Oscars 2022: How ‘Dunes’ Dominated With 8 Craft nominations

Best Picture nominees “The Power of the Dog” and “West Side Story” earned four nominations, while Disney’s “Encanto” earned three, including animated feature.

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The mighty “Dune” asserted its craft dominance on Tuesday by winning eight of nine possible Oscar nominations (the original song was not played). So Denis Villeneuve’s gripping and far-reaching sci-fi flick has run into the field with everything else: cinematography, costume design, editing, makeup/hairdressing, original points, design production, sound and visual effects. Historically, that puts “Dune” right behind “Lord of the Rings: Return of the King” and “Titanic,” both of which feature nine handcrafted buttons.

The closest competitors to four noms are Jane Campion’s “The Power of the Dog” (cinematography, editing, scores, and sound by Johnny Greenwood) and Steven Spielberg’s remake of “West Side Story” ( cinematography, costume design, production design, sound) – which is two hits from the 1961 original. Closing the three noms was Guillermo del Toro’s “Nightmare Alley” (cinematography, costume design, production design) and Daniel Craig’s James Bond finale, “No Time to Die” (original song, “No Time to Die”, by Billie Eilish and FINEAS, plus sound and VFX).

Collect two handcrafted noms, “Don’t Look Up” (edited, Nicholas Britell original), Disney’s “Cruella” (costume design, makeup/hairdressing) and “Encanto” (original by Germaine Franco, original song “Dos Oruguitas” by Lin-Manuel Miranda), and “The Tragedy of Macbeth (cinematography, production design). Other notable nominations include “Belfast” (sound), “Coming 2 America” (makeup/hairstyling), Disney’s “Free Guy” (VFX), “House of Gucci” (makeup/ hairstylist), “King Richard” (edited), “Parallel Mothers” (original by Alberto Iglesias), “Tammy Faye’s Eyes” (makeup/hairstyling), “Shang-Chi and Disney/Marvel’s Legend of the Ten Rings” (VFX), “Spider-Man: No Way Home” (VFX), and the surprising “Tick, Tick, Boom” (edited).

Disney also scored three animated noms with “Encanto,” “Raya and the Last Dragon,” and Pixar’s Luca. The other two nominations went to “The Mitchells vs. The Machines,” brings a taste of Netflix/Sony’s wild 2D and Jonas Poher Rasmussen’s acclaimed Afghan refugee documentary, “Flee” (Neon/Participant).

Power Of The Dog_Benedict-Cumberbatch_Kodi-Smit-McPhee

“The Power of the Dog”

Kirsty Griffin / Netflix

The animated short nominations go to the Netflix/Aardman stop-motion musical, “Robin Robin”; “Art Matters”, Joanna Quinn’s continuation series about factory worker/artist Beryl (from the Canadian NFB); “Bestia,” the Chilean work of Hugo Covarrubias, is based on a real-life secret police officer who trains dogs to torture political prisoners; Russian “Boxballet”, a love story between a ballerina and a boxer, directed by Anton Dyakov; and “The Windshield Wipes,” Alberto Mielgo’s experiment delves into the meaning of love.

Meanwhile, significant crafting includes “CODA” and “Licorice Pizza” Best Picture nominations along with “Being the Ricardos” and “The French Dispatch.”

Among notable diversity accomplishments, The Power of the Dog’s Ari Wegner became the second female DP to receive an affiliate nomination (after Rachel Morrison of “Mudbound” in 2018), while Franco’s “Encanto’s” becomes the first female composer to be nominated by Disney for an animated feature. In addition, Black costume designer Paul Tazewell (winner of the “Hamilton” Tony Award) has been nominated for “Western Story” and Argentine makeup artist Vera Steimberg is nominated for “America Comes to America.” 2” with Black hairstylists Carla Farmer and Stacey Morris.

In terms of judging “Dune’s” dominance, by all rights, it should be in every category. This is the big-screen cinematic event of the season, showcasing extraordinary ingenuity and world-building that not only showcases the complexity of Frank Herbert’s seemingly unreadable novel, but also represents the pinnacle of Villeneuve’s sensory power over imaginative images and sounds. Too bad he was eliminated for Best Director. But then he was a hobbyist who found a comfortable home in science fiction.

"West story"

“Western Tales”

Niko Tavernise

Among “Dune” favorites are Greig Fraser’s epic large-format cinematography, Jacqueline West’s culturally diverse and medieval costume design, and production design by Patrice Vermette. , creative desert music by composer Hans Zimmer, creative VFX (especially screen sand) from the team led by production supervisor Paul Lambert and DNEG, psychedelic yet creepy soundscapes from the group sound (Mac Ruth, Mark Mangini, Theo Green, Doug Hemphill, Ron Bartlett) and three-time Supreme Academy Award nominee Joe Walker edit, managing to combine epic and intimacy with textures and unpredictable class.

However, “Dune” is vulnerable in at least two categories: costume design and makeup/hair. Before that, West faced off against Disney’s “Cruella,” in which two-time Oscar winner Jenny Beavan (“Mad Max: Fury Road,” “A Room With a View”) came up with a recycled fabric motif. to wear out-of-the-ordinary fashion by designer Emma Stone; and “West Side Story’s Paul Tazewell, who focused heavily on authenticating the Puerta Rican wardrobe in the late 1950s. And, in the latter part, prosthetic designer Donald Mowat (who created Nam). the horror of Stellan Skarsgård) confronting the “House of Gucci” prosthetic designer Göran Lundströn (who turned Jared Leto into an unrecognizable Paolo); The “Tammy Faye’s Eyes” team includes makeup artist Linda Dowds, hair stylist Stephanie Ingram and prosthetic designer Justin Raleigh, who worked in tandem to perfect Jessica Chastain into the iconic Faye ; and hair and makeup designer Nadia Stacey, who reverse-engineered Stone’s ’70s punk style in “Cruella.”

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https://www.indiewire.com/2022/02/oscars-2022-dune-crafts-nominations-1234696676/ Oscars 2022: How ‘Dunes’ Dominated With 8 Craft nominations

Olly Dawes

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