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Robert Redford dies at 89
Robert Redford, the Hollywood golden boy who became an Oscar-winning director, liberal activist and godfather for independent cinema under the name of one of his best-loved characters, died Tuesday at 89.
Redford died “at his home at Sundance in the mountains of Utah — the place he loved, surrounded by those he loved,” publicist Cindi Berger said in a statement. He died in his sleep, but no cause was provided.
After rising to stardom in the 1960s, Redford was one of the biggest stars of the ’70s with such films as “The Candidate,” “All the President’s Men” and “The Way We Were,” capping that decade with the best director Oscar for 1980’s “Ordinary People,” which also won best picture in 1980. His wavy blond hair and boyish grin made him the most desired of leading men, but he worked hard to transcend his looks — whether through his political advocacy, his willingness to take on unglamorous roles or his dedication to providing a platform for low-budget movies.
His roles ranged from Washington Post journalist Bob Woodward to a mountain man in “Jeremiah Johnson” to a double agent in the Marvel Cinematic Universe, and his co-stars included Jane Fonda, Meryl Streep and Tom Cruise. But his most famous screen partner was his old friend and fellow activist and practical joker Paul Newman, their films a variation of their warm, teasing relationship off screen. Redford played the wily outlaw opposite Newman in 1969’s “Butch Cassidy and the Sundance Kid,” a box-office smash from which Redford’s Sundance Institute and festival got its name. He also teamed with Newman on 1973’s best picture Oscar winner, “The Sting,” which earned Redford a best-actor nomination as a young con artist in 1930s Chicago.
Listen to Paul Newman and Robert Redford in “Butch Cassidy and the Sundance Kid.”
Redford plays the wily outlaw opposite Newman’s Butch Cassidy.
Film roles after the ’70s became more sporadic as Redford concentrated on directing and producing, and his new role as patriarch of the independent-film movement in the 1980s and ’90s through his Sundance Institute. But he starred in 1985’s best picture champion “Out of Africa” and in 2013 received some of the best reviews of his career as a shipwrecked sailor in “All is Lost,” in which he was the film’s only performer. In 2018, he was praised again in what he called his farewell movie, “The Old Man and the Gun.”
“I just figure that I’ve had a long career that I’m very pleased with. It’s been so long, ever since I was 21,” he told The Associated Press shortly before the film came out. “I figure now as I’m getting into my 80s, it’s maybe time to move toward retirement and spend more time with my wife and family.”
Sundance is born
Redford had watched Hollywood grow more cautious and controlling during the 1970s and wanted to recapture the creative spirit of the early part of the decade. Sundance was created to nurture new talent away from the pressures of Hollywood, the institute providing a training ground and the festival, based in Park City, Utah, where Redford had purchased land with the initial hope of opening a ski resort. Instead, Park City became a place of discovery for such previously unknown filmmakers as Quentin Tarantino, Steven Soderbergh, Paul Thomas Anderson and Darren Aronofsky.
“For me, the word to be underscored is ‘independence,’” Redford told the AP in 2018. “I’ve always believed in that word. That’s what led to me eventually wanting to create a category that supported independent artists who weren’t given a chance to be heard.
“The industry was pretty well controlled by the mainstream, which I was a part of. But I saw other stories out there that weren’t having a chance to be told and I thought, ‘Well, maybe I can commit my energies to giving those people a chance.’ As I look back on it, I feel very good about that.”
Sundance was even criticized as buyers swarmed in looking for potential hits and celebrities overran the town each winter.
“We have never, ever changed our policies for how we program our festival. It’s always been built on diversity,” Redford told the AP in 2004. “The fact is that the diversity has become commercial. Because independent films have achieved their own success, Hollywood, being just a business, is going to grab them. So when Hollywood grabs your films, they go, ‘Oh, it’s gone Hollywood.’”
By 2025, the festival had become so prominent that organizers decided they had outgrown Park City and approved relocating to Boulder, Colorado, starting in 2027. Redford, who had attended the University of Colorado Boulder, issued a statement saying that “change is inevitable, we must always evolve and grow, which has been at the core of our survival.”
Redford’s affinity for the outdoors was well captured in “A River Runs Through It” and other films and through his decades of advocacy for the environment, inspired in part by witnessing the transformation of Los Angeles into a city of smog and freeways. His activities ranged from lobbying for such legislation as the Clean Air Act and Clean Water Act to pushing for land conservation in Utah to serving on the board of the Natural Resources Defense Council.
Listen to Robert Redford at the United Nations
In 2015, Robert Redford told the U.N. it needed to deal with climate change.
Redford was married twice, most recently to Sibylle Szaggars. He had four children, two of whom have died — Scott Anthony, who died in infancy, in 1959; and James Redford, an activist and filmmaker who died in 2020.
