Oscars 2023 nominations: Everything Everywhere All At Once takes the lead
Dan Kwan and Daniel Scheinert's multiversal sci-fi comedy, starring Michelle Yeoh and Jamie Lee Curtis, gathered the most Oscar nominations this year. Here's our take on the whole selection
Michelle Yeoh in Everything Everywhere All At Once (Photo: A24)
Oscars
season is always a fraught time. Social media becomes saturated with good, bad, thoughtful and ridiculous ‘takes’; nominees (and absentees) react with delight (or disgust); news outlets pepper their websites with lists and op-eds (hi there!).
Unless you shut yourself away, this is the cultural landscape for the next month or so. It’s like being wedged inside the multiversal madness of Everything Everywhere All At Once, the indie sci-fi drama that became the surprise victor of nominations this year. And like the core nihilistic message of that movie, none of it matters anyway.
But that hardly stops anyone, including this writer, from getting frustrated.
Margot Robbie in Babylon. Photo: Paramount
Luca Guadagnino’s Bones and All was the best film of 2022 (UK-wise), and came up empty here. But that’s not surprising: it’s a gory outlier, much like its main characters. Decision to Leave is an overrated noir from Park Chan-wook, but its absence of nominations is baffling – especially after Parasite lit a hopeful beacon for Korean cinema in 2019. At the very least, the film deserves recognition for Kim Ji-yong's bedazzling cinematography.
More irritating is the pittance for Damien Chazelle’s epic moviemaking comedy Babylon. It's collected nominations for Best Original Soundtrack, Best Production Design and Best Costume Design, but nothing for writing or directing or sound or editing or cinematography. And the film more than deserves to rub shoulders with the Best Picture nominees. Is it because Chazelle shows Hollywood across a dark, unflattering canvas? Maybe that’s why Maria Schrader’s catalytic #MeToo film She Said received nothing either.
Schrader is one of many women not nominated in the Best Director category, the first selection since 2019 to contain men only. Charlotte Wells – director of the beautiful, sun-kissed, father-daughter drama Aftersun – is the most glaring omission, with Paul Mescal (Normal People, The Lost Daughter) thankfully being recognised for his performance. And despite the lauded Women Talking – a harrowing story of abuse in a Mennonite community – making the Best Picture list, director Sarah Polley is excluded.
Frankie Curio and Paul Mescal in Aftersun. Photo: A24
The Emmett Till biopic, telling the story of a 14-year-old Black boy lynched in Mississippi, also gained nothing. After the nominations were announced, Till’s director Chinonye Chukwu took to Instagram and denounced the ‘industries that are so aggressively committed to upholding whiteness and perpetuating an unabashed misogyny towards Black women.’
And then there’s Avatar: The Way of Water receiving a Best Picture nomination. James Cameron’s overhyped and laborious sequel deserves its technical plaudits, especially Best Visual Effects – but Best Picture? Has the world gone mad? What is the Academy doing to us? Not only are they throwing in the possibility that Avatar could win the world’s most prestigious movie prize, but they’re also effectively claiming it’s as good as the other nominees. And in their minds, it’s better than Babylon and Aftersun. How is that possible?
But as frustrating as this whole business is, let’s face it: that frustration is part of the fun. So maybe we should just enjoy this time of year and embrace the chaos. And rewatch Babylon, of course.
Everything Everywhere All At Once ★★★★★
11 nominations: Best Picture, Best Director, Best Original Screenplay, Best Actress, Best Supporting Actress (x2), Best Supporting Actor, Best Original Score, Best Original Song, Best Costume Design, Best Film Editing
Well, this was a surprise. The latest oddity from Dan Kwan and Daniel Scheinert (abbreviated to the ‘Daniels’) received the most Oscar nominations this year. Everything Everywhere All At Once has been hyped for a while: opening the SXSW film festival, and later being boosted by a heavy cult following.
