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今年的奥斯卡,爆出了哪些热门和冷门?

今年的奥斯卡,爆出了哪些热门和冷门?

美联社 2021年04月27日
今年奥斯卡提名的女性和有色人种演员比以往任何时候都多,同时也创造了许多新的历史纪录和“史上第一次”,从发型设计到作曲、表演,涵盖了所有领域。

由赵婷执导的《无依之地》(Nomadland)描绘了一位在广袤美西大地上流浪者的悲情肖像,在第93届奥斯卡奖(Academy Awards)颁奖典礼上赢得了最佳影片。华裔赵婷也成为首位获得最佳导演奖的有色人种女性。同时,《无依之地》剧组的成员也有着各种各样的多元化身份,这一点同样创造了历史。

在新冠肺炎疫情期间举行的这场奥斯卡颁奖典礼依然要求人们保持社交距离,其中最大的惊喜是,安东尼·霍普金斯凭借在《困在时间里的父亲》(The Father)里扮演的一位患有精神疾病的角色,夺得了最佳男主角。此前人们普遍的预测是,该奖项最终将由《蓝调天后》(Ma Rainey’s Black Bottom)的男主角查德威克·博斯曼获得。这是当晚颁发的最后一个奖项,而特别要提一下的是,霍普金斯本人没有到场。

尽管《无依之地》的大满贯可以说是众望所归,但这部片子依然标志着赵婷的崛起——她是一位卓尔非凡的导演。赵婷是一位感性的电影人,她获奖的这部作品仅仅是她执导的第三部长片,而且预算不足500万美元,阵容也是由一群非专业演员组成——这在赢得好莱坞最高荣誉的电影中,是最小制作之一。赵婷的下一部电影是漫威(Marvel)的《永恒族》(Eternals),预算约为《无依之地》的40倍。

《无依之地》以平实的语言表达了对孤独、悲伤和毅力的深思。在疫情肆虐的一年里,引起了人们的共鸣。这也成为奥斯卡历史上的大冷门:一部关于边缘人群的电影成为了焦点。

在接过最佳导演奖时,赵婷说:“我在世界各地遇到的人中,总可以找到善良。”在赵婷之前,只有《拆弹部队》(Hurt Locker)的导演凯瑟琳·毕格罗这一位女性得过最佳导演奖。“献给那些有信心和勇气坚持自己的善良、并保持对他人的善良的人,无论这样做有多么困难。”

《无依之地》的女主角弗兰西斯·麦克多蒙德大声呼吁人们到大银幕上看这些片子。由迪士尼(Disney)旗下的探照灯影业(Searchlight Pictures)发行的《无依之地》在线下院线首映——包括室内和露天电影院,但拥有最多观众的却是流媒体平台Hulu。

麦克多蒙德说:“请到你能够找到的最大荧幕上看我们的电影。它们很快就上映,届时请将您认识的每个人带到电影院,在那个黑暗的空间中肩并肩,观看今晚在这里放映的所有电影。”

紧接着,麦克多蒙德也赢得了最佳女主角奖——这是她第三次封后,仅次于四次获得奥斯卡最佳女主角的凯瑟琳·赫本。

奥斯卡颁奖典礼是疫情期间举行的最盛大的晚会。虽然形势特殊,但他们依然铺了红毯,并想要恢复原来的一些华丽的仪式。在新冠肺炎疫情的这一年里,剧院关闭,也让好莱坞发生了翻天覆地的变化。一众提名者在家中远程连线,以这样的形式亮相。

今年提名的女性和有色人种演员比以往任何时候都多。在4月25日的晚会上,也创造了许多新的历史纪录和“史上第一次”,从发型设计到作曲、表演,涵盖了所有领域。一些观察员认为,这是近年来发生的一个巨大变化,该奖项曾经被严厉批评“奥斯卡太白了”(OscarsSoWhite),导致学院大大增加了多元化身份成员的席位。