Redford’s early life
Robert Redford was born Charles Robert Redford Jr. on Aug. 18, 1936, in Santa Monica, a California boy whose blond good looks eased his way over an apprenticeship in television and live theater that eventually led to the big screen.
Redford attended college on a baseball scholarship and would later star as a middle-aged slugger in 1984’s “The Natural,” the adaptation of Bernard Malamud’s baseball novel. He had an early interest in drawing and painting, then went on to study at the American Academy of Dramatic Arts, debuting on Broadway in the late 1950s and moving into television on such shows as “The Twilight Zone,” “Alfred Hitchcock Presents” and “The Untouchables.”
Listen to Wilford Brimley and Robert Redford in ‘The Natural’
Redford starred as a middle-aged slugger in the adaptation of Bernard Malamud’s baseball novel.
After scoring a Broadway lead in “Sunday in New York,” Redford was cast by director Mike Nichols in a production of Neil Simon’s “Barefoot in the Park,” later starring with Fonda in the film version. Redford did miss out on one of Nichols’ greatest successes, “The Graduate,” released in 1967. Nichols had considered casting Redford in the part eventually played by Dustin Hoffman, but Redford seemed unable to relate to the socially awkward young man who ends up having an affair with one of his parents’ friends.
“I said, ‘You can’t play it. You can never play a loser,’” Nichols said during a 2003 screening of the film in New York. “And Redford said, ‘What do you mean? Of course I can play a loser.’ And I said, ‘OK, have you ever struck out with a girl?’ and he said, ‘What do you mean?’ And he wasn’t joking.”
Indie champion, mainstream star
Even as Redford championed low-budget independent filmmaking, he continued to star in mainstream Hollywood productions himself, scoring the occasional hit such as 2001’s “Spy Game,” which co-starred Brad Pitt, an heir apparent to Redford’s handsome legacy whom he had directed in “A River Runs Through It.”
Ironically, “The Blair Witch Project,” “Garden State,” “Napoleon Dynamite” and other scrappy films that came out of Sundance sometimes made bigger waves — and more money — than some Redford-starring box-office duds like “Havana,” “The Last Castle” and “An Unfinished Life.”
Redford also appeared in several political narratives. He satirized campaigning as an idealist running for U.S. senator in 1972’s “The Candidate” and uttered one of the more memorable closing lines, “What do we do now?” after his character manages to win. He starred as Woodward to Hoffman’s Carl Bernstein in 1976’s “All the President’s Men,” the story of the Washington Post reporters whose Watergate investigation helped bring down President Richard Nixon.
With 2007’s “Lions for Lambs,” Redford returned to directing in a saga of a congressman (Tom Cruise), a journalist (Meryl Streep) and an academic (Redford) whose lives intersect over the war on terrorism in Afghanistan.
His biggest filmmaking triumph came with his directing debut on “Ordinary People,” which beat Martin Scorsese’s classic “Raging Bull” at the Oscars. The film starred Donald Sutherland and Mary Tyler Moore as the repressed parents of a troubled young man, played by Timothy Hutton, in his big screen debut. Redford was praised for casting Moore in an unexpectedly serious role and for his even-handed treatment of the characters, a quality that Roger Ebert believed set “the film apart from the sophisticated suburban soap opera it could easily have become.”
Listen to Robert Redford discuss awards at the Sundance Film Festival
In 2016, Robert Redford said he did not make movies to win awards.
Redford’s other directing efforts included “The Horse Whisperer,” “The Milagro Beanfield War” and 1994’s “Quiz Show,” the last of which also earned best picture and director Oscar nominations. In 2002, Redford received an honorary Oscar, with academy organizers citing him as “actor, director, producer, creator of Sundance, inspiration to independent and innovative filmmakers everywhere.”
“The idea of the outlaw has always been very appealing to me. If you look at some of the films, it’s usually having to do with the outlaw sensibility, which I think has probably been my sensibility. I think I was just born with it,” Redford said in 2018. “From the time I was just a kid, I was always trying to break free of the bounds that I was stuck with, and always wanted to go outside.”
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This story has been corrected to update Redford’s birth year to 1936, not 1937.
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Associated Press journalists Hillel Italie, Jake Coyle and Mallika Sen contributed to this report. Bob Thomas, a longtime Associated Press journalist who died in 2014, was the principal writer of this obituary.
A completed planned development is seen in Ashburn, Virginia, on Aug. 14, 2024.
Andrew Caballero-Reynolds | AFP | Getty Images
Mortgage rates dropped sharply Tuesday, as investors in mortgage-backed bonds seemed to buy in ahead of a widely expected rate cut by the Federal Reserve.
The average rate on the 30-year fixed mortgage dropped 12 basis points from Monday to 6.13%, according to Mortgage News Daily. That is the lowest level since late 2022.