It's the kind of action/adventure movie that big studios don't make. Battling against the mainstream dominance of superheroes and multiple versions of those superheroes, Kwan and Scheinert craft something poignant, philosophical, funny and fun. It deserves all the noms above, and maybe even one more: Best Visual Effects, lost to bigger movies with ridiculous budgets.
For her role as the heroic laundromat manager Evelyn, Michelle Yeoh is the first Asian-identifying nominee in the Best Actress category. But the most heartwarming nomination is for Ke Huy Quan, who had quit acting in the 90s despite his previous fame as a child actor in The Goonies and Indiana Jones and the Temple of Doom. Now, he’s a potential Oscar winner.
Available now on Prime Video.
Read our review
The Banshees of Inisherin ★★★★★
9 nominations: Best Picture, Best Director, Best Original Screenplay, Best Actor, Best Supporting Actor (x2), Best Supporting Actress, Best Original Score, Best Film Editing
This year, the Irish did unusually well. An Irish Goodbye is nominated for Best Live Action Short Film, The Quiet Girl bagged a nom for Best International Feature Film, and Paul Mescal competes for Best Actor.
But the most successful export is Martin McDonagh’s fourth and best film The Banshees of Inisherin, set on a fictional island off the Irish west coast. In this rural purgatory, nominees Brendan Gleeson and Colin Farrell enter as Colm and Padraic – two former friends enduring a rough patch. Colm severs the friendship, sending Padraic into a lonely, paranoid, emasculated spiral that results in amputated body parts.
Dark, funny and absurd, The Banshees of Inisherin is the strongest Best Picture nominee. Barry Keoghan finally earns his first Oscar nomination for Best Supporting Actor, but he’s up against the superior Gleeson in the same category for the same film. Let's hope these Inisherian banshees, including McDonagh and Best Supporting Actress nominee Kerry Condon, win the night.
Available now on Disney+.
All Quiet on the Western Front ★★★★★
9 nominations: Best Picture, Best International Feature Film, Best Adapted Screenplay, Best Original Score, Best Cinematography, Best Make-Up and Hairstyling, Best Production Design, Best Sound, Best Visual Effects
Most of the great anti-war movies can be summed up by Marlon Brando’s haunting words in Apocalypse Now: ‘The horror… The horror…’ The Academy have a leaning towards the genre, but they're usually concerned with US-centred conflicts, as seen in Platoon and The Thin Red Line. All Quiet on the Western Front is unique in that it’s not only a German-language production, but also looks at the First World War from a German point of view.
Based on the book by Erich Maria Remarque, which was adapted into a 1930 American film that won two Oscars, Edward Berger’s interpretation is gritty, bleak and (echoing Brando) horrifying – following clueless soldiers pushed into the dirt and blood of The Trenches. It’s a relentless struggle, one that’s always on the brink of ending before another nuance affects a ceasefire.
Rightly, the film is up for Best Adapted Screenplay. Like Stanley Kubrick’s Paths of Glory, the script splits between the fighting on the ground and the comfortable authorities at the top – showing the callousness of warfare, with human beings treated only as numbers on a hellish battlefield.
Available now on Netflix.
Elvis ★★★★★
8 nominations: Best Picture, Best Actor, Best Cinematography, Best Make-Up and Hairstyling, Best Costume Design, Best Production Design, Best Film Editing, Best Sound
Eugh. This critic still feels woozy from watching Baz Luhrmann’s dizzying biopic of the King of rock 'n' roll. Given the Academy's history with Bohemian Rhapsody, it’s no surprise they've rated Elvis so highly... despite being a nauseating, never-ending bore.
But the film earns its technical nominations, and Austin Butler is undeniably potent as the tragic musician. Despite receiving nothing for writing and directing (thankfully), for some reason it’s still on the Best Picture list. Maybe the members love Elvis too much.
Available now to rent/buy on Prime Video, Apple TV, and Sky Store.