颁奖典礼演绎得就像一部奥斯卡电影,全场画风宛如一个休闲派对。伴随着开幕鸣谢,身着性感礼服的雷吉娜·金款款入场,晚会也由此拉开了帷幕。当镜头切向这位女演员、也是《迈阿密的一夜》(One Night in Miami)的导演,她手持奥斯卡奖杯,从洛杉矶的联合车站(Union Station)大步走到台前。在圆形会场内部(后面的火车一直在行驶),被提名的嘉宾围坐在桌子旁,四周灯火通明,氛围温馨惬意。还有很多活跃气氛的环节——例如当格伦·克洛斯伴随Da Butt的音乐舞动起来,现场更加轻松了——但这些仪式却都不能让人们摆脱过去14个月里,疫情带来的阴霾。

雷吉娜·金说:“距离疫情爆发已经过去了一年,而我们仍然在其中挣扎。”

丹尼尔·卡卢亚凭借《犹大与黑弥赛亚》(Judas and the Black Messiah)获得最佳男配角奖。这位32岁的英国演员拿下这一奖项也在预料之中,他此前还曾经凭借在《逃出绝命镇》(Get Out)中的表演获得提名。卡卢亚出色地演绎了黑人政治组织“黑豹党”(Black Panther)的领袖弗雷德·汉普顿一角,广受好评,卡卢亚本人也对这位精神领袖展示了感谢——感谢他告诉自己“如何自爱”。

“你应该为生命欢呼,朋友。我们呼吸,我们走路,这是如此地不可思议。我妈妈认识了我爸爸,他们做爱了。这太惊人了。我站在这里。我活着,我很高兴。”卡卢亚说。同时,摄像机录下了他母亲迷惑的表情。

奥斯卡颁奖典礼正值明尼阿波利斯警官德里克·肖万因为杀害乔治·弗洛伊德而被判有罪的几天之后,一年以来,全美国对种族问题的反思告结,警察暴行成为许多与会人员心中牵挂的话题。雷吉娜·金说,如果判决结果不像现在这样圆满,她可能会脱掉高跟鞋,换上行军靴上台。

真人短片《两个完美的陌生人》(Two Perfect Strangers)的联合导演特拉文·弗里身着的西装外套上,写着被警察杀害的受害者之名。他的电影将警察的暴行刻画成无法逃脱的时间循环,相当于电影《土拨鼠之日》(Groundhog’s Day)的“黑人版”。

最佳女配角奖由尹汝贞获得,她在李·以萨克·郑执导的韩美家庭剧《米纳里》(Minari)中饰演女家长。73岁的尹汝贞是韩国著名女演员,她是自1957年以来首位获得奥斯卡奖的亚洲女演员,也是历史上第二位。从《米纳里》的执行制片人布拉德·皮特手中接过这个奖项后,她说:“布拉德·皮特先生,很高兴认识你。”

《蓝调天后》的发型师米亚·尼尔和贾米卡·威尔逊成为第一位在化妆和发型设计领域获奥斯卡奖的黑人女性。89岁的安·罗斯是史上年纪最大的奥斯卡获奖者之一,她也凭借该片的服装设计而获奖。

当晚的第一个奖项为最佳编剧奖,授予了凭复仇惊悚片《前程似锦的女孩》(Promising Young Woman)获奖的埃默拉尔德·芬内尔。这是芬内尔的长篇处女作,她是自2007年迪亚波罗·科迪的《朱诺》(Juno)以来首位单独获得该奖项的女性。

由电影人史蒂文·索德伯格领导的团队制作的电视直播,从奥斯卡的“老家”杜比剧院(Dolby Theatre)搬出,转到了联合车站进行。由于Zoom被排除在外,电视转播由卫星进行。被提名歌曲的表演是预先录制的,并在预演期间播出。