“The overall set-up is reminiscent of September 2024 when rates were doing the same thing for the same reasons ahead of Fed meeting with a virtual 100% chance of a rate cut,” said Matthew Graham, chief operating officer of Mortgage News Daily. “Back then, mortgage rates moved paradoxically higher after the Fed rate cut. The same thing could happen this time, but it’s by no means guaranteed.”
It also follows historical trends. In a video podcast for CNBC’s Property Play, Willy Walker, CEO of commercial real estate firm Walker & Dunlop said there have been similar trends in the past.
“If you go back to 1980 and the nine Fed rate cut periods over that 45-year period, the ones where the Fed cuts in a recessionary environment end up pulling down the long end of the curve, pull down the 10-year, pull down the 5-year,” Walker said. “In those where it’s not a recession, which is like right now, it does not impact long-term rates. And so as much as I’m expecting us to see at least a 25 basis point cut, and then probably another 25 basis point cut, even if you take 50 basis points out of the short end of the curve, I don’t expect it’s going to impact the long end of the curve very much.”
He added that he thinks yields are well below where they will be two or three weeks from now.
“I don’t try to predict where rates are going, but I think people … might buy on the rumor and sell on the news. I think you probably see the 10-year sell off a little bit after the Fed actually announces their 25 basis point cut,” Walker said.
Imran Rahman-JonesTechnology reporter
Getty ImagesA deal has been made between the US and China to keep TikTok running in the US, according to President Donald Trump.
“We have a deal on TikTok, I’ve reached a deal with China, I’m going to speak to President Xi on Friday to confirm everything up,” Trump told reporters as he left the White House for a state visit to the UK.
The social media platform, which is run by Chinese company ByteDance, was told it had to sell its US operations or risk being shut down.
However, Trump has repeatedly delayed the ban since it was first announced in January. Later on Tuesday, he ordered the deadline extended again, until 16 December.
The US president said a buyer will be announced soon.
The Wall Street Journal reported that under a deal being negotiated between the US and China, TikTok’s U.S. business would be controlled by an investor consortium that would include tech company Oracle, private equity firm Silver Lake, and venture capital firm Andreessen Horowitz.
In a new US entity created under the deal, US investors would hold a roughly 80% stake and Americans would dominate the board, with one member selected by the US government, according to the Journal, which cited people familiar with the matter.
US users, meanwhile, would move to a new app, currently in the testing phase, that will have content-recommendation algorithms using technology licensed from ByteDance. TikTok’s algorithms are a top reason for the app’s success.
Earlier, CNBC reported the deal would include a mix of current and new investors, and would be completed in the next 30 to 45 days.
It also said Oracle would keep its existing agreement to host TikTok servers inside the US. That had been one of the main concerns of American lawmakers, over worries about data being shared with China.
On Monday, a US trade delegation said it had reached a “framework” deal with China amid wider trade negotiations in Madrid.
China confirmed a framework agreement but said no deal would be made at the expense of their firms’ interests.
After the talks, Wang Jingtao, deputy head of China’s cyberspace administration, suggested in a press conference that the agreement included “licensing the algorithm and other intellectual property rights”.
He added: “The Chinese government will, according to law, examine and approve relevant matters involving TikTok, such as the export of technology as well as the license use of intellectual property.”
After initially calling for TikTok to be banned during his first term, Trump has reversed his stance on the popular video-sharing platform.
In January, the US Supreme Court upheld a law, passed in April 2024, banning the app in the US unless its Chinese parent company ByteDance sold its US arm.
The US Justice Department has said that because of its access to data on American users, TikTok poses “a national-security threat of immense depth and scale”.
However, ByteDance has resisted a sale, maintaining its US operations are completely separate, and says no information is shared with the Chinese state.
TikTok briefly went dark in January, but this lasted for less than a day before the initial ban was delayed.
The deadline for a sale has since been extended four times, and the latest delay to the ban is due to end on 16 December.
A NOTE FROM SCOTT With the 82nd Venice, 52nd Telluride and 50th Toronto film festivals and the 77th Primetime Emmy Awards now in the rearview mirror, the focus of the awards-industrial complex — journalists, publicists and talent — has shifted fully to the race to the 98th Oscars.
Since our last check-in, Chloé Zhao’s Hamnet (Focus) solidified its frontrunner status by winning Toronto’s audience award, with Frankenstein and Wake Up Dead Man: A Knives Out Mystery (both Netflix) placing second and third, respectively. Toronto’s audience award is often predictive of best picture Oscar traction — Chariots of Fire, American Beauty, Slumdog Millionaire, The King’s Speech, 12 Years a Slave, Green Book and Zhao’s 2020 film Nomadland all won the former and went on to win the latter — but not always (last year’s winner, The Life of Chuck, faces an uphill climb this season).