Read our review
The Fabelmans ★★★★★
7 nominations: Best Picture, Best Director, Best Original Screenplay, Best Actress, Best Supporting Actor, Best Original Score, Best Production Design
Steven Spielberg and the Oscars go very well together. He’s been nominated 22 times, and he's won three: for Schindler’s List and Saving Private Ryan. And just last year, his version of West Side Story received seven nominations. The Fabelmans dives into the man behind those statuettes and the global praise. The Academy is prone to nostalgic images of itself, and this semi-biopic about a Jewish boy finding a passion for filmmaking in the 50s and 60s delivers on that promise.
But the film still feels like a new step for Spielberg, swerving his action/adventure USP for a smaller, more personal project drawn from his own creative youth. Paul Dano deserved a nomination more than Michelle Williams, but both give memorable performances.
In UK cinemas now.
Read our review
TÁR ★★★★★
6 nominations: Best Picture, Best Director, Best Original Screenplay, Best Actress, Best Cinematography, Best Film Editing
The Best Actress category is strong this year, but it’s doubtful that the other nominees will topple Cate Blanchett’s performance in TÁR. The closest competition is Ana de Armas in Blonde, but her chances could be coloured by controversy. Regardless, Blanchett is TÁR – you can’t imagine Todd Field’s film being the same without her.
She plays this powerful composer with massive, ostensible self-assurance: you fall under Lydia Tár’s spell, despite her sins. And yet, the guilt begins to crack that shatterproof façade and, gradually, the real person is exposed. That exposure is like a phantom that follows Lydia throughout, resulting in a quiet, enigmatic drama. Nominations for Field's writing and directing were a given, but Blanchett is the real maestro here.
In UK cinemas now.
Read our review
Top Gun: Maverick ★★★★★
6 nominations: Best Picture, Best Adapted Screenplay, Best Original Score, Best Sound, Best Film Editing, Best Visual Effects
Another befuddling one. This long-awaited sequel does pack some decent fun, improving upon Tony Scott’s hyper-masculine and hugely overrated 80s movie. Mission: Impossible regular Christopher McQuarrie, one of the great action filmmakers of our time, likely bolstered Top Gun: Maverick with his contribution to the screenplay. But it’s still a mediocre result.
Saving graces include Tom Cruise in his element (he’s not rewarded with a Best Actor nom, despite the cultish praise for him at Cannes) and the excellently choreographed action sequences. The film more than earns its Best Visual Effects nomination, but Best Adapted Screenplay and Best Picture? Nah.
Available now to watch on Paramount+.
Read our review
The Oscars nominations in full:
Best Picture
Best Director
Best Original Screenplay
Best Adapted Screenplay
Best Lead Actor
Best Lead Actress
Best Supporting Actor
Best Supporting Actress
Best Original Score
Best Original Song
Best Cinematography
Best Animated Feature Film
Best Animated Short Film
Best Documentary Feature
Best Documentary Short Subject
Best Makeup and Hairstyling
Best Costume Design
Best Production Design
Best Sound
Best Film Editing
Best Visual Effects
Best Live Action Short Film
Unless you shut yourself away, this is the cultural landscape for the next month or so. It’s like being wedged inside the multiversal madness of Everything Everywhere All At Once, the indie sci-fi drama that became the surprise victor of nominations this year. And like the core nihilistic message of that movie, none of it matters anyway.
But that hardly stops anyone, including this writer, from getting frustrated.
Margot Robbie in Babylon. Photo: Paramount
Luca Guadagnino’s Bones and All was the best film of 2022 (UK-wise), and came up empty here. But that’s not surprising: it’s a gory outlier, much like its main characters. Decision to Leave is an overrated noir from Park Chan-wook, but its absence of nominations is baffling – especially after Parasite lit a hopeful beacon for Korean cinema in 2019. At the very least, the film deserves recognition for Kim Ji-yong's bedazzling cinematography.
