Nominees include Mia Neal, Jamika Wilson, Ren Klyce and Coya Elliott.
On the morning of the Oscar nominations, the craft categories included an unprecedented story in makeup and hairstyle, among some notable recognitions.
For his work in Black Bottom by Ma Rainey, two women, Mia Neal and Jamika Wilson, became the first black Oscar nominees in the makeup and hairstyle category. Neal was the hairdresser and hairdresser and head of the hairdressing department for the film, and Wilson is the personal hairstylist for star Viola Davis. Sharing the nomination with these women is Davis’ personal and first-time makeup artist, Sergio Lopez-Rivera.
NomadlandChloé Zhao won one of her four record-breaking Oscar nominations, along with best film, direction and screenplay. It is rare for a director to win an Oscar for editing his film, the last time was in 2014, when Alfonso Cuarón shared the editing Oscar with Mark Sanger for Gravity.
Trent Reznor and Atticus Ross received two Oscar nominations for their Soul, an indication that they share with Jon Batiste, and David Fincher’s period biopic Mank. They had already won this category for Fincher The social network.
Skywalker Sound’s Ren Klyce obtained two nominations in sound (the newly combined category for editing and mixing sound) for the same two films Mank and Soul. Klyce oversees the sound editor and the re-recording mixer for both films (and is also credited as a sound designer in Soul) These are his eighth and ninth Oscar nominations.
Apple TV + War Movie Greyhound marks the 13th Oscar nomination for Michael Minkler, for whom a victory would be his fourth. Previously, he took figurines home for mixing sound in Dreamgirls, Chicago and Black Hawk Down.
Two women are recommended for better sound: Soul supervised by sound editor Coya Elliott and Metal sound the re-recording mixer Michelle Couttolenc. With a victory, anyone would join a short list of women who won the Oscar for sound. For both, this is the first indication.
The visual effects category saw Genevieve Camilleri’s nomination for Love and monsters. So far, only two Oscar VFX winners have been women: Sara Bennett for 2016’s Ex Machina and Suzanne M. Benson, for 1986’s Aliens.
This year, there was potential to see the first documentary receive a VFX nomination, as Welcome to chechnya he was selected for his profound use of digital face replacement to disguise participants in the chronicle of David France’s anti-LGBTQ campaign in the Russian republic and efforts to rescue the victims of his brutality. AND Soul, also listed, would be only the fourth animated film to win a VFX nom. None of the films made it to the final five.
VFX nominees included The midnight sky, led by the VFX Framestore house (Gravity); Mulan, led by Weta (Lord of the Rings); Love and monsters and The Only Ivan, both led by Technicolor’s MPC (1917); and Principle, led by DNEG (Interstellar)
The cinematography category includes four nominees for the first time: Sean Bobbitt by Judas and the Black Messiah, Erik Messerschmidt for Mank, Dariusz Wolski for World News and Joshua James Richards for Nomadland. It is the second indication for The Chicago Trial 7Phedon Papamichael, who has already been recognized for Nebraska. (Rachel Morrison remains the only woman to be nominated for an Oscar for cinematography.)
The Oscar for cinematography was awarded for the first time in 1928. In 1939, the award was divided into two different categories, colored and black and white. But in 1968, cinematography again became a unique category. Since then, only two black and white films have won the category: Schindler’s List in 1994 and Pomegranate in 2019. Mank is competing to become the third.