Venice, meanwhile, awarded its top prize, the Golden Lion, to Father Mother Sister Brother (Mubi). Among its other winners: Benny Safdie was named best director for The Smashing Machine (A24) and Toni Servillo was chosen as best actor for La Grazia (Mubi).
Back in LA, journalists who were not in Venice, including myself, have just seen Kathryn Bigelow’s A House of Dynamite (Netflix). A directing tour-de-force and true ensemble piece, it will spark the same sort of concern and conversation about the proliferation of nuclear weapons that the 1983 ABC TV movie The Day After — one of the most watched TV programs of all time — did two generations ago.
Paul Thomas Anderson’s One Battle After Another (Warner Bros.) has also begun screening in LA. Many journalists caught it last week — I was still in Toronto, so I will be seeing it later this week — and it unspooled for Academy members on Saturday night. Other member screenings last weekend included Kiss of the Spider Woman (Roadside), with Jennifer Lopez in attendance for a post-screening Q&A, and the documentary feature Riefenstahl (Kino Lorber).
And, ahead of the Oct. 1 submission deadline, the best international feature Oscar competition is continuing to shape up. The most significant recent news related to that is Brazil’s submission of The Secret Agent (Neon), which has been playing through the roof at festival and industry screenings, with writer/director Kleber Mendonça Filho and lead actor Wagner Moura both looking like very strong contenders.
Additionally, Poland entered Kafka (still seeking U.S. distribution), the latest film from the great Agnieszka Holland, who has previously had films chosen to represent Poland (2011’s In Darkness, which was nominated, and 2017’s Spoor), West Germany (1985’s Angry Harvest, which was nominated) and the Czech Republic (2020’s Charlatan, which was shortlisted).
Please remember: my forecasts do not necessarily reflect my personal preferences. My aim is not to advocate for what I think the members of the Academy of Motion Picture Arts and Sciences should do, but rather to project what they will do. I arrive at my projections by screening many films, analyzing their campaigns, speaking with voters and studying relevant history and stats.
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Best Picture
Image Credit: Agata Grzybowska / Focus Features Frontrunners
Hamnet (Focus)
Sentimental Value (Neon)
Sinners (Warner Bros.)
A House of Dynamite (Netflix)
The Secret Agent (Neon)
Jay Kelly (Netflix)
It Was Just An Accident (Neon)
Bugonia (Focus)
Train Dreams (Netflix)
Roofman (Paramount)Major Threats
The Smashing Machine (A24)
Nouvelle Vague (Netflix)
Springsteen: Deliver Me from Nowhere (20th Century)
Rental Family (Searchlight)
Nuremberg (Sony Classics)
F1 (Apple/Warner Bros.)
Weapons (Warner Bros.)Possibilities
Frankenstein (Netflix)
Materialists (A24)
Warfare (A24)
Highest 2 Lowest (A24)
Dead Man’s Wire (Row K)
Die My Love (Mubi)Long Shots
The Life of Chuck (Neon)
La Grazia (Mubi)
The Lost Bus (Apple)
Hedda (Amazon/MGM)
Kiss of the Spider Woman (Roadside)
Ballad of a Small Player (Netflix)Still to See/Under Embargo
After the Hunt (Amazon/MGM)
Avatar: Fire and Ash (20th Century)
Ella McCay (20th Century)
Father Mother Sister Brother (Mubi)
Is This Thing On? (Searchlight)
Marty Supreme (A24)
No Other Choice (Neon)
One Battle After Another (Warner Bros.)
Song Sung Blue (Focus)
Wake Up Dead Man: A Knives Out Mystery (Netflix)
Wicked: For Good (Universal) -
Best Director
Image Credit: Pascal Le Segretain/Getty Images Frontrunners
Ryan Coogler for Sinners (Warner Bros.)
Chloé Zhao for Hamnet (Focus)
Joachim Trier for Sentimental Value (Neon)
Kathryn Bigelow for A House of Dynamite (Netflix)
Kleber Mendonça Filho for The Secret Agent (Neon)Major Threats
Noah Baumbach for Jay Kelly (Netflix)
Jafar Panahi for It Was Just an Accident (Neon)
Yorgos Lanthimos for Bugonia (Focus)
Clint Bentley for Train Dreams (Netflix)
Richard Linklater for Nouvelle Vague (Netflix) — podcast
Derek Cianfrance for Roofman (Paramount)
Benny Safdie for The Smashing Machine (A24)
Guillermo del Toro for Frankenstein (Netflix) — podcast 1 and 2Possibilities
Scott Cooper for Springsteen: Deliver Me from Nowhere (20th Century)
Hikari for Rental Family (Searchlight)
Celine Song for Materialists (A24) — podcast
Lynne Ramsay for Die My Love (Mubi)
Spike Lee for Highest 2 Lowest (A24) — podcast
Zach Cregger for Weapons (Warner Bros.)