More irritating is the pittance for Damien Chazelle’s epic moviemaking comedy Babylon. It's collected nominations for Best Original Soundtrack, Best Production Design and Best Costume Design, but nothing for writing or directing or sound or editing or cinematography. And the film more than deserves to rub shoulders with the Best Picture nominees. Is it because Chazelle shows Hollywood across a dark, unflattering canvas? Maybe that’s why Maria Schrader’s catalytic #MeToo film She Said received nothing either.
Schrader is one of many women not nominated in the Best Director category, the first selection since 2019 to contain men only. Charlotte Wells – director of the beautiful, sun-kissed, father-daughter drama Aftersun – is the most glaring omission, with Paul Mescal (Normal People, The Lost Daughter) thankfully being recognised for his performance. And despite the lauded Women Talking – a harrowing story of abuse in a Mennonite community – making the Best Picture list, director Sarah Polley is excluded.
Frankie Curio and Paul Mescal in Aftersun. Photo: A24
The Emmett Till biopic, telling the story of a 14-year-old Black boy lynched in Mississippi, also gained nothing. After the nominations were announced, Till’s director Chinonye Chukwu took to Instagram and denounced the ‘industries that are so aggressively committed to upholding whiteness and perpetuating an unabashed misogyny towards Black women.’
And then there’s Avatar: The Way of Water receiving a Best Picture nomination. James Cameron’s overhyped and laborious sequel deserves its technical plaudits, especially Best Visual Effects – but Best Picture? Has the world gone mad? What is the Academy doing to us? Not only are they throwing in the possibility that Avatar could win the world’s most prestigious movie prize, but they’re also effectively claiming it’s as good as the other nominees. And in their minds, it’s better than Babylon and Aftersun. How is that possible?
But as frustrating as this whole business is, let’s face it: that frustration is part of the fun. So maybe we should just enjoy this time of year and embrace the chaos. And rewatch Babylon, of course.
Everything Everywhere All At Once ★★★★★
11 nominations: Best Picture, Best Director, Best Original Screenplay, Best Actress, Best Supporting Actress (x2), Best Supporting Actor, Best Original Score, Best Original Song, Best Costume Design, Best Film Editing
Well, this was a surprise. The latest oddity from Dan Kwan and Daniel Scheinert (abbreviated to the ‘Daniels’) received the most Oscar nominations this year. Everything Everywhere All At Once has been hyped for a while: opening the SXSW film festival, and later being boosted by a heavy cult following.
It's the kind of action/adventure movie that big studios don't make. Battling against the mainstream dominance of superheroes and multiple versions of those superheroes, Kwan and Scheinert craft something poignant, philosophical, funny and fun. It deserves all the noms above, and maybe even one more: Best Visual Effects, lost to bigger movies with ridiculous budgets.
For her role as the heroic laundromat manager Evelyn, Michelle Yeoh is the first Asian-identifying nominee in the Best Actress category. But the most heartwarming nomination is for Ke Huy Quan, who had quit acting in the 90s despite his previous fame as a child actor in The Goonies and Indiana Jones and the Temple of Doom. Now, he’s a potential Oscar winner.
Available now on Prime Video.
Read our review
The Banshees of Inisherin ★★★★★
9 nominations: Best Picture, Best Director, Best Original Screenplay, Best Actor, Best Supporting Actor (x2), Best Supporting Actress, Best Original Score, Best Film Editing
This year, the Irish did unusually well. An Irish Goodbye is nominated for Best Live Action Short Film, The Quiet Girl bagged a nom for Best International Feature Film, and Paul Mescal competes for Best Actor.
But the most successful export is Martin McDonagh’s fourth and best film The Banshees of Inisherin, set on a fictional island off the Irish west coast. In this rural purgatory, nominees Brendan Gleeson and Colin Farrell enter as Colm and Padraic – two former friends enduring a rough patch. Colm severs the friendship, sending Padraic into a lonely, paranoid, emasculated spiral that results in amputated body parts.
