This is the thread where we discuss matters pertaining to the detrius that accompanies the "End of the Year in Cinema" -- 2021

it's actually grown on me in memory, but it's certainly the wes andersoniest wes anderson movie i've ever seen

its stunning use of color and black and white and the different ways the images fill the frame are the attractions and the elements that really linger

I like the Film Comment list more than any of the others, and remember feeling that way for the last several years

Los Angeles weighs in, and between then, N.Y. and Boston (and in all likelihood the Nat'l Society), it's a clean sweep for Drive My Car.

Picture: DRIVE MY CAR
Director: Jane Campion, THE POWER OF THE DOG
Actor: Simon Rex, RED ROCKET
Actress: Penélope Cruz, PARALLEL MOTHERS
Supporting Actor: Vincent Lindon, TITANE and Kodi Smit-McPhee, THE POWER OF THE DOG (tie)
Supporting Actress: Ariana DeBose, WEST SIDE STORY
Screenplay: Ryusuke Hamaguchi and Takamasa Oe, DRIVE MY CAR
Cinematography: Ari Wegner, THE POWER OF THE DOG
Production Design: Steve Saklad, BARB AND STAR GO TO VISTA DEL MAR
Editing: Joshua L. Pearson, SUMMER OF SOUL
Music Score: Alberto Iglesias, PARALLEL MOTHERS
Foreign-Language Film: PETITE MAMAN
Non-Fiction Film: SUMMER OF SOUL
Animation: FLEE
New Generation Award: Shatara Michelle Ford, TEST PATTERN and Tatiana Huezo, PRAYERS FOR THE STOLEN
Career Achievement Award: Mel Brooks
The Douglas Edwards Experimental/Independent Film/Video Award: THE WORKS AND DAYS (OF TAYOKO SHIOJIRI IN THE SHIOTANI BASIN)

From some site telling me where I can see it: "If you’re looking for an introspective, character-driven road drama, director Ryusuke Hamaguchi’s latest film, Drive My Car, checks all of the boxes." Geez, I did a whole poll of such films. So I really want to see it--but can't, yet, as far as I can tell.

Love that Production Design win for BARB AND STAR

I'm considering seeing WSS for my first movie in theaters since Little Women on New Year's Day 2020. ...
― jaymc, Tuesday, December 14, 2021 11:38 PM (five days ago) bookmarkflaglink

lol @ this cockamamie idea. hopefully it comes to streaming before too long.

Good on them for recognizing Lindon too.

LAFCC loves hairpin turns with acting wins -- Penelope Cruz!

Someone from the CBC--don't know a thing about him.

https://www.cbc.ca/news/entertainment/best-films-2021-1.6287609

He was doing fine until the last seven or eight.

I quite liked French Dispatch - I'd put it in the top 50% of his movies. But it wouldn't sway anyone who doesn't already like his style

Because Oscars are detrius, the Oscar shortlists...

https://www.oscars.org/sites/oscars/files/94th_oscars_shortlists.pdf

DOCUMENTARY FEATURE
“Ascension”
“Attica”
“Billie Eilish: The World’s a Little Blurry”
“Faya Dayi”
“The First Wave”
“Flee”
“In the Same Breath”
“Julia”
“President”
“Procession”
“The Rescue”
“Simple as Water”
“Summer of Soul (…Or, When the Revolution Could Not Be Televised)”
“The Velvet Underground”
“Writing with Fire”

DOCUMENTARY SHORT SUBJECT
“Águilas”
“Audible”
“A Broken House”
“Camp Confidential: America’s Secret Nazis”
“Coded: The Hidden Love of J. C. Leyendecker”
“Day of Rage”
“The Facility”
“Lead Me Home”
“Lynching Postcards: “Token of a Great Day””
“The Queen of Basketball”
“Sophie & the Baron”
“Takeover”
“Terror Contagion”
“Three Songs for Benazir”
“When We Were Bullies”