Paolo Sorrentino for La Grazia (Mubi) — podcast
Gus Van Sant for Dead Man’s Wire (Row K)Long Shots
James Vanderbilt for Nuremberg (Sony Classics)
Eva Victor for Sorry, Baby (A24)
Joseph Kosinski for F1 (Apple/Warner Bros.)
Alex Garland & Ray Mendoza for Warfare (A24)
Mike Flanagan for The Life of Chuck (Neon)
Paul Greengrass for The Lost Bus (Apple) — podcast
Nia DaCosta for Hedda (Amazon/MGM)
Bill Condon for Kiss of the Spider Woman (Roadside)Still to See/Under Embargo
Paul Thomas Anderson for One Battle After Another (Warner Bros.)
Craig Brewer for Song Sung Blue (Focus)
James L. Brooks for Ella McCay (20th Century)
James Cameron for Avatar: Fire and Ash (20th Century)
Jon M. Chu for Wicked: For Good (Universal)
Bradley Cooper for Is This Thing On? (Searchlight)
Luca Guadagnino for After the Hunt (Amazon/MGM)
Jim Jarmusch for Father Mother Sister Brother (Mubi)
Rian Johnson for Wake Up Dead Man: A Knives Out Story (Netflix)
Park Chan-wook for No Other Choice (Neon)
Josh Safdie for Marty Supreme (A24) -
Best Actor
Image Credit: Netflix BEST ACTOR
Frontrunners
Wagner Moura for The Secret Agent (Neon)
George Clooney for Jay Kelly (Netflix) — podcast
Michael B. Jordan for Sinners (Warner Bros.) — podcast
Joel Edgerton for Train Dreams (Netflix) — podcast
Jesse Plemons for Bugonia (Focus) — podcastMajor Threats
Dwayne Johnson for The Smashing Machine (A24)
Channing Tatum for Roofman (Paramount)
Jeremy Allen White for Springsteen: Deliver Me from Nowhere (20th Century)
Brendan Fraser for Rental Family (Searchlight) — podcast
Toni Servillo for La Grazia (Mubi)
Bill Skarsgård for Dead Man’s Wire (Row K)Possibilities
Colin Farrell for Ballad of a Small Player (Netflix) — podcast
Cillian Murphy for Steve (Netflix) — podcast
Rami Malek for Nuremberg (Sony Classics) — podcast
Russell Crowe for Nuremberg (Sony Classics)
Oscar Isaac for Frankenstein (Netflix) — podcast
Denzel Washington for Highest 2 Lowest (A24) — podcastLong Shots
Brad Pitt for F1 (Apple/Warner Bros.)
Matthew McConaughey for The Lost Bus (Apple) — podcast
Tonatiuh Elizarraraz for Kiss of the Spider Woman (Roadside)
Guillaume Marbeck for Nouvelle Vague (Netflix)
Josh Brolin for Weapons (Warner Bros.)
Tom Hiddleston for The Life of Chuck (Neon) — podcastStill to See/Under Embargo
Will Arnett for Is This Thing On? (Searchlight)
Timothée Chalamet for Marty Supreme (A24) — podcast
Daniel Craig for Wake Up Dead Man: A Knives Out Mystery (Netflix) — podcast
Daniel Day-Lewis for Anemone (Focus)
Leonardo DiCaprio for One Battle After Another (Warner Bros.)