Dark, funny and absurd, The Banshees of Inisherin is the strongest Best Picture nominee. Barry Keoghan finally earns his first Oscar nomination for Best Supporting Actor, but he’s up against the superior Gleeson in the same category for the same film. Let's hope these Inisherian banshees, including McDonagh and Best Supporting Actress nominee Kerry Condon, win the night.
Available now on Disney+.
All Quiet on the Western Front ★★★★★
9 nominations: Best Picture, Best International Feature Film, Best Adapted Screenplay, Best Original Score, Best Cinematography, Best Make-Up and Hairstyling, Best Production Design, Best Sound, Best Visual Effects
Most of the great anti-war movies can be summed up by Marlon Brando’s haunting words in Apocalypse Now: ‘The horror… The horror…’ The Academy have a leaning towards the genre, but they're usually concerned with US-centred conflicts, as seen in Platoon and The Thin Red Line. All Quiet on the Western Front is unique in that it’s not only a German-language production, but also looks at the First World War from a German point of view.
Based on the book by Erich Maria Remarque, which was adapted into a 1930 American film that won two Oscars, Edward Berger’s interpretation is gritty, bleak and (echoing Brando) horrifying – following clueless soldiers pushed into the dirt and blood of The Trenches. It’s a relentless struggle, one that’s always on the brink of ending before another nuance affects a ceasefire.
Rightly, the film is up for Best Adapted Screenplay. Like Stanley Kubrick’s Paths of Glory, the script splits between the fighting on the ground and the comfortable authorities at the top – showing the callousness of warfare, with human beings treated only as numbers on a hellish battlefield.
Available now on Netflix.
Elvis ★★★★★
8 nominations: Best Picture, Best Actor, Best Cinematography, Best Make-Up and Hairstyling, Best Costume Design, Best Production Design, Best Film Editing, Best Sound
Eugh. This critic still feels woozy from watching Baz Luhrmann’s dizzying biopic of the King of rock 'n' roll. Given the Academy's history with Bohemian Rhapsody, it’s no surprise they've rated Elvis so highly... despite being a nauseating, never-ending bore.
But the film earns its technical nominations, and Austin Butler is undeniably potent as the tragic musician. Despite receiving nothing for writing and directing (thankfully), for some reason it’s still on the Best Picture list. Maybe the members love Elvis too much.
Available now to rent/buy on Prime Video, Apple TV, and Sky Store.
Read our review
The Fabelmans ★★★★★
7 nominations: Best Picture, Best Director, Best Original Screenplay, Best Actress, Best Supporting Actor, Best Original Score, Best Production Design
Steven Spielberg and the Oscars go very well together. He’s been nominated 22 times, and he's won three: for Schindler’s List and Saving Private Ryan. And just last year, his version of West Side Story received seven nominations. The Fabelmans dives into the man behind those statuettes and the global praise. The Academy is prone to nostalgic images of itself, and this semi-biopic about a Jewish boy finding a passion for filmmaking in the 50s and 60s delivers on that promise.
But the film still feels like a new step for Spielberg, swerving his action/adventure USP for a smaller, more personal project drawn from his own creative youth. Paul Dano deserved a nomination more than Michelle Williams, but both give memorable performances.
In UK cinemas now.
Read our review
TÁR ★★★★★
6 nominations: Best Picture, Best Director, Best Original Screenplay, Best Actress, Best Cinematography, Best Film Editing
The Best Actress category is strong this year, but it’s doubtful that the other nominees will topple Cate Blanchett’s performance in TÁR. The closest competition is Ana de Armas in Blonde, but her chances could be coloured by controversy. Regardless, Blanchett is TÁR – you can’t imagine Todd Field’s film being the same without her.
She plays this powerful composer with massive, ostensible self-assurance: you fall under Lydia Tár’s spell, despite her sins. And yet, the guilt begins to crack that shatterproof façade and, gradually, the real person is exposed. That exposure is like a phantom that follows Lydia throughout, resulting in a quiet, enigmatic drama. Nominations for Field's writing and directing were a given, but Blanchett is the real maestro here.