INTERNATIONAL FEATURE FILM
Austria, “Great Freedom”
Belgium, “Playground”
Bhutan, “Lunana: A Yak in the Classroom”
Denmark, “Flee”
Finland, “Compartment No. 6”
Germany, “I’m Your Man”
Iceland, “Lamb”
Iran, “A Hero”
Italy, “The Hand of God”
Japan, “Drive My Car”
Kosovo, “Hive”
Mexico, “Prayers for the Stolen”
Norway, “The Worst Person in the World”
Panama, “Plaza Catedral”
Spain, “The Good Boss”

MAKEUP AND HAIRSTYLING
“Coming 2 America”
“Cruella”
“Cyrano”
“Dune”
“The Eyes of Tammy Faye”
“House of Gucci”
“Nightmare Alley”
“No Time to Die”
“The Suicide Squad”
“West Side Story”

MUSIC (ORIGINAL SCORE)
“Being the Ricardos”
“Candyman”
“Don’t Look Up”
“Dune”
“Encanto”
“The French Dispatch of the Liberty, Kansas Evening Sun”
“The Green Knight”
“The Harder They Fall”
“King Richard”
“The Last Duel”
“No Time to Die”
“Parallel Mothers”
“The Power of the Dog”
“Spencer”
“The Tragedy of Macbeth”

MUSIC (ORIGINAL SONG)
“So May We Start?” from “Annette”
“Down To Joy” from “Belfast”
“Right Where I Belong” from “Brian Wilson: Long Promised Road”
“Automatic Woman” from “Bruised”
“Dream Girl” from “Cinderella”
“Beyond The Shore” from “CODA”
“The Anonymous Ones” from “Dear Evan Hansen”
“Just Look Up” from “Don’t Look Up”
“Dos Oruguitas” from “Encanto”
“Somehow You Do” from “Four Good Days”
“Guns Go Bang” from “The Harder They Fall”
“Be Alive” from “King Richard”
“No Time To Die” from “No Time to Die”
“Here I Am (Singing My Way Home)” from “Respect”
“Your Song Saved My Life” from “Sing 2”

ANIMATED SHORT FILM
“Affairs of the Art”
“Angakusajaujuq: The Shaman’s Apprentice”
“Bad Seeds”
“Bestia”
“Boxballet”
“Flowing Home”
“Mum Is Pouring Rain”
“The Musician”
“Namoo”
“Only a Child”
“Robin Robin”
“Souvenir Souvenir”
“Step into the River”
“Us Again”
“The Windshield Wiper”

LIVE ACTION SHORT FILM
“Ala Kachuu - Take and Run”
“Censor of Dreams”
“The Criminals”
“Distances”
“The Dress”
“Frimas”
“Les Grandes Claques”
“The Long Goodbye”
“On My Mind”
“Please Hold”
“Stenofonen”
“Tala’vision”
“Under the Heavens”
“When the Sun Sets”
“You’re Dead Helen”

SOUND
“Belfast”
“Dune”
“Last Night in Soho”
“The Matrix Resurrections”
“No Time to Die”
“The Power of the Dog”
“A Quiet Place Part II”
“Spider-Man: No Way Home”
“tick, tick...BOOM!”
“West Side Story”

VISUAL EFFECTS
“Black Widow”
“Dune”
“Eternals”
“Free Guy”
“Ghostbusters: Afterlife”
“Godzilla vs. Kong”
“The Matrix Resurrections”
“No Time to Die”
“Shang-Chi and the Legend of the Ten Rings”
“Spider-Man: No Way Home”

Titane not even getting this far is the non-surprise of the season.

Our winners about to be announced.

The songs in Annette are terrible, but it would delight me to no end if one of them scored an Oscar nod.

Belfast getting onto the shortlist for best sound is a grim bellwether.

Shall we start surely will and I expect it to win

Beyonce and Jay-Z will cancel each other out, allowing Brian Wilson to win.

