The 94th Academy Awards Winners - Oscars 2022

[Marcel Birgelen]

In case you missed it, the annual Oscar "craze" rolled around and below are the nominees and winners in each category. Winners are the first of each respective list and marked in bold.

Best Picture

• CODA – Philippe Rousselet, Fabrice Gianfermi and Patrick Wachsberger
• Belfast – Laura Berwick, Kenneth Branagh, Becca Kovacik and Tamar Thomas
• Don't Look Up – Adam McKay and Kevin Messick
• Drive My Car – Teruhisa Yamamoto
• Dune – Mary Parent, Denis Villeneuve and Cale Boyter
• King Richard – Tim White, Trevor White and Will Smith
• Licorice Pizza – Sara Murphy, Adam Somner and Paul Thomas Anderson
• Nightmare Alley – Guillermo del Toro, J. Miles Dale and Bradley Cooper
• The Power of the Dog – Jane Campion, Tanya Seghatchian, Emile Sherman, Iain Canning and Roger Frappier
• West Side Story – Steven Spielberg and Kristie Macosko Krieger

Best Director

• Jane Campion – The Power of the Dog
• Kenneth Branagh – Belfast
• Ryusuke Hamaguchi – Drive My Car
• Paul Thomas Anderson – Licorice Pizza
• Steven Spielberg – West Side Story

Best Actor

• Will Smith – King Richard as Richard Williams
• Javier Bardem – Being the Ricardos as Desi Arnaz
• Benedict Cumberbatch – The Power of the Dog as Phil Burbank
• Andrew Garfield – Tick, Tick... Boom! as Jonathan Larson
• Denzel Washington – The Tragedy of Macbeth as Lord Macbeth

Best Actress

• Jessica Chastain – The Eyes of Tammy Faye as Tammy Faye Bakker
• Olivia Colman – The Lost Daughter as Leda Caruso
• Penélope Cruz – Parallel Mothers as Janis Martínez Moreno
• Nicole Kidman – Being the Ricardos as Lucille Ball
• Kristen Stewart – Spencer as Diana, Princess of Wales

Best Supporting Actor

• Troy Kotsur – CODA as Frank Rossi
• Ciarán Hinds – Belfast as Pop
• Jesse Plemons – The Power of the Dog as George Burbank
• J. K. Simmons – Being the Ricardos as William Frawley
• Kodi Smit-McPhee – The Power of the Dog as Peter Gordon

Best Supporting Actress

• Ariana DeBose – West Side Story as Anita
• Jessie Buckley – The Lost Daughter as Young Leda Caruso
• Judi Dench – Belfast as Granny
• Kirsten Dunst – The Power of the Dog as Rose Gordon
• Aunjanue Ellis – King Richard as Oracene "Brandy" Price

Best Original Screenplay

• Belfast – Kenneth Branagh
• Don't Look Up – Screenplay by Adam McKay; Story by Adam McKay and David Sirota
• King Richard – Zach Baylin
• Licorice Pizza – Paul Thomas Anderson
• The Worst Person in the World – Eskil Vogt and Joachim Trier

Best Adapted Screenplay

• CODA – Sian Heder; based on the original motion picture screenplay La Famille Bélier written by Victoria Bedos, Thomas Bidegain, Stanislas Carré de Malberg and Éric Lartigau
• Drive My Car – Ryusuke Hamaguchi and Takamasa Oe; based on the short story by Haruki Murakami
• Dune – Jon Spaihts, Denis Villeneuve and Eric Roth; based on the novel by Frank Herbert
• The Lost Daughter – Maggie Gyllenhaal; based on the novel by Elena Ferrante
• The Power of the Dog – Jane Campion; based on the novel by Thomas Savage

Best Animated Feature Film

• Encanto – Jared Bush, Byron Howard, Yvett Merino and Clark Spencer
• Flee – Jonas Poher Rasmussen, Monica Hellström, Signe Byrge Sørensen and Charlotte de la Gournerie
• Luca – Enrico Casarosa and Andrea Warren
• The Mitchells vs. the Machines – Mike Rianda, Phil Lord, Christopher Miller and Kurt Albrecht
• Raya and the Last Dragon – Don Hall, Carlos López Estrada, Osnat Shurer and Peter Del Vecho

