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On Oscar nominations morning, the crafts categories included a historic first in makeup and hairstyling, among some notable recognitions.
For their work on Ma Rainey’s Black Bottom, two women, Mia Neal and Jamika Wilson, became the first Black Oscar nominees in the makeup and hairstyling category. Neal was the film’s hair and wig designer and hair department head, and Wilson is the personal hairstylist for star Viola Davis. Sharing the nomination with these women is Davis’ personal makeup artist and first-time nominee, Sergio Lopez-Rivera.
Nomadland‘s Chloé Zhao earned one of her four record-setting Oscar nominations for editing, along with best picture, directing and writing. It’s rare for a director to win an Oscar for their film’s editing, the last time was in 2014 when Alfonso Cuarón shared the editing Oscar with Mark Sanger for Gravity.
Trent Reznor and Atticus Ross collected a pair of Oscar nominations, for the scores of Soul, a nomination that they share with Jon Batiste, and David Fincher’s period biopic Mank. They previously won this category for Fincher’s The Social Network.
Skywalker Sound’s Ren Klyce scored two nominations in sound (the newly combined category for both sound editing and mixing) for the same two films, Mank and Soul. Klyce is supervising sound editor and rerecording mixer on both films (and also is credited as a sound designer on Soul). These are his eighth and ninth Oscar nominations.
Apple TV+’s war film Greyhound marks the 13th Oscar nomination for Michael Minkler, for whom a win would be his fourth. He previously took home statuettes for sound mixing on Dreamgirls, Chicago and Black Hawk Down.
Two women are nominated for best sound: Soul supervising sound editor Coya Elliott and Sound of Metal rerecording mixer Michelle Couttolenc. With a win, either would join a short list of women who have won Oscars in sound. For both, this is their first nomination.
The visual effects category saw the nomination of Genevieve Camilleri for Love and Monsters. To date, only two VFX Oscar recipients have been women: Sara Bennett for 2016’s Ex Machina and Suzanne M. Benson, for 1986’s Aliens.
This year, there was the potential to see the first documentary earn a VFX nomination, as Welcome to Chechnya was shortlisted for its profound use of digital face replacement to disguise participants in David France’s chronicle of anti-LGBTQ campaign in the Russian republic and efforts to rescue victims from its brutality. And Soul, also shortlisted, would have been only the fourth animated movie to earn a VFX nom. Neither film advanced to the final five.
VFX nominees included The Midnight Sky, led by VFX house Framestore (Gravity); Mulan, led by Weta (The Lord of the Rings); Love and Monsters and The One and Only Ivan, both led by Technicolor’s MPC (1917); and Tenet, led by DNEG (Interstellar).
The cinematography category includes four first-time nominees: Sean Bobbitt for Judas and the Black Messiah, Erik Messerschmidt for Mank, Dariusz Wolski for News of the World and Joshua James Richards for Nomadland. It’s the second nomination for The Trial of the Chicago 7‘s Phedon Papamichael, who was previously recognized for Nebraska. (Rachel Morrison remains the only woman ever to be nominated for a cinematography Oscar.)
The Academy Award for cinematography was first handed out in 1928. In 1939, the award was separated into two different categories, color and black-and-white. But in 1968, cinematography again became a single category. Since then, only two black-and-white movies have won the category: Schindler’s List in 1994 and Roma in 2019. Mank is vying to become the third.
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