I'd love to see The Velvet Underground win, my own minor reservations aside. But it won't beat Summer of Soul (which I still haven't seen).

Memoria has leaked. Hell yeah dude.

i will likely cheat but watching weeraseethakul anywhere but the theater misses the point imo

I really liked the performances in Passing and The Lost Daughter, and those films were both interesting

Two lists for a niche cinema concern:

https://mubi.com/notebook/posts/the-best-action-scenes-of-2021
https://www.polygon.com/22859125/best-action-movie-scenes-2021

It's "better than" list time ...

Movie culture reached a turning point in 2021 where the glut of content, streaming or in theaters, overwhelmed concerns about quality, craft, and the destructive messages being sold to us. Film artists competed with virtue-signaling, and political distraction was confused with emotional and visual satisfaction.

This year’s Better-Than List is, more than ever, a reminder of the standards we must hold to keep our sanity and to maintain culture that preserves our humanity and morality. Every Better-Than choice offers alternatives to deceit, ineptitude, and nihilism.

About Endlessness > Dune, The Green Knight
Roy Andersson’s series of comic-tragic tableaux depict the modern Christian quest for salvation that is abandoned by Denis Villeneuve’s inexpressive sci-fi and David Lowery’s fractured mythology. Most sci-fi movies, like pseudo-myths, are about meaninglessness.

Annette > West Side Story
Leos Carax’s ravishing existential opera addresses artistic crisis, that creative challenge that Steven Spielberg’s remake turns into no-hope social-justice platitudes.

Coming 2 America > Judas and the Black Messiah
Eddie Murphy and Craig Brewer’s superior sequel hilariously corrects Hollywood’s fashionable, insulting race hustle. The year’s best Hollywood movie is a welcoming diaspora comedy.

Shoplifters of the World > Licorice Pizza
Stephen Kijak’s tribute to The Smiths captures the inextinguishable flame of pop-culture fraternity, going deeper than Paul Thomas Anderson’s clever ’70s period piece.

France > Drive My Car
Bruno Dumont’s media heroine reveals contemporary psychic turmoil while Ryusuke Hamaguchi’s Chekhov imitation distracts from it. Dumont mixes genres to pungent effect while Hamaguchi tells the wrong story and lards it with “art.”

Summer of 85 > Belfast
François Ozon revisits ’80s AIDS-era innocence for a bold cultural confession, while Kenneth Branagh turns Irish ethnic conflict into totally inauthentic pop nostalgia.

Sin > Benedetta, House of Gucci
Andrei Mikhalkov-Konchalovsky’s awesome Michelangelo biopic explores the price and sacrifice of achieving greatness. Paul Verhoeven and Ridley Scott exploit the business of religion and fashion for shameless Euro-trash.

Zack Snyder’s Justice League, Army of the Dead, Army of Thieves > No Time to Die
Snyder finally got his chance to fulfill the visionary possibilities of pop myths, but the James Bond franchise-holders kill off the formerly fun, expressive brand.

Georgetown > The Card Counter
Christoph Waltz’s unsparing Beltway satire is more humane than Paul Schrader’s wallow in way-late recriminations about the Iraq War.

Love Is Love Is Love > Passing, The Lost Daughter
Eleanor Coppola’s wisdom about female experience is missing from Rebecca Hall’s and Maggie Gyllenhaal’s miserable tales about racial and gender identity. Coppola doesn’t fit the feminist model, she transcends it.

Saint-Narcisse > The Power of the Dog
Bruce LaBruce dares explore the mystique of sexual identity, creating his own, rich mythology, but Jane Campion demeans the Western genre as if to justify the misandry and homophobia of pseudo-feminism.

Sublet > Parallel Mothers
Eytan Fox forces a haughty New York Times journalist in Israel to rethink his place in the world, but Almodóvar’s bisexual melodrama turns his usual charm into a pretext for lamenting Spain’s Fascist past. Remarkable compassion vs. embarrassing guilt.