Best International Feature Film

• Drive My Car (Japan) in Japanese – directed by Ryusuke Hamaguchi
• Flee (Denmark) in Danish – directed by Jonas Poher Rasmussen
• The Hand of God (Italy) in Italian – directed by Paolo Sorrentino
• Lunana: A Yak in the Classroom (Bhutan) in Dzongkha – directed by Pawo Choyning Dorji
• The Worst Person in the World (Norway) in Norwegian – directed by Joachim Trier

Best Documentary Feature

• Summer of Soul (...Or, When the Revolution Could Not Be Televised) – Ahmir "Questlove" Thompson, Joseph Patel, Robert Fyvolent and David Dinerstein
• Ascension – Jessica Kingdon, Kira Simon-Kennedy and Nathan Truesdell
• Attica – Stanley Nelson and Traci A. Curry
• Flee – Jonas Poher Rasmussen, Monica Hellström, Signe Byrge Sørensen and Charlotte de la Gournerie
• Writing with Fire – Rintu Thomas and Sushmit Ghosh

Best Documentary Short Subject

• The Queen of Basketball – Ben Proudfoot
• Audible – Matthew Ogens and Geoff McLean
• Lead Me Home – Pedro Kos and Jon Shenk
• Three Songs for Benazir – Elizabeth Mirzaei and Gulistan Mirzaei
• When We Were Bullies – Jay Rosenblatt

Best Original Score

• Dune – Hans Zimmer
• Don't Look Up – Nicholas Britell
• Encanto – Germaine Franco
• Parallel Mothers – Alberto Iglesias
• The Power of the Dog – Jonny Greenwood

Best Original Song

• "No Time to Die" from No Time to Die – Music and lyrics by Billie Eilish and Finneas O'Connell
• "Be Alive" from King Richard – Music and lyrics by DIXSON and Beyoncé Knowles-Carter
• "Dos Oruguitas" from Encanto – Music and lyrics by Lin-Manuel Miranda
• "Down to Joy" from Belfast – Music and lyrics by Van Morrison
• "Somehow You Do" from Four Good Days – Music and lyrics by Diane Warren

Best Sound

• Dune – Mac Ruth, Mark Mangini, Theo Green, Doug Hemphill and Ron Bartlett
• Belfast – Denise Yarde, Simon Chase, James Mather and Niv Adiri
• No Time to Die – Simon Hayes, Oliver Tarney, James Harrison, Paul Massey and Mark Taylor
• The Power of the Dog – Richard Flynn, Robert Mackenzie and Tara Webb
• West Side Story – Tod A. Maitland, Gary Rydstrom, Brian Chumney, Andy Nelson and Shawn Murphy

Best Production Design

• Dune – Production Design: Patrice Vermette; Set Decoration: Zsuzsanna Sipos
• Nightmare Alley – Production Design: Tamara Deverell; Set Decoration: Shane Vieau
• The Power of the Dog – Production Design: Grant Major; Set Decoration: Amber Richards
• The Tragedy of Macbeth – Production Design: Stefan Dechant; Set Decoration: Nancy Haigh
• West Side Story – Production Design: Adam Stockhausen; Set Decoration: Rena DeAngelo

Best Cinematography

• Dune – Greig Fraser
• Nightmare Alley – Dan Laustsen
• The Power of the Dog – Ari Wegner
• The Tragedy of Macbeth – Bruno Delbonnel
• West Side Story – Janusz Kamiński

Best Makeup and Hairstyling

• The Eyes of Tammy Faye – Linda Dowds, Stephanie Ingram and Justin Raleigh
• Coming 2 America – Mike Marino, Stacey Morris and Carla Farmer
• Cruella – Nadia Stacey, Naomi Donne and Julia Vernon
• Dune – Donald Mowat, Love Larson and Eva von Bahr
• House of Gucci – Göran Lundström, Anna Carin Lock and Frederic Aspiras

Best Costume Design

• Cruella – Jenny Beavan
• Cyrano – Massimo Cantini Parrini and Jacqueline Durran
• Dune – Jacqueline West and Bob Morgan
• Nightmare Alley – Luis Sequeira
• West Side Story – Paul Tazewell

Best Film Editing

• Dune – Joe Walker
• Don't Look Up – Hank Corwin
• King Richard – Pamela Martin
• The Power of the Dog – Peter Sciberras
• Tick, Tick... Boom! – Myron Kerstein and Andrew Weisblum

Best Special Effects

• Dune – Paul Lambert, Tristan Myles, Brian Connor and Gerd Nefzer
• Free Guy – Swen Gillberg, Bryan Grill, Nikos Kalaitzidis and Dan Sudick
• No Time to Die – Charlie Noble, Joel Green, Jonathan Fawkner and Chris Corbould
• Shang-Chi and the Legend of the Ten Rings – Christopher Townsend, Joe Farrell, Sean Noel Walker and Dan Oliver
• Spider-Man: No Way Home – Kelly Port, Chris Waegner, Scott Edelstein and Dan Sudick

[Frank Cox]

And once again the list consists mostly of movies that few people have actually watched or, probably, even heard of before.

