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Yahoo
6 days ago
- Entertainment
- Yahoo
Josh O'Connor On ‘The Mastermind', ‘The History Of Sound', His Secret Spielberg Film & How Harris Dickinson Has Inspired Him To Direct
Josh O'Connor experienced the splendor of Cannes in 2023, when he was there with Alice Rohrwacher's La Chimera. This year, he's back with two movies in contention for the Palme d'Or: Kelly Reichardt's art heist picture The Mastermind and Oliver Hermanus' The History of Sound, in which O'Connor stars with Paul Mescal. While en route to the New York set of the untitled Steven Spielberg/Amblin/Universal film where he's been cast alongside Colin Firth, Colman Domingo, Eve Hewson and Emily Blunt, O'Connor said of Spielberg, 'He's great. He is the dream, the best in the world,' but he admits being on set makes him miss home and tending to his fig trees and vegetables. More from Deadline Scarlett Johansson On Why The Script For Her Directorial Debut 'Eleanor The Great' Made Her Cry: 'It's About Forgiveness' – Cannes Cover Story Cannes Film Festival 2025: Read All Of Deadline's Movie Reviews Mario Martone's 'Fuori' With Valeria Golino Gets 7½-Minute Ovation At Cannes Premiere DEADLINE: JOSH O'CONNOR: I'll tell you what I'll say. It's like old-school Spielberg. I think people will be excited. DEADLINE: O'CONNOR: Close Encounters, E.T.; that world. DEADLINE: O'CONNOR: I guess I'm in my American period at the moment. DEADLINE: The Mastermind O'CONNOR: It's the 1970s. The Vietnam War was going on. Kelly's really one of my favorite filmmakers in the world. Truly. There's a handful of directors that I have dreamt of working with, and Kelly's one of them. So, I've had the best time working with her. It's in the traditional Kelly fashion. It's looking at the world through the people that fall between the cracks and not necessarily the people you'd expect. Often, she's looking at artists and stuff like that, and it's got that vibe. It's almost like she's looking at the Vietnam War, but averting her eyes. RELATED: Dakota Johnson Talks Romantic Experiments In Cannes Comedy 'Splitsville', Upcoming 'Materialists' And 'Juicy' Colleen Hoover Adaptation 'Verity' DEADLINE: O'CONNOR: It's in the background, really. It's about this guy James Mooney who's desperately trying to support his family and make a name for himself. He's sort of a failed artist. He works as a carpenter. DEADLINE: O'CONNOR: I guess in my head, when I hear 'perimeters of society,' I would normally pick someone ostracized in some way