Licorice Pizza > The Worst Person in the World
Anderson’s wild, evocative anecdotes about freewheeling youth best Joachim Trier’s exploits that tirelessly defend self-obsessed Millennials. It’s the difference between romance and cynicism.

Dear Comrades! > The Tragedy of Macbeth
Konchalovsky’s view of recent Soviet history (featuring a powerful performance by Yuliya Vysotskaya) parallels the contemporary U.S. Communist threat, but Joel Coen traduces Shakespeare to flatter contemporary U.S. political trends. A vibrant history lesson vs. a lesson in thespian vanity.

Pig > King Richard
Nicolas Cage’s artisan-avenger makes Michael Sarnoski’s folktale a fable about personal conviction, but Will Smith misses the point in his latest egotistical biopic.

my eyes

So, Shoplifters of the World > Licorice Pizza > The Worst Person in the World?

Also, Pig > King Richard is nowhere near the bold critical stance that Armond seems to think it is.

Neither tbh are

Saint-Narcisse > The Power of the Dog
Summer of 85 > Belfast
About Endlessness > Dune, The Green Knight

or even

France > Drive My Car

The Hand of God was totally a Fellini homage, the big difference being the tragedy in the middle of the film, which was very understated

Most of the performances were voluble and very emotive, but Filippo Scotti as Fabietto, a teenager who becomes an adult over the course of the film, gave a subtle and fantastic performance

National Society makes it unanimous ...

Best Picture: DRIVE MY CAR (48 points)

Runners-up:
PETITE MAMAN (25 points)
THE POWER OF THE DOG (23 points)

— National Society of Film Critics (@NatSocFilmCrix) January 8, 2022

Best Actress: Penélope Cruz, PARALLEL MOTHERS (55 points)

Runners-up:
Renate Reinsve, THE WORST PERSON IN THE WORLD (42 points)
Alana Haim, LICORICE PIZZA (32 points)

— National Society of Film Critics (@NatSocFilmCrix) January 8, 2022

Best Actor: Hidetoshi Nishijima, DRIVE MY CAR (63 points)

Runners-up:
Benedict Cumberbatch, THE POWER OF THE DOG (44 points)
Simon Rex, RED ROCKET (30 points)

— National Society of Film Critics (@NatSocFilmCrix) January 8, 2022

Best Supporting Actress: Ruth Negga, PASSING (46 points)

Runners-up:
Ariana DeBose, WEST SIDE STORY (22 points)
Jessie Buckley, THE LOST DAUGHTER (21 points)

— National Society of Film Critics (@NatSocFilmCrix) January 8, 2022

Best Supporting Actor: Anders Danielsen Lie, THE WORST PERSON IN THE WORLD (54 points)

Runners-up:
Vincent Lindon, TITANE (33 points)
Mike Faist, WEST SIDE STORY, and Kodi Smit-McPhee, THE POWER OF THE DOG (26 points)

— National Society of Film Critics (@NatSocFilmCrix) January 8, 2022

Best Screenplay: Ryusuke Hamaguchi and Takamasa Oe, DRIVE MY CAR (46 points)

Runners-up:
Pedro Almodóvar, PARALLEL MOTHERS (22 points)
Paul Thomas Anderson, LICORICE PIZZA (20 points)

— National Society of Film Critics (@NatSocFilmCrix) January 8, 2022

(Best Director still to be chosen.)

Anders Danielsen Lie is the Hottest Man in the World.

Best Director: Ryusuke Hamaguchi, DRIVE MY CAR and WHEEL OF FORTUNE AND FANTASY (46 points)

Runners-up:
Jane Campion, THE POWER OF THE DOG (36 points)
Céline Sciamma, PETITE MAMAN (28 points)

— National Society of Film Critics (@NatSocFilmCrix) January 8, 2022

Anders Danielsen Lie is the Hottest Man in the World.