皮克斯动画(Pixar)的《心灵奇旅》(Soul)获得了第11项奥斯卡最佳动画长片奖,这是该公司第一部以黑人为主角的长片。彼得·道格特的这部电影讲述了一个关于中学音乐老师(由杰米·福克斯饰演)的故事,是为数不多的几部角逐奥斯卡奖的大成本电影之一。此外,该片还获得了最佳配乐奖,乔恩·巴蒂斯特是第二位获得该奖的黑人作曲家(他与特伦特·雷兹诺和阿提克斯·罗斯共同获得该奖)。另一部大成本电影是视效最佳的克里斯托弗·诺兰的《信条》(Tenet),去年9月,该片试图在疫情期间挽救电影市场。

大卫·芬奇为Netflix制作的、讲述20世纪40年代好莱坞的优质剧情片《曼克》(Mank)以10项提名领跑,最终斩获最佳摄影奖和最佳制作设计奖。Netflix以7项奥斯卡提名领跑所有电影公司,但仅有《爱尔兰人》(The Irishman)和《罗马》(Roma)险胜,再次与奥斯卡最高奖项失之交臂。

在Netflix上相当火爆的《我的章鱼老师》(My Octopus Teacher),获得了最佳纪录片奖。丹麦导演托马斯·温特伯格的《酒精计划》(Another Round)获得了最佳国际电影奖,他把这个奖献给了他的女儿艾达——2019年,艾达在一场车祸中丧生,年仅19岁。

4月25日的红毯,没有了围观人群和近距离采访。学院很早就警告过提名者,不要穿休闲装。明星们只有一位同伴,没有以往的公关人员陪同。

但即使秀场依然精彩,也不足以挽救奥斯卡收视率下滑的趋势。颁奖典礼的收视率在疫情期间急剧下降,今年的提名影片(其中很多是小制作、低成本的影片)的吸引力显著逊色于过去的奥斯卡重量级影片,例如《泰坦尼克号》(Titanic)和《黑豹》(Black Panther)等。

4月25日的奥斯卡颁奖典礼为史上最长的、“充斥着鸡尾酒会和电影放映”的颁奖季画上了句号。获奖资格被延长至今年2月,这也是第一次主办方不再将院线上映作为提名要求。一些电影,比如《金属之声》(Sound of Metal)早在2019年9月就已经首映了。在获得最佳影片提名的影片中,票房最高的是《前程似锦的女孩》,总计640万美元。(财富中文网)

编译:陈聪聪、杨二一

由赵婷执导的《无依之地》(Nomadland)描绘了一位在广袤美西大地上流浪者的悲情肖像,在第93届奥斯卡奖(Academy Awards)颁奖典礼上赢得了最佳影片。华裔赵婷也成为首位获得最佳导演奖的有色人种女性。同时,《无依之地》剧组的成员也有着各种各样的多元化身份,这一点同样创造了历史。

在新冠肺炎疫情期间举行的这场奥斯卡颁奖典礼依然要求人们保持社交距离,其中最大的惊喜是,安东尼·霍普金斯凭借在《困在时间里的父亲》(The Father)里扮演的一位患有精神疾病的角色,夺得了最佳男主角。此前人们普遍的预测是,该奖项最终将由《蓝调天后》(Ma Rainey’s Black Bottom)的男主角查德威克·博斯曼获得。这是当晚颁发的最后一个奖项,而特别要提一下的是,霍普金斯本人没有到场。

尽管《无依之地》的大满贯可以说是众望所归,但这部片子依然标志着赵婷的崛起——她是一位卓尔非凡的导演。赵婷是一位感性的电影人,她获奖的这部作品仅仅是她执导的第三部长片,而且预算不足500万美元,阵容也是由一群非专业演员组成——这在赢得好莱坞最高荣誉的电影中,是最小制作之一。赵婷的下一部电影是漫威(Marvel)的《永恒族》(Eternals),预算约为《无依之地》的40倍。