Ethan Hawke for Blue Moon (Sony Classics) — podcast
Hugh Jackman for Song Sung Blue (Focus) — podcast
Robert Pattinson for Mickey 17 (Warner Bros.) — podcast -
Best Actress
Image Credit: Mia Cioffi Henry/Courtesy of Sundance Frontrunners
Jessie Buckley for Hamnet (Focus)
Renate Reinsve for Sentimental Value (Neon)
Emma Stone for Bugonia (Focus) — podcast
Jennifer Lawrence for Die My Love (Mubi) — podcast
Sydney Sweeney for Christy (Black Bear) — podcastMajor Threats
Rose Byrne for If I Had Legs I’d Kick You (A24)
June Squibb for Eleanor the Great (Sony Classics)
Jodie Foster for A Private Life (Sony Classics) — podcast
Eva Victor for Sorry, Baby (A24)Possibilities
Felicity Jones for Train Dreams (Netflix)
Julia Garner for Weapons (Warner Bros.) — podcast
Tessa Thompson for Hedda (Amazon/MGM)Long Shots
Lucy Liu for Rosemead (Vertical) — podcast
Dakota Johnson for Materialists (A24) — podcast
Arienne Mandi for Tatami (Flawless)Still to See/Under Embargo
Cate Blanchett for Father Mother Sister Brother (Mubi) — podcast 1 and 2
Laura Dern for Is This Thing On? (Searchlight)
Cynthia Erivo for Wicked: For Good (Universal) — podcast
Emma Mackey for Ella McCay (20th Century)
Kate Hudson for Song Sung Blue (Focus) — podcast
Julia Roberts for After the Hunt (Amazon/MGM) — podcast -
Best Supporting Actor
Image Credit: Warner Bros. Frontrunners
Stellan Skarsgård for Sentimental Value (Neon) — podcast
Adam Sandler for Jay Kelly (Netflix) — podcast
Paul Mescal for Hamnet (Focus)
Billy Crudup for Jay Kelly (Netflix)
William H. Macy for Train Dreams (Netflix)Major Threats
Jeremy Strong for Springsteen: Deliver Me from Nowhere (20th Century) — podcast
Mark Hamill for The Life of Chuck (Neon) — podcast
Jacob Elordi for Frankenstein (Netflix)
Michael Shannon for Nuremberg (Sony Classics) — podcast
Leo Woodall for Nuremberg (Sony Classics)
Ben Foster for Christy (Black Bear)Possibilities
Miles Caton for Sinners (Warner Bros.)
Jack O’Connell for Sinners (Warner Bros.)
Delroy Lindo for Sinners (Warner Bros.) — podcast
Stephen Graham for Springsteen: Deliver Me from Nowhere (Searchlight)
Pedro Pascal for Materialists (A24)Long Shots
Idris Elba for A House of Dynamite (Netflix)
Tracy Letts for A House of Dynamite (Netflix)
Diego Luna for Kiss of the Spider Woman (Roadside) — podcast
Aubry Dullin for Nouvelle Vague (Netflix)
Robert Pattinson for Die My Love (Mubi) — podcast
Josh O’Connor for The History of Sound (Mubi)Still to See/Under Embargo
Jonathan Bailey for Wicked: For Good (Universal)
Sean Bean for Anemone (Focus)
Samuel Bottomley for Anemone (Focus)
Josh Brolin for Wake Up Dead Man: A Knives Out Mystery (Netflix)
Albert Brooks for Ella McCay (20th Century)
Bradley Cooper for Is This Thing On? (Searchlight)
Benicio Del Toro for One Battle After Another (Warner Bros.) — podcast
Adam Driver for Father Mother Sister Brother (Mubi) — podcast
Andrew Garfield for After the Hunt (Amazon/MGM) — podcast
Woody Harrelson for Ella McCay (20th Century)
Jack Lowden for Ella McCay (20th Century)
Josh O’Connor for Wake Up Dead Man: A Knives Out Mystery (Netflix)
Sean Penn for One Battle After Another (Warner Bros.) — podcast
Andrew Scott for Blue Moon (Sony Classics)
Andrew Scott for Wake Up Dead Man: A Knives Out Mystery (Netflix)
Alexander Skarsgård for Pillion (A24) — podcast
Michael Stuhlbarg for After the Hunt (Amazon/MGM) -
Best Supporting Actress
Image Credit: Eros Hoagland/Netflix Frontrunners
Jennifer Lopez for Kiss of the Spider Woman (Roadside) — podcast
Emily Blunt for The Smashing Machine (A24) — podcast
Elle Fanning for Sentimental Value (Neon) — podcast
Inga Ibsdotter Lilleaas for Sentimental Value (Neon)
Amy Madigan for Weapons (Warner Bros.)Major Threats
Hailee Steinfeld for Sinners (Warner Bros.) — podcast
Kirsten Dunst for Roofman (Paramount) — podcast
Kerry Condon for Train Dreams (Netflix)
Zoey Deutch for Nouvelle Vague (Netflix) — podcast
Nina Hoss for Hedda (Amazon/MGM)Possibilities
Rebecca Ferguson for A House of Dynamite (Netflix)
Odessa Young for Springsteen: Deliver Me from Nowhere (20th Century)
Wunmi Mosaku for Sinners (Warner Bros.)
Emily Watson for Hamnet (Focus)
Laura Dern for Jay Kelly (Netflix)Long Shots
Milvia Marigliano for La Grazia (Mubi)
Tânia Maria for The Secret Agent (Neon)
Sissy Spacek for Die My Love (Mubi) — podcast
Mia Goth for Frankenstein (Netflix)
Zar Amir Ebrahimi for Tatami (Flawless)Still to See/Under Embargo
Odessa A’zion for Marty Supreme (A24)
Glenn Close for Wake Up Dead Man: A Knives Out Mystery (Netflix) — podcast
Jamie Lee Curtis for Ella McCay (20th Century)
Ayo Edebiri for After the Hunt (Amazon/MGM)
Ariana Grande for Wicked: For Good (Universal) — podcast
Regina Hall for One Battle After Another (Warner Bros.)