Up there. Just discovered Jonathan Bailey, who cuts a similar silouette, in the last week.

Anders Danielson Lie was very appealing in Reprise and Olso, August 31st, am looking forward to seeing Bergman Island and The Worst Person In the World

I never know how they make these determinations, but how is Ruth Negga a supporting actress in Passing? Wasn't she in almost every scene? Maybe I'm not remembering right.

she and Tessa Thompson were both great in that film, but hers did feel like the supporting role

I should have checked before posting--I have their names backwards.

Yeah, remind me to stay far away from Better Than (or whatever that was)

Knowing a "not his kind of movie" swept the critics awards, I had to see what the gargoyle JW was saying in NSFC's wake. Was not disappointed.

Drive My Car is a morose, slow-paced film about coping with grief and long-festering guilt (i.e., the trials and tribulations of grief monkeys). It’s strictly an art-house sauna movie for elite, ivory-tower critics — a respectable effort by any measure, but a movie that resides in its own cave and doesn’t begin to even try to capture or engage with or reflect anything about mainstream life in the years 2020 or ’21. It could have been made in 1957 or ’63 or ’86 or ’92.

NextBestPicture‘s Matt Neglia recently had the temerity to suggest that Drive My Car, having won Best Picture trophies from NSFC, LAFCA and the NYFCC, is cut from the same cloth as Goodfellas, Schindler’s List, L.A. Confidential, The Hurt Locker, The Social Network and Spotlight. Neglia is one of those film nerd types who lives on his own planet, or, if you will, inside his own rectum. There’s no reasoning with guys like this.

Even better, with shades of Hedda and Louella:

https://www.showbiz411.com/2022/01/08/three-hour-japanese-drive-my-car-wins-national-society-of-film-critics-group-seeks-to-make-awards-even-more-irrelevant

I wish I knew what the point was of all this: the National Film Society of Critics voted Best Picture to “Drive My Car,” an almost three hour Japanese film that most people know nothing about. It’s a very good film, and a long one, but it was already named Best Picture by the New York and Los Angeles film critics groups. So what’s the point?

Frankly, this was a big “f-you” to American and British filmmakers and films made in English. It was the same to the larger film going audience. The NSFC could have shaped the conversation about a group of films headed to the Oscars and struggling at the box office. But the message is “We’re so cool we don’t have to like anything you’re being offered.” So why should anyone bother going to theaters if the critics say forget it?

I’m not talking about giving awards to blockbusters like “Spider Man” or “No Time to Die.” With good movies from Spielberg, Branagh, Campion, PTA, Joel Coen, Villeneuve, Miranda, Sorkin, not mention “CODA,” and so on, it’s kind of insulting to thumb your nose at your own business. (I’m not supposed to say this, but the film critics still don’t get if they don’t support the movie business, they will be out of jobs.)

I know there’s a Film Twitter feeling that “Drive My Car” will be “Parasite,” win Best Picture and really up-end the film business. If that’s how the Oscars seem like they’re going, no one will watch the broadcast on March 27th. This is what’s happened to the Emmy Awards: the statues go to shows with small audiences, minuscule, no one watches the Emmys as a result. If the point is to make all this irrelevant, we’re headed in that direction very fast.

Neglia is one of those film nerd types who lives on his own planet, or, if you will, inside his own rectum. There’s no reasoning with guys like this.

People who live in glass rectums shouldn't throw farts.

glass rectum

About 51,700,000 results (0.47 seconds)

wish I knew what the point was of all this: the National Film Society of Critics voted Best Picture to “Drive My Car,” an almost three hour Japanese film that most people know nothing about. It’s a very good film, and a long one, but it was already named Best Picture by the New York and Los Angeles film critics groups. So what’s the point?

I thought the point was that the critics' group liked the movie.

Little of column A, little of column B ...

DRIVE MY CAR isn't my choice for movie of the year, but it's the perfect choice for movie of the year that will flummox people who think the role of critics awards is to shape the Oscars race.