《无依之地》以平实的语言表达了对孤独、悲伤和毅力的深思。在疫情肆虐的一年里,引起了人们的共鸣。这也成为奥斯卡历史上的大冷门:一部关于边缘人群的电影成为了焦点。

在接过最佳导演奖时,赵婷说:“我在世界各地遇到的人中,总可以找到善良。”在赵婷之前,只有《拆弹部队》(Hurt Locker)的导演凯瑟琳·毕格罗这一位女性得过最佳导演奖。“献给那些有信心和勇气坚持自己的善良、并保持对他人的善良的人,无论这样做有多么困难。”

《无依之地》的女主角弗兰西斯·麦克多蒙德大声呼吁人们到大银幕上看这些片子。由迪士尼(Disney)旗下的探照灯影业(Searchlight Pictures)发行的《无依之地》在线下院线首映——包括室内和露天电影院,但拥有最多观众的却是流媒体平台Hulu。

麦克多蒙德说:“请到你能够找到的最大荧幕上看我们的电影。它们很快就上映,届时请将您认识的每个人带到电影院,在那个黑暗的空间中肩并肩,观看今晚在这里放映的所有电影。”

紧接着,麦克多蒙德也赢得了最佳女主角奖——这是她第三次封后,仅次于四次获得奥斯卡最佳女主角的凯瑟琳·赫本。

奥斯卡颁奖典礼是疫情期间举行的最盛大的晚会。虽然形势特殊,但他们依然铺了红毯,并想要恢复原来的一些华丽的仪式。在新冠肺炎疫情的这一年里,剧院关闭,也让好莱坞发生了翻天覆地的变化。一众提名者在家中远程连线,以这样的形式亮相。

今年提名的女性和有色人种演员比以往任何时候都多。在4月25日的晚会上,也创造了许多新的历史纪录和“史上第一次”,从发型设计到作曲、表演,涵盖了所有领域。一些观察员认为,这是近年来发生的一个巨大变化,该奖项曾经被严厉批评“奥斯卡太白了”(OscarsSoWhite),导致学院大大增加了多元化身份成员的席位。

颁奖典礼演绎得就像一部奥斯卡电影,全场画风宛如一个休闲派对。伴随着开幕鸣谢,身着性感礼服的雷吉娜·金款款入场,晚会也由此拉开了帷幕。当镜头切向这位女演员、也是《迈阿密的一夜》(One Night in Miami)的导演,她手持奥斯卡奖杯,从洛杉矶的联合车站(Union Station)大步走到台前。在圆形会场内部(后面的火车一直在行驶),被提名的嘉宾围坐在桌子旁,四周灯火通明,氛围温馨惬意。还有很多活跃气氛的环节——例如当格伦·克洛斯伴随Da Butt的音乐舞动起来,现场更加轻松了——但这些仪式却都不能让人们摆脱过去14个月里,疫情带来的阴霾。

雷吉娜·金说:“距离疫情爆发已经过去了一年,而我们仍然在其中挣扎。”

丹尼尔·卡卢亚凭借《犹大与黑弥赛亚》(Judas and the Black Messiah)获得最佳男配角奖。这位32岁的英国演员拿下这一奖项也在预料之中,他此前还曾经凭借在《逃出绝命镇》(Get Out)中的表演获得提名。卡卢亚出色地演绎了黑人政治组织“黑豹党”(Black Panther)的领袖弗雷德·汉普顿一角,广受好评,卡卢亚本人也对这位精神领袖展示了感谢——感谢他告诉自己“如何自爱”。

“你应该为生命欢呼,朋友。我们呼吸,我们走路,这是如此地不可思议。我妈妈认识了我爸爸,他们做爱了。这太惊人了。我站在这里。我活着,我很高兴。”卡卢亚说。同时,摄像机录下了他母亲迷惑的表情。

