnubsâ of Robbie and DiCaprio is going to be fucking insufferable. Theyâre both people who won the genetic lottery but are just okay as actors. They werenât snubbed. They got squeezed out by better actors.
DiCaprio deserved a Razzy nomination for that performance.Â
I hope Godzilla Minus One wins for Best Visual Effects since 35 CGI artists did a better job than the 1000+ did on AntMan and the Wasp: Quantumania for way less budget.It probably wonât win for that very same reason.
Between Nyad and True Detective, are we in the midst of a Foster-ssance?
âMore from the AV Clubâ cut Poor Things off from the rest of the Best Production Design nominees and I was about to become apoplectic over its omission.
I am thrilled that Godzilla got a nomination in the effects category. I am stumped how Oppenheimer did not get a nomination in the effects category.