Best Cinematography
American Honey (Robbie Ryan) - For the tight, hemmed in corners of its 4:3 frames, binding intimate, sprawling, and social-realist textures.
Arrival (Bradford Young) - For resourceful ingenuity of communication scenes, Tarkovskian wit of clairvoyant memories, and boxed-in framing of Adams.
Jackie (Stéphane Fontaine) - For symmetrical candor at odds with forceful preservation of heritage, and that tricky balance of macabre/elegance.
Moonlight (James Laxton) - For an exciting array of palettes, light, movements, and surfaces, smartly cohering through specific emotional/visual energies.
Silence (Rodrigo Prieto) - For revealing a decidedly austere world less through severe images/content than through metaphysical light and landscapes.
Matches with Oscar: 3/5.
Runners-Up: Lion, Things to Come, The Light Between Oceans, Embrace of the Serpent, Cemetery of Splendor, Café Society, Francofonia, The Lobster, Captain Fantastic
Best Costume Design
20th Century Women (Jennifer Johnson) - For creating specific looks from fading “Contemporary” seventies trends, mirroring characters’ own unattainable grasps for identity.
A Bigger Splash (Giulia Piersanti) - For totally getting Tilda and Marianne’s fashion sense, and nailing the casual-but-stylish tenor of the leads.
Hail, Caesar! (Mary Zophres) - For firmly positioning Tilda as 2016’s unofficial costume design mascot with her outrageously-outfitted dual role alone.
The Handmaiden (Jo Sang-gyeong) - For the fabulous women and dashing/off-putting men whose gowns, robes, suits constantly accommodate characters’ ever-changing roles.
Jackie (Madeline Fontaine) - For being fully in high-glamour service to Portman while rendering Jackie’s iconic threads as haunted wardrobe.
Matches with Oscar: 1/5.
Runners-Up: Neruda, La La Land, Florence Foster Jenkins, Elle, Everybody Wants Some!!, Silence, Fantastic Beasts, Love & Friendship
Best Film Editing
20th Century Women (Leslie Jones) - For achieving loose yet comprehensive multiperspectivity, sampling time, locations, and artifacts to plumb depths and souls.
Cameraperson (Nels Bangerter & Amanda Laws) - For detailing an artist’s work/life as drawn from many paths, never reducing her to just one.
Dheepan (Juliette Welfling) - For bristling with tensions against observant migrant drama and heightened violent outburst, potently splintering their distinctions.
Moonlight (Joi McMillon & Nat Sanders) - For balancing its three-act structure with rhythmic scene construction, disconcerting juxtaposition, unique POV, and elliptical transitions.
Spa Night (Yannis Chalkiadakis) - For the expert sense of pulling in and out of scenes/shots, and all the looking/not looking.
Matches with Oscar: 1/5.
Runners-Up: Fire at Sea, Things to Come, Jackie, The Fits, The Lobster, Hell or High Water, Henry Gamble's Birthday Party, Arrival
20th Century Women (Jennifer Johnson) - For creating specific looks from fading “Contemporary” seventies trends, mirroring characters’ own unattainable grasps for identity.
A Bigger Splash (Giulia Piersanti) - For totally getting Tilda and Marianne’s fashion sense, and nailing the casual-but-stylish tenor of the leads.
Hail, Caesar! (Mary Zophres) - For firmly positioning Tilda as 2016’s unofficial costume design mascot with her outrageously-outfitted dual role alone.
The Handmaiden (Jo Sang-gyeong) - For the fabulous women and dashing/off-putting men whose gowns, robes, suits constantly accommodate characters’ ever-changing roles.
Jackie (Madeline Fontaine) - For being fully in high-glamour service to Portman while rendering Jackie’s iconic threads as haunted wardrobe.
Matches with Oscar: 1/5.
Runners-Up: Neruda, La La Land, Florence Foster Jenkins, Elle, Everybody Wants Some!!, Silence, Fantastic Beasts, Love & Friendship
Best Film Editing
20th Century Women (Leslie Jones) - For achieving loose yet comprehensive multiperspectivity, sampling time, locations, and artifacts to plumb depths and souls.
Cameraperson (Nels Bangerter & Amanda Laws) - For detailing an artist’s work/life as drawn from many paths, never reducing her to just one.
Dheepan (Juliette Welfling) - For bristling with tensions against observant migrant drama and heightened violent outburst, potently splintering their distinctions.
Moonlight (Joi McMillon & Nat Sanders) - For balancing its three-act structure with rhythmic scene construction, disconcerting juxtaposition, unique POV, and elliptical transitions.
Spa Night (Yannis Chalkiadakis) - For the expert sense of pulling in and out of scenes/shots, and all the looking/not looking.
Matches with Oscar: 1/5.
Runners-Up: Fire at Sea, Things to Come, Jackie, The Fits, The Lobster, Hell or High Water, Henry Gamble's Birthday Party, Arrival
Best Production Design
20th Century Women (Chris Jones) - For the constant renovations of the house, often tightening corners, but equally evoking an uncanny warmth.
Arrival (Patrice Vermette) - For dilated minimalism of the ship, offsetting aliens’ circular language with drab whites and blocky structures.
Francofonia (Uncredited) - For bringing the Louvre to timeless, elegiac life, and for evoking a dioramic, sepia-drawn 40s Paris.
Hail, Caesar! (Jess Gonchor) - For cinephilic joys of the mermaid set, Laurentz’s high-society melodrama, and everything happening with “No Dames”.