奥斯卡颁奖典礼正值明尼阿波利斯警官德里克·肖万因为杀害乔治·弗洛伊德而被判有罪的几天之后,一年以来,全美国对种族问题的反思告结,警察暴行成为许多与会人员心中牵挂的话题。雷吉娜·金说,如果判决结果不像现在这样圆满,她可能会脱掉高跟鞋,换上行军靴上台。

真人短片《两个完美的陌生人》(Two Perfect Strangers)的联合导演特拉文·弗里身着的西装外套上,写着被警察杀害的受害者之名。他的电影将警察的暴行刻画成无法逃脱的时间循环,相当于电影《土拨鼠之日》(Groundhog’s Day)的“黑人版”。

最佳女配角奖由尹汝贞获得,她在李·以萨克·郑执导的韩美家庭剧《米纳里》(Minari)中饰演女家长。73岁的尹汝贞是韩国著名女演员,她是自1957年以来首位获得奥斯卡奖的亚洲女演员,也是历史上第二位。从《米纳里》的执行制片人布拉德·皮特手中接过这个奖项后,她说:“布拉德·皮特先生,很高兴认识你。”

《蓝调天后》的发型师米亚·尼尔和贾米卡·威尔逊成为第一位在化妆和发型设计领域获奥斯卡奖的黑人女性。89岁的安·罗斯是史上年纪最大的奥斯卡获奖者之一,她也凭借该片的服装设计而获奖。

当晚的第一个奖项为最佳编剧奖,授予了凭复仇惊悚片《前程似锦的女孩》(Promising Young Woman)获奖的埃默拉尔德·芬内尔。这是芬内尔的长篇处女作,她是自2007年迪亚波罗·科迪的《朱诺》(Juno)以来首位单独获得该奖项的女性。

由电影人史蒂文·索德伯格领导的团队制作的电视直播,从奥斯卡的“老家”杜比剧院(Dolby Theatre)搬出,转到了联合车站进行。由于Zoom被排除在外,电视转播由卫星进行。被提名歌曲的表演是预先录制的,并在预演期间播出。

皮克斯动画(Pixar)的《心灵奇旅》(Soul)获得了第11项奥斯卡最佳动画长片奖,这是该公司第一部以黑人为主角的长片。彼得·道格特的这部电影讲述了一个关于中学音乐老师(由杰米·福克斯饰演)的故事,是为数不多的几部角逐奥斯卡奖的大成本电影之一。此外,该片还获得了最佳配乐奖,乔恩·巴蒂斯特是第二位获得该奖的黑人作曲家(他与特伦特·雷兹诺和阿提克斯·罗斯共同获得该奖)。另一部大成本电影是视效最佳的克里斯托弗·诺兰的《信条》(Tenet),去年9月,该片试图在疫情期间挽救电影市场。

大卫·芬奇为Netflix制作的、讲述20世纪40年代好莱坞的优质剧情片《曼克》(Mank)以10项提名领跑,最终斩获最佳摄影奖和最佳制作设计奖。Netflix以7项奥斯卡提名领跑所有电影公司,但仅有《爱尔兰人》(The Irishman)和《罗马》(Roma)险胜,再次与奥斯卡最高奖项失之交臂。

在Netflix上相当火爆的《我的章鱼老师》(My Octopus Teacher),获得了最佳纪录片奖。丹麦导演托马斯·温特伯格的《酒精计划》(Another Round)获得了最佳国际电影奖,他把这个奖献给了他的女儿艾达——2019年,艾达在一场车祸中丧生,年仅19岁。

4月25日的红毯,没有了围观人群和近距离采访。学院很早就警告过提名者,不要穿休闲装。明星们只有一位同伴,没有以往的公关人员陪同。

但即使秀场依然精彩,也不足以挽救奥斯卡收视率下滑的趋势。颁奖典礼的收视率在疫情期间急剧下降,今年的提名影片(其中很多是小制作、低成本的影片)的吸引力显著逊色于过去的奥斯卡重量级影片,例如《泰坦尼克号》(Titanic)和《黑豹》(Black Panther)等。