In UK cinemas now.
Read our review
Top Gun: Maverick ★★★★★
6 nominations: Best Picture, Best Adapted Screenplay, Best Original Score, Best Sound, Best Film Editing, Best Visual Effects
Another befuddling one. This long-awaited sequel does pack some decent fun, improving upon Tony Scott’s hyper-masculine and hugely overrated 80s movie. Mission: Impossible regular Christopher McQuarrie, one of the great action filmmakers of our time, likely bolstered Top Gun: Maverick with his contribution to the screenplay. But it’s still a mediocre result.
Saving graces include Tom Cruise in his element (he’s not rewarded with a Best Actor nom, despite the cultish praise for him at Cannes) and the excellently choreographed action sequences. The film more than earns its Best Visual Effects nomination, but Best Adapted Screenplay and Best Picture? Nah.
Available now to watch on Paramount+.
Read our review
The Oscars nominations in full:
Best Picture
- All Quiet on the Western Front
- Avatar: The Way of Water
- The Banshees of Inisherin
- Elvis
- Everything Everywhere All At Once
- The Fabelmans
- TÁR
- Top Gun: Maverick
- Triangle of Sadness
- Women Talking
Best
International Feature Film
- All Quiet on the Western Front (Germany)
- Argentina, 1985 (Argentina)
- Close (Belgium)
- EO (Poland)
- The Quiet Girl (Ireland)
Best Director
- Todd Field for TÁR
- Martin McDonagh for The Banshees of Inisherin
- Daniel Kwan and Daniel Scheinert for Everything Everywhere All At Once
- Ruben Ostlund for Triangle of Sadness
- Steven Spielberg for The Fabelmans
Best Original Screenplay
- Todd Field for TÁR
- Martin McDonagh for The Banshees of Inisherin
- Daniel Kwan and Daniel Scheinert for Everything Everywhere All At Once
- Ruben Ostlund for Triangle of Sadness
- Steven Spielberg & Tony Kushner for The Fabelmans
Best Adapted Screenplay
- Edward Berger, Lesley Paterson & Ian Stokell for All Quiet on the Western Front
- Kazuo Ishiguro for Living
- Rian Johnson for Glass Onion: A Knives Out Mystery
- Ehren Kruger, Eric Warren Singer and Christopher McQuarrie for Top Gun: Maverick
- Sarah Polley for Women Talking
Best Lead Actor
- Austin Butler for Elvis
- Colin Farrell for The Banshees of Inisherin
- Brendan Fraser for The Whale
- Paul Mescal for Aftersun
- Bill Nighy for Living
Best Lead Actress
- Cate Blanchett for TÁR
- Ana de Armas for Blonde
- Andrea Riseborough for To Leslie
- Michelle Williams for The Fabelmans
- Michelle Yeoh for Everything Everywhere All At Once
Best Supporting Actor
- Brendan Gleeson in The Banshees of Inisherin
- Brian Tyree Henry in Causeway
- Judd Hirsch in The Fabelmans
- Barry Keoghan in The Banshees of Inisherin
- Ke Huy Quan in Everything Everywhere All At Once
Best Supporting Actress
- Angela Bassett for Black Panther: Wakanda Forever
- Hong Chau for The Whale
- Kerry Condon for The Banshees of Inisherin
- Jamie Lee Curtis for Everything Everywhere All At Once
- Stephanie Hsu in Everything Everywhere All At Once
Best Original Score
- Volker Bertelmann for All Quiet on the Western Front
- Carter Burwell for The Banshees of Inisherin
- Justin Hurwitz for Babylon
- Son Lux for Everything Everywhere All At Once
- John Williams for The Fabelmans
Best Original Song
- Lady Gaga and BloodPop for Hold My Hand in Top Gun: Maverick
- Chandrabose and MM Keeravaani for Naatu Naatu in RRR