The Handmaiden (Ryu Seong-hie) - For sheer audacity; intricate nooks/crannies, pointed color choices, unsavory props and portraits coalescing as gonzo thesis.
Matches with Oscar: 2/5.
Runners-Up: Embrace of the Serpent, Everybody Wants Some!!, Things to Come, The Lobster, Julieta, Neruda, Sing Street, The Neon Demon
20th Century Women (Chris Jones) - For the constant renovations of the house, often tightening corners, but equally evoking an uncanny warmth.
Arrival (Patrice Vermette) - For dilated minimalism of the ship, offsetting aliens’ circular language with drab whites and blocky structures.
Francofonia (Uncredited) - For bringing the Louvre to timeless, elegiac life, and for evoking a dioramic, sepia-drawn 40s Paris.
Hail, Caesar! (Jess Gonchor) - For cinephilic joys of the mermaid set, Laurentz’s high-society melodrama, and everything happening with “No Dames”.
The Handmaiden (Ryu Seong-hie) - For sheer audacity; intricate nooks/crannies, pointed color choices, unsavory props and portraits coalescing as gonzo thesis.
Matches with Oscar: 2/5.
Runners-Up: Embrace of the Serpent, Everybody Wants Some!!, Things to Come, The Lobster, Julieta, Neruda, Sing Street, The Neon Demon
Best Makeup & Hairstyling
Francofonia (Simon Livet, et al.) - For pixie-like Marianne and conceited Napoléon, serving thematic contrast to the wax-museum detail of non-metaphysical characters.
Hail, Caesar! (Julie Hewett, Paulette O. Lewis, et al.) - For fun, broadly comic approaches to Old Hollywood styles and tropes and attention to character-appropriate looks.
The Neon Demon (Erin Ayanian, Shandra Page, et al.) - For making those model-centered tableaux visually striking and not just creepily provocative; memorable work on Fanning.
Neruda (Uncredited) - For playing up the literary expressiveness, contradictions, and mythicism, particularly in regards to the two leads.
Star Trek Beyond (Richard Alonzo, Joel Harlow, et al.) - For the spiffy, nimble, ass-kicking Jaylah, but also for all the varied, memorable, convincing alien work.
Matches with Oscar: 1/3. (If I cut myself off at three the nominees they'd go: Hail, Caesar!, The Neon Demon, and Star Trek)
Runners-Up: Florence Foster Jenkins, The Handmaiden, Sing Street, The Shallows, Absolutely Fabulous: The Movie, Jackie, Silence, A Bigger Splash
Francofonia (Simon Livet, et al.) - For pixie-like Marianne and conceited Napoléon, serving thematic contrast to the wax-museum detail of non-metaphysical characters.
Hail, Caesar! (Julie Hewett, Paulette O. Lewis, et al.) - For fun, broadly comic approaches to Old Hollywood styles and tropes and attention to character-appropriate looks.
The Neon Demon (Erin Ayanian, Shandra Page, et al.) - For making those model-centered tableaux visually striking and not just creepily provocative; memorable work on Fanning.
Neruda (Uncredited) - For playing up the literary expressiveness, contradictions, and mythicism, particularly in regards to the two leads.
Star Trek Beyond (Richard Alonzo, Joel Harlow, et al.) - For the spiffy, nimble, ass-kicking Jaylah, but also for all the varied, memorable, convincing alien work.
Matches with Oscar: 1/3. (If I cut myself off at three the nominees they'd go: Hail, Caesar!, The Neon Demon, and Star Trek)
Runners-Up: Florence Foster Jenkins, The Handmaiden, Sing Street, The Shallows, Absolutely Fabulous: The Movie, Jackie, Silence, A Bigger Splash
Best Visual Effects
Arrival (Louis Morin, et al.) - For the sparse but eye-catching visual statement of the floating spaceship, and for the heptapods/inky circles.
Doctor Strange (Stephen Ceretti, et al.) - For excusing the lame-looking and dubious sorcery (and cloak) with acid-trip planes of dimension and color.
The Jungle Book (Robert Legato, et al.) - For shooting action and landscapes entirely through green screen and making it look not completely ugly.
Kubo and the Two Strings (Steve Emerson, et al.) - For all of those stunning origami setpieces and ocean waves, bringing Laika to peak visual craftsmanship.
Pete's Dragon (Eric Saindon, et al.) - For making Elliot adorable, majestic, and a little impulsive in the right doses the story needs.
Matches with Oscar: 3/5.
Runners-Up: Midnight Special, Captain America: Civil War, Star Trek Beyond, Rogue One, Moana, Fantastic Beasts
Arrival (Louis Morin, et al.) - For the sparse but eye-catching visual statement of the floating spaceship, and for the heptapods/inky circles.
Doctor Strange (Stephen Ceretti, et al.) - For excusing the lame-looking and dubious sorcery (and cloak) with acid-trip planes of dimension and color.
The Jungle Book (Robert Legato, et al.) - For shooting action and landscapes entirely through green screen and making it look not completely ugly.
Kubo and the Two Strings (Steve Emerson, et al.) - For all of those stunning origami setpieces and ocean waves, bringing Laika to peak visual craftsmanship.
Pete's Dragon (Eric Saindon, et al.) - For making Elliot adorable, majestic, and a little impulsive in the right doses the story needs.
Matches with Oscar: 3/5.
Runners-Up: Midnight Special, Captain America: Civil War, Star Trek Beyond, Rogue One, Moana, Fantastic Beasts
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