4月25日的奥斯卡颁奖典礼为史上最长的、“充斥着鸡尾酒会和电影放映”的颁奖季画上了句号。获奖资格被延长至今年2月,这也是第一次主办方不再将院线上映作为提名要求。一些电影,比如《金属之声》(Sound of Metal)早在2019年9月就已经首映了。在获得最佳影片提名的影片中,票房最高的是《前程似锦的女孩》,总计640万美元。(财富中文网)

编译:陈聪聪、杨二一

Chloé Zhao’s “Nomadland,” a wistful portrait of itinerant lives on open roads across the American West, won best picture Sunday at the 93rd Academy Awards, where the China-born Zhao became the first woman of color to win best director and a historically diverse group of winners took home awards.

In the biggest surprise of a socially distanced Oscar ceremony held during the pandemic, best actor went to Anthony Hopkins for his performance in the dementia drama “The Father." The award had been widely expected to go to Chadwick Boseman for his final performance in “Ma Rainey’s Black Bottom.” The night’s last award, it ended the ceremony on a down note, particularly since Hopkins wasn’t in attendance.

But the “Nomadland” victory, while widely expected, nevertheless capped the extraordinary rise of Zhao, a lyrical filmmaker whose winning film is just her third, and which — with a budget less than $5 million and featuring a cast populated by non-professional actors — ranks as one of the most modest-sized movies to win Hollywood’s top honor. (Zhao’s next film, Marvel’s “Eternals,” has a budget approximately 40 times that of “Nomadland.”)

A plain-spoken meditation on solitude, grief and grit, “Nomadland” stuck a chord in a pandemic-ravaged year. It made for an unlikely Oscar champ: A film about people who gravitate to the margins took center stage.

“I have always found goodness in the people I’ve met everywhere I went in the world,” said Zhao when accepting best director, which Kathryn Bigelow ("The Hurt Locker") was the only previous woman to win. “This is for anyone who has the faith and the courage to hold on to the goodness in themselves and to hold on the goodness in other no matter how difficult it is to do that.”

With a howl, “Nomadland” star Frances McDormand implored people to seek out her film and others on the big screen. Released by the Disney-owned Searchlight Pictures, “Nomadland” premiered at a drive in and debuted in theaters, but found its largest audience on Hulu.

“Please watch our movie on the largest screen possible," McDormand said. “And one day very, very soon, take everyone you know into a theater, shoulder to shoulder in that dark space, and watch every film that’s represented here tonight.”

Soon after, McDormand won best actress, too — her third such win. Only Katharine Hepburn, a four-time winner, has won best actress more times.

The most ambitious award show held during the pandemic, the Oscars rolled out a red carpet and tried to restored some glamour to a grim year. For the first time ever, this year's nominees were overwhelmingly seen in the home during a pandemic year that forced theaters to close and prompted radical change in Hollywood.

More women and more actors of color were nominated than ever before, and April 25 brought a litany of records and firsts across many categories, spanning everything from hairstyling to composing to acting. It was, some observers said, a sea change for an awards harshly criticized as “OscarsSoWhite” in recent years, leading the film academy to greatly expand membership.

The ceremony — fashioned as a movie of its own and styled as a laid back party — kicked off with opening credits and a slinky Regina King entrance, as the camera followed the actress and “One Night in Miami” director in one take as she strode with an Oscar in hand into Los Angeles’ Union Station and onto the stage. Inside the transit hub (trains kept running), nominees sat at cozy, lamp-lit tables around an intimate amphitheater. Some moments — like Glenn Close getting down to “Da Butt” — were more relaxed, but the ceremony couldn't just shake off the past 14 months.

“It has been quite a year and we are still smack dab in the middle of it,” King said.

Daniel Kaluuya won best supporting actor for “Judas and the Black Messiah.” The win for the 32-year-old British actor who was previously nominated for “Get Out,” was widely expected. Kaluuya won for his fiery performance as the Black Panther leader Fred Hampton, whom Kaluuya thanked for showing him “how to love myself.”