- Ryan Lott, David Byrne and Mitski for This Is A Life in Everything Everywhere All At Once
- Tems, Rihanna, Ryan Coogler and Ludwig Goransson for Lift Me Up in Black Panther: Wakanda Forever
- Diane Warren for Applause in Tell It Like A Woman
Best Cinematography
- Roger Deakins for Empire of Light
- James Friend for All Quiet on the Western Front
- Florian Hoffmeister for TÁR
- Darius Khondji for Bardo
- Mandy Walker for Elvis
Best Animated Feature Film
- Guillermo del Toro’s Pinocchio
- Marcel the Shell with Shoes On
- Puss in Boots
- The Sea Beast
- Turning Red
Best Animated Short Film
- The Boy, the Mole, the Fox and the Horse
- The Flying Sailor
- Ice Merchants
- My Year of Dicks
- An Ostrich Told Me the World is Fake and I Think I Believe It
Best Documentary Feature
- All That Breathes
- All the Beauty and the Bloodshed
- Fire of Love
- A House Made of Splinters
- Navalny
Best Documentary Short Subject
- The Elephant Whisperers
- Haulout
- How Do You Measure A Year?
- The Martha Mitchell Effect
- Stranger at the Gate
Best Makeup and Hairstyling
- Mark Coulier, Jason Baird and Aldo Signoretti for Elvis
- Naomi Donne, Mike Marino and Mike Fontaine for The Batman
- Camille Friend and Joel Harlow for Black Panther: Wakanda Forever
- Heike Merker and Linda Eisenhamerová for All Quiet on the Western Front
- Adrien Morot, Judy Chin and Anne Marie Bradley in The Whale
Best Costume Design
- Jenny Beaven for Mrs. Harris Goes to Paris
- Ruther Carter for Black Panther: Wakanda Forever
- Shirley Kurata for Everything Everywhere All At Once
- Catherine Martin for Elvis
- Mary Zophres for Babylon
Best Production Design
- Anthony Carlino and Florencia Martin for Babylon
- Rick Carter and Karen O'Hara for The Fabelmans
- Dylan Cole, Vanessa Cole and Ben Procter for Avatar: The Way of Water
- Bev Dunn, Catherine Martin and Karen Murphy for Elvis
- Ernestine Hipper and Christian M Goldbeck for All Quiet on the Western Front
Best Sound
- Viktor Prášil, Frank Kruse, Markus Stemler, Lars Ginzel and Stefan Korte for All Quiet on the Western Front
- Julian Howarth, Gwendolyn Yates Whittle, Dick Bernstein, Christopher Boyes, Gary Summers and Michael Hedges for Avatar: The Way of Water
- Stuart Wilson, William Files, Douglas Murray and Andy Nelson for The Batman
- David Lee, Wayne Pashley, Andy Nelson and Michael Keller for Elvis
- Mark Weingarten, James H Mather, Al Nelson, Chris Burdon and Mark Taylor for Top Gun: Maverick
Best Film Editing
- Mikkel EG Nielsen for The Banshees of Inisherin
- Paul Rogers for Everything Everywhere All At Once
- Matt Villa and Jonathan Redmond for Elvis
- Monika Willi for TÁR
- Eddie Hamilton for Top Gun: Maverick
Best Visual Effects
- Frank Petzold, Viktor Müller, Markus Frank and Kamil Jafar for All Quiet on the Western Front
- Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett for Avatar: The Way of Water
- Dan Lemmon, Russell Earl, Anders Langlands and Dominic Tuohy for The Batman
- Geoffrey Baumann, Craig Hammack, R Christopher White and Dan Sudick for Black Panther: Wakanda Forever
- Ryan Tudhope, Seth Hill, Bryan Litson and Scott R Fisher for Top Gun: Maverick
Best Live Action Short Film
- An Irish Goodbye
- Ivalu
- Le Pupille
- Night Ride
- The Red Suitcase
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