I wonder if "the slap" was also pre-planned and choreographed to get a headline.

[Marcel Birgelen]

I wonder if "the slap" was also pre-planned and choreographed to get a headline.

And I'm guessing you're not alone in wondering about that.

And it worked pretty well... today's local headlines: Will Smith punches Chris Rock at Oscars after pranking wife
News about the actual awards is not even on the frontpage...

[Leo Enticknap]

And once again the list consists mostly of movies that few people have actually watched or, probably, even heard of before.

And with the arguable exception of Coda, they all have a significant political agenda. Of all of the winners, Encanto is the only one I've seen playing in a mainstream theater I've serviced, and that was pulled after the minimum booking period due to poor ticket sales.

I wonder what the ratings for the Oscars show will turn out to be. If it's in the ballpark or lower than last year's, an attempt will likely be made to spin it by claiming that the figure doesn't include streamed viewing, which we'll never know because the big streaming platforms don't publish viewing figures.

[Jon Dent]

It would be more interesting to see a timeline of viewership numbers and see if it jumped after the slappy slap.

From my own observations, Hollywood is the only ones who still care about the Oscars. For the rest of us they have long slipped into irrelevance.

[Bobby Henderson]

Considering the current, very homogenized, foreign market friendly condition of "mainstream" Hollywood movies, I have no problem whatsoever with the list of Oscar winners and nominees being more obscure, artsy-fartsy shows. If the AMPAS was supposed to give gold statues to the top-grossing movies the awards ceremony would turn into an even worse parody of itself. The "mainstream" movies win the most important awards of all: lots of money. That's the ultimate thing that matters in Hollywood. The Oscars is a side-show to that.

I didn't watch the live broadcast last night; I only checked the final list of winners afterward, along with seeing headlines of the slap heard 'round the world. I refused to watch the live show after learning several of the lesser technical awards categories were demoted out of the live broadcast. The producers made that programming change in order to fit more of the same old crap into the show. Big musical numbers are kind of cool to see live in a theater, but watching it on TV feels like tuning into a 1970's variety show. The canned "banter" between celebrities presenting awards makes me feel like throwing up. The video montages are often overly saccharine. The In Memoriam segment is a no-win situation for show producers anymore.

As for the political and social justice stuff offending some people that's nothing new at all with Oscars telecasts. One would have to go back at least to the early 1960's when there wasn't overt statements about politics, race, gender, etc on display. That stuff is a fact of life for most awards shows dealing with movies or popular music.

The AMPAS tried very hard to over-correct after the Oscars-so-white controversy, including putting an African American guy in charge of the telecast production. What were supposed to be some important moments in Oscar history got completely upstaged by the slap.

I didn't see the incident happen live, just some coverage after the fact. It's a hell of a train wreck. First, I don't understand Chris Rock making such a lame joke about Jada Pinkett-Smith's baldness. This is the same Chris Rock who co-produced and starred in the 2009 documentary Good Hair. One might think Rock would have more sympathy for Jada's alopecia diagnosis. Fucking with a black woman about her hair is a zone even most white guys have sense enough not to enter. From the video clips it looks like the G.I. Jane 2 joke fell flat. That could have been the end of it. But someone had to keep it real and possibly do permanent damage to the future of his acting career. It looks like Will Smith subjected viewers to a 5 minute long bit of gaslighting ("I'm a vessel of love") with his Best Actor Oscar acceptance speech.

[Jon Dent]

And it's in: viewership jumped 56% over last year. But it's half the 2016 numbers

[Marcel Birgelen]

It would be more interesting to see a timeline of viewership numbers and see if it jumped after the slappy slap.

By now millions of people around the world have seen Will Smith's bitch-slap, on Twitter, YouTube, TikTok and cable news, but none of those viewers probably has seen the rest of the show.

If they want to bump their viewership, it seems the best avenue to proceed is to put a few big metal cages on stage and let celebrities loose in one of those, while the cameras are rolling...