“You’ve got to celebrate life, man. We’re breathing. We’re walking. It’s incredible. My mum met my dad, they had sex. It’s amazing. I’m here. I’m so happy to be alive," Kaluuya said, while cameras caught his mother's confused reaction.

With the awards capping a year of national reckoning on race and coming days after Minneapolis police officer Derek Chauvin was convicted for killing George Floyd, police brutality was on the minds of many attendees. King said that if the verdict had been different, she might have traded her heels for marching boots.

Travon Free, co-director of the live-action short winner “Two Perfect Strangers,” wore a suit jacket lined with the names of those killed by police. His film dramatizes police brutality as an inescapable time loop like a tragic “Groundhog’s Day" for Black Americans.

Best supporting actress went to Youn Yuh-jung for the matriarch of Lee Isaac Chung’s tender Korean-American family drama “Minari.” The 73-year-old Youn, a well-known actress in her native South Korea, is the first Asian actress to win an Oscar since 1957 and the second in history. She accepted the award from Brad Pitt, an executive producer on “Minari.” “Mr. Brad Pitt, finally," said Youn. “Nice to meet you.”

Hairstylists Mia Neal and Jamika Wilson of “Ma Rainey’s Black Bottom” became the first Black women to win in makeup and hairstyling. Ann Roth, at 89 one of the oldest Oscar winners ever, also won for the film’s costume design.

The night’s first award went to Emerald Fennell, the writer-director of the provocative revenge thriller “Promising Young Woman,” for best screenplay. Fennell, winning for her feature debut, is the first woman win solo in the category since Diablo Cody (“Juno”) in 2007.

The telecast, produced by a team led by filmmaker Steven Soderbergh, moved out of the awards' usual home, the Dolby Theatre, for Union Station. With Zoom ruled out for nominees, the telecast included satellite feeds from around the world. Performances of the song nominees were pre-taped and aired during the preshow.

Pixar notched its 11th best animated feature Oscar with “Soul,” the studio’s first feature with a Black protagonist. Peter Docter’s film, about a about middle-school music teacher (Jamie Foxx), was one of the few big-budget movies in the running at the Academy Awards. (It also won best score, making Jon Batiste the second Black composer win the award, which he shared with Trent Reznor and Atticus Ross.) Another was Christopher Nolan's “Tenet,” which last September attempted to resuscitate moviegoing during the pandemic. It took best visual effects.

David Fincher's “Mank," a lavishly crafted drama of 1940s Hollywood made for Netflix, came in the lead nominee with 10 nods and went home with awards for cinematography and for production design. Netflix led all studios with seven Oscars but again — after close calls with “The Irishman" and “Roma," again missed out on the top award.

"My Octopus Teacher,” a film that found a passionate following on Netflix, won best documentary. Danish director Thomas Vinterberg’s “Another Round” won best international film, an award he dedicated to his daughter, Ida, who in 2019 was killed in a car crash at age 19.

The red carpet was back on April 25, minus the throngs of onlookers and with socially distanced interviews. Casual wear, the academy warned nominees early on, was a no-no. Stars, limited to a plus-one, went without their usual battalions of publicists.

But even a good show may not be enough to save the Oscars from an expected ratings slide. Award show ratings have cratered during the pandemic, and this year's nominees — many of them smaller, lower-budget dramas — won't come close to the drawing power of past Oscar heavyweights like “Titanic” or “Black Panther.”

April 25's pandemic-delayed Oscars bring to a close the longest awards season ever — one that turned the season's industrial complex of cocktail parties and screenings virtual. Eligibility was extended into February of this year, and for the first time, a theatrical run wasn't a requirement of nominees. Some films — like “Sound of Metal” — premiered all the way back in September 2019. The biggest ticket-seller of the best picture nominees was “Promising Young Woman,” with $6.4 million in box office.

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