— A.A. Dowd (@AADowd) January 9, 2022

Theory about why Drive My Car gets critics'-group awards, look at critics' year-end lists, imagine the Venn diagram: it brings together various artistic tendencies that other films isolate. Not a consensus film by design but by accident.

— Richard Brody (@tnyfrontrow) January 9, 2022

I know we're all ignoring the Golden Globes this year and, with mercy, from here on out.

BUT ... I also celebrate every time Belfast doesn't win.

The winners are unexpectedly...fine? I liked the Lucy film more than I expected, maybe Sorkin's best script? And Kidman did evoke the rather sour late middle-aged grand dame on '70s talk shows.

This may surprise you: I finished Tick on Saturday and, after surviving the first eight minutes, thought Garfield fine.

I don't blame Garfield. TTB is the worst of Jonathan Larsen + the worst of Lin-Manuel put together in a perfect shitstorm. Garfield is proper playing an annoying artiste.

BAFTA longlists ... the big scandal being that they completely ignored The Souvenir Part II. Oh, and pretty much any performances not in the English language.

BEST FILM

Being The Ricardos
Belfast
CODA
Don’t Look Up
Dune
House of Gucci
King Richard
Licorice Pizza
No Time To Die
The French Dispatch
The Lost Daughter
The Power of the Dog
The Tragedy of Macbeth
tick tick…BOOM!
West Side Story

OUTSTANDING BRITISH FILM

After Love
Ali & Ava
Belfast
Benediction
Boiling Point
The Colour Room
Cruella
Cyrano
The Duke
The Electrical Life of Louis Wain
Everybody’s Talking About Jamie
House of Gucci
The King’s Man
Last Night in Soho
Mothering Sunday
Munich- The Edge of War
No Time To Die
Operation Mincemeat
Passing
Spencer

FILM NOT IN ENGLISH LANGUAGE

A Hero
Bad Luck Banging or Loony Porn
Compartment No. 6
Drive My Car
Flee
The Hand of God
I’m Your Man
Lamb
The Most Beautiful Boy in the World
Parallel Mothers
Paris, 13th District
Petite Maman
Riders of Justice
Titane
The Worst Person in the World

DOCUMENTARY

14 Peaks: Nothing Is Impossible
Becoming Cousteau
Billie Eilish: The World’s A Little Blurry
Cow
Flee
JFK Revisited: Through The Looking Glass
Lady Boss: The Jackie Collins Story
The Lost Leonardo
The Most Beautiful Boy in the World
The Real Charlie Chaplin
The Rescue
The Sparks Brothers
Summer of Soul (Or, When The Revolution Could Not Be Televised)
Tina
The Velvet Underground

DIRECTOR

After Love
Belfast
CODA
Don’t Look Up
Drive My Car
Dune
First Cow
The Hand of God
Happening
King Richard
Licorice Pizza
The Lost Daughter
Passing
Petite Maman
The Power of the Dog
The Souvenir Part II
The Tragedy of Macbeth
Titane
West Side Story
Zola

ORIGINAL SCREENPLAY

After Love
Being The Ricardos
Belfast
The Card Counter
C’mon C’mon
Don’t Look Up
The Duke
The French Dispatch
The Hand of God
King Richard
Last Night in Soho
Licorice Pizza
Parallel Mothers
Petite Maman
The Worst Person in the World

ADAPTED SCREENPLAY

CODA
Cyrano
Drive My Car
Dune
The Eyes of Tammy Faye
The Green Knight
House of Gucci
The Last Duel
The Lost Daughter
No Time To Die
Passing
The Power of the Dog
The Tragedy of Macbeth
tick tick…BOOM!
West Side Story