Chase Infiniti for One Battle After Another (Warner Bros.)
Vicky Krieps for Father Mother Sister Brother (Mubi)
Samantha Morton for Anemone (Focus)
Safia Oakley-Green for Anemone (Focus)
Gwyneth Paltrow for Marty Supreme (A24)
Margaret Qualley for Blue Moon (Sony Classics)
Chloë Sevigny for After the Hunt (Amazon/MGM) — podcast
Teyana Taylor for One Battle After Another (Warner Bros.)
Kerry Washington for Wake Up Dead Man: A Knives Out Mystery (Netflix) — podcast
Sigourney Weaver for Avatar: Fire and Ash (20th Century) -
Best Adapted Screenplay
Image Credit: 20th Century Studios Frontrunners
Hamnet (Focus) — Chloé Zhao
Bugonia (Focus) — Will Tracy
Train Dreams (Netflix) — Clint Bentley & Greg Kwedar
Nouvelle Vague (Netflix) — Holly Gent, Michèle Halberstadt, Laetitia Masson & Vincent Palmo
The Smashing Machine (A24) — Benny SafdieMajor Threats
Springsteen: Deliver Me from Nowhere (20th Century) — Scott Cooper
Nuremberg (Sony Classics) — James Vanderbilt
Die My Love (Mubi) — Alice Birch, Lynne Ramsay & Enda Walsh
The Life of Chuck (Neon) — Mike FlanaganPossibilities
Frankenstein (Netflix) — Guillermo del Toro — podcast 1 and 2
Hedda (Amazon/MGM) — Nia DaCosta
Ballad of a Small Player (Netflix) — Rowan JofféLong Shots
Highest 2 Lowest (A24) — Alan Fox
The Lost Bus (Apple) — Paul Greengrass & Brad Ingelsby — podcast (Greengrass)
The History of Sound (Mubi) — Ben Shattuck
Downton Abbey: The Grand Finale (Focus) — Julian Fellowes — podcastStill to See/Under Embargo
Avatar: Fire and Ash (20th Century) — James Cameron, Rick Jaffa & Amanda Silver
One Battle After Another (Warner Bros.) — Paul Thomas Anderson
Song Sung Blue (Focus) — Craig Brewer
Wake Up Dead Man: A Knives Out Mystery (Netflix) — Rian Johnson
Wicked: For Good (Universal) — Dana Fox & Winnie Holzman -
Best Original Screenplay
Image Credit: Paramount Pictures Frontrunners
Sentimental Value (Neon) — Joachim Trier & Eskil Vogt
Sinners (Warner Bros.) — Ryan Coogler
A House of Dynamite (Netflix) — Noah Oppenheim
Jay Kelly (Netflix) — Noah Baumbach & Emily Mortimer
The Secret Agent (Neon) — Kleber Mendonça FilhoMajor Threats
It Was Just an Accident (Neon) — Jafar Panahi
Materialists (A24) — Celine Song
Roofman (Paramount) — Derek Cianfrance & Kirt Gunn
Rental Family (Searchlight) — Stephen Blahut & HikariPossibilities
Weapons (Warner Bros.) — Zach Cregger
Warfare (A24) — Alex Garland & Ray Mendoza
Sorry, Baby (A24) — Eva Victor
Left-Handed Girl (Netflix) — Sean Baker & Shih-Ching Tsou — podcast (Baker)
Dead Man’s Wire (Row K) — Austin KolodneyLong Shots
A Private Life (Sony Classics) — Anne Berest, Gaëlle Macé & Rebecca Zlotowski
If I Had Legs I’d Kick You (A24) — Mary Bronstein
Eleanor the Great (Sony Classics) — Tory Kamen
F1 (Apple/Warner Bros.) — Ehren Kruger
The Phoenician Scheme (Focus) — Wes Anderson & Roman CoppolaStill to See/Under Embargo
After the Hunt (Amazon/MGM) — Nora Garrett
Anemone (Focus) — Daniel Day-Lewis & Ronan Day-Lewis
Ella McCay (20th Century) — James L. Brooks
Father Mother Sister Brother (Mubi) — Jim Jarmusch
Is This Thing On? (Searchlight) — Will Arnett, Mark Chappell & Bradley Cooper
Marty Supreme (A24) — Ronald Bronstein & Josh Safdie
The Mastermind (Mubi) — Kelly Reichardt -
Best International Feature
Image Credit: Netflix Frontrunners
*Norway — Sentimental Value (Neon)
*Brazil — The Secret Agent (Neon)
France — Nouvelle Vague (Netflix)
France — It Was Just an Accident (Neon)
Italy — La Grazia (Mubi)Major Threats
*Germany — Sound of Falling (Mubi)
*Ukraine — 2000 Meters to Andriivka (PBS)
Spain — Sirāt (Neon)
*Taiwan — Left-Handed Girl (Netflix)