[Terry Monohan]

Looks like Kevin Costner got a little mixed up when he went onstage at the Oscars® Sunday night. Claimed he went to the Cinerama Dome one half mile down the street in Hollywood to see 'How The West Was Won' at 7 years old on a big curved Cinerama screen with curtains and a intermission. 'How The West Was Won ' played on a giant curved screen ok but It was shown at the long closed Pacific Warner Cinerama Theatre just a few blocks from the Dolby Theatre. on the same side of the street.

The whole SLAP-O-RAMA Oscar® show this year had many segments edited too tight that they recorded earlier. Trying to save ABC live broadcast dead walk on time to sell more commercials. It looked so junky rushed as they announced the winners as they were all ready on stage ready to speak.

Was the whole live slap segment a big set up joke gimmick between Will and Chris? Seems MR Rock does not want to file a police report at this time. Time will tell.

[Bobby Henderson]

According to Sean "Diddy" Combs the two guys patched things up not long after the slap incident. Rock declined to file a police report. On the legal end the case is closed. Smith issued a public statement apologizing to Rock earlier today.

Will Smith and the people doing publicity work for him still have a lot of damage control to do. The slap incident robbed the spotlight from all the other awards nominees and winners (and even worse for the technical awards winners who were already demoted by the TV production). The incident was a big embarrassment to the TV show's all-Black production team and to the AMPAS. Of course social media is buzzing with all kinds of jokes and memes about the slap (some are actually pretty funny).

Hearing about some of the live editorial glitches in the TV production makes me even more relieved I skipped the broadcast to only read about it afterward. Hopefully they'll do a better job at it next year.

One thing I would suggest is lightening up things a bit in terms of the roasting that goes on. Some of the stuff at awards shows has grown too mean-spirited in recent years. I guess I can understand bringing a possibly stuck-up celebrity back down to Earth with some ribbing. When a comedian (or whoever) goes too far they just end up looking like a really mean asshole. I think that's what happened to Ricky Gervais with the Golden Globes in 2000. Incidentally, Gervais had some pretty strong things to say about those $140,000 swag bags given to Oscar nominees this year.

[Mike Blakesley]

I wonder if "the slap" was also pre-planned and choreographed to get a headline.

I highly doubt it was staged. That would have been a pretty tough sell for Will Smith. "Hey Will... what do you say we trash your career, and in the process ruin the evening for all the other winners so we can get some news coverage?" I can't imagine him OR Chris Rock agreeing to it.

What's funny to me is, he has now apologized and everyone is expected to accept that and move on. Wait a minute, what about cancel culture? Doesn't that usually kick in with things like this? How many other celebs have done idiotic things, apologized, but then had their careers wrecked anyway? It will be interesting to see what the future holds for Will Smith after this.

[Jon Dent]

What's funny to me is, he has now apologized and everyone is expected to accept that and move on. Wait a minute, what about cancel culture? Doesn't that usually kick in with things like this? How many other celebs have done idiotic things, apologized, but then had their careers wrecked anyway? It will be interesting to see what the future holds for Will Smith after this.

It's Will Smith. I highly doubt this will wreck his career, especially given the striking number of people that are SUPPORTING what he did.

In other news, Denis Villeneuve is apparently the guy to hitch your wagon to if you want to win technical awards.

[Frank Cox]

If anyone else jumped on the stage and slapped a performer they would be immediately removed from the venue and probably arrested and charged with assault. Ol' Will got to stay around and even collect an award later on.

I guess the precedent has now been set that it's open season on entertainers; if they do or say something you don't like you can attack them with impunity.

[Randy Stankey]

Will Smith got away with it, if you will, because of race.

Let's face it, we live in a culture of complicated double standards. If you're Black or white, male or female, wealthy or middle class, gay or hetero, you live in the shadow of multiple, overlapping double standards that vary based on situation and the makeup of the other people around you. If you are in the minority of your surrounding group, you face ire and acrimony from all directions. If you are in a privileged position, compared to those around you, you can do no wrong.

No, I don't think that the altercation was staged but, since Smith is often seen as a successful member of an oppressed racial group, he gets a pass.

The Oscars people aren't complaining (very loudly) because, as the saying goes, "No publicity is 'bad' publicity."

[Carsten Kurz]

As far as I know, the Smith family and Chris Rock had a good bit of a social media history among them already before, so...

I usually hate Chris Rock's movies (okay, except 'Dogma'), but live on stage doing stand-up and comedy, he sure is a top-notch villain. I still remember his 'Wow, this sure looks like the one million white people march!' opener at the Oscars a long time ago.