LEADING ACTRESS

Jessica Chastain, The Eyes of Tammy Faye
Olivia Colman, The Lost Daughter
Lady Gaga, House of Gucci
Alana Haim, Licorice Pizza
Jennifer Hudson, Respect
Emilia Jones, CODA
Nicole Kidman, Being The Ricardos
Jennifer Lawrence, Don’t Look Up
Frances McDormand, The Tragedy of Macbeth
Renate Reinsve, The Worst Person in the World
Claire Rushbrook, Ali & Ava
Joanna Scanlan, After Love
Kristen Stewart, Spencer
Tessa Thompson, Passing
Rachel Zegler, West Side Story

LEADING ACTOR

Riz Ahmed, Encounter
Adeel Akhtar, Ali & Ava
Mahershala Ali, Swan Song
Javier Bardem, Being The Ricardos
Daniel Craig, No Time To Die
Benedict Cumberbatch, The Power of the Dog
Leonardo DiCaprio, Don’t Look Up
Peter Dinklage, Cyrano
Adam Driver, House of Gucci
Andrew Garfield, tick tick…BOOM!
Stephen Graham, Boiling Point
Cooper Hoffman, Licorice Pizza
Joaquin Phoenix, C’mon C’mon
Will Smith, King Richard
Denzel Washington, The Tragedy of Macbeth

SUPPORTING ACTRESS

Caitríona Balfe, Belfast
Cate Blanchett, Don’t Look Up
Jessie Buckley, The Lost Daughter
Ana de Armas, No Time To Die
Ariana DeBose, West Side Story
Ann Dowd, Mass
Judi Dench, Belfast
Kirsten Dunst, The Power of the Dog
Aunjanue Ellis, King Richard
Kathryn Hunter, The Tragedy of Macbeth
Rita Moreno, West Side Story
Ruth Negga, Passing
Vinette Robinson, Boiling Point
Meryl Streep, Don’t Look Up
Anya Taylor-Joy, Last Night in Soho

SUPPORTING ACTOR

David Alvarez, West Side Story
Bradley Cooper, Licorice Pizza
Benicio del Toro, The French Dispatch
Jamie Dornan, Belfast
Ciarán Hinds, Belfast
Mike Faist, West Side Story
Andrew Garfield, The Eyes of Tammy Faye
Troy Kotsur, CODA
Jared Leto, House of Gucci
Woody Norman, C’mon C’mon
Al Pacino, House of Gucci
Jesse Plemons, The Power of the Dog
Mark Rylance, Don’t Look Up
J.K. Simmons, Being The Ricardos
Kodi Smit-McPhee, The Power of the Dog

The Souvenir Part II is listed under director (weird that they list the film titles).

These longlists paired with the SAG nominations this morning indicate things are definitely back to normal after last year's "no really, yay diversity!" blip.

Cast in a Motion Picture
Belfast (Focus Features)
CODA (Apple Original Films)
Don’t Look Up (Netflix)
House of Gucci (MGM/United Artists Releasing)
King Richard (Warner Bros)

Female Actor in a Leading Role
Jessica Chastain (The Eyes of Tammy Faye)
Olivia Colman (The Lost Daughter)
Lady Gaga (House of Gucci)
Jennifer Hudson (Respect)
Nicole Kidman (Being the Ricardos)

Male Actor in a Leading Role
Javier Bardem (Being the Ricardos)
Benedict Cumberbatch (The Power of the Dog)
Andrew Garfield (Tick, Tick … Boom!)
Will Smith (King Richard)
Denzel Washington (The Tragedy of Macbeth)

Female Actor in a Supporting Role
Caitríona Balfe (Belfast)
Cate Blanchett (Nightmare Alley)
Ariana DeBose (West Side Story)
Kirsten Dunst (The Power of the Dog)
Ruth Negga (Passing)

Male Actor in a Supporting Role
Ben Affleck (The Tender Bar)
Bradley Cooper (Licorice Pizza)
Troy Kotsur (CODA)
Jared Leto (House of Gucci)
Kodi Smit-McPhee (The Power of the Dog)