France — A Private Life (Sony Classics)Still to See/Under Embargo
*Jordan — All That’s Left of You (Watermelon)
*Czech Republic — I’m Not Everything I Want to Be (still seeking U.S. distribution)
*Poland — Kafka (still seeking U.S. distribution)
*Switzerland — Late Shift (still seeking U.S. distribution)
*Iceland — The Love That Remains (Janus)
*Chile — The Mysterious Gaze of the Flamingo (still seeking U.S. distribution)
*South Korea — No Other Choice (Neon)
*Iraq — The President’s Cake (Sony Classics)
*Canada — The Things You Kill (still seeking U.S. distribution)
*Tunisia — The Voice of Hind Rajab (still seeking U.S. distribution)
*Belgium — Young Mothers (Music Box)*denotes official submission
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Best Documentary Feature
Image Credit: Bayerische Staatsbibliothek Bildarchiv/Venice Film Festival Frontrunners
Apocalypse in the Tropics (Netflix)
2000 Meters to Andriivka (PBS)
The Perfect Neighbor (Netflix)
My Mom Jayne (HBO)
The Alabama Solution (HBO)Major Threats
Riefenstahl (Kino Lorber)
Put Your Soul on Your Hand and Walk (Kino Lorber)
Come See Me in the Good Light (Apple)
Deaf President Now! (Apple)
Folktales (Magnolia)
Prime Minister (Magnolia)
Orwell: 2+2=5 (Neon)Possibilities
Predators (MTV)
One to One: John & Yoko (Magnolia)
Grand Theft Hamlet (Mubi)
The Man Who Saves the World? (Area 23a)
The Eyes of Ghana (still seeking U.S. distribution)
Sly Lives! (aka The Burden of Black Genius) (Hulu)
Diane Warren: Relentless (MasterClass)Still to See/Under Embargo
Always (still seeking U.S. distribution)
Andre Is An Idiot (still seeking U.S. distribution)
Architecton (A24)
Art for Everybody (still seeking U.S. distribution)
Blknws: Terms & Conditions (still seeking U.S. distribution)
Champions of the Golden Valley (still seeking U.S. distribution)
Coexistence, My Ass! (still seeking U.S. distribution)
Cover-Up (still seeking U.S. distribution)
Cutting Through Rocks (still seeking U.S. distribution)
The Dating Game (still seeking U.S. distribution)
Facing War (still seeking U.S. distribution)
Heightened Scrutiny (still seeking U.S. distribution)
Holding Liat (still seeking U.S. distribution)
How to Build a Library (still seeking U.S. distribution)
It’s Never Over, Jeff Buckley (Magnolia)
Karl (still seeking U.S. distribution)
The Librarians (Independent Lens)
Life After (POV)
Marc by Sofia (A24)
Move Ya Body (still seeking U.S. distribution)
Mr. Nobody Against Putin (still seeking U.S. distribution)
Remake (still seeking U.S. distribution)
A Savage Art: The Life & Cartoons of Pat Oliphant (Magnolia)
Seeds (still seeking U.S. distribution)
Shari & Lamb Chop (Kino Lorber)
Stiller & Meara: Nothing Is Lost (Apple)
Timestamp (still seeking U.S. distribution)
Zodiac Killer Project (Music Box) -
Best Animated Feature
Image Credit: Disney Frontrunners
KPop Demon Hunters (Netflix)
Arco (Neon)
In Your Dreams (Netflix)
Elio (Disney/Pixar)
Fixed (Netflix)Still to See/Under Embargo
Animal Farm (still seeking U.S. distribution)
The Bad Guys 2 (Universal)
ChaO (GKIDS)
Dandelion’s Odyssey (still seeking U.S. distribution)
Demon Slayer: Kimetsu no Yaiba Infinity Castle (Sony)
Dog Man (Universal)
Hypergalactic (Charades)
The King of Kings (Angel)
The Legend of Hei 2 (GKIDS)
Lilo & Stitch (Disney)
Little Amélie or the Character of Rain (GKIDS)
Lost in Starlight (Netflix)
A Magnificent Life (Sony Classics)
Ne Zha 2 (A24)
Paddington in Peru (Sony)
Predator: Killer of Killers (Hulu)
Scarlet (Sony Classics)
Smurfs (Paramount)
Sneaks (Briarcliff)
Stitch Head (Briarcliff)
The Twits (Netflix)
Zootopia 2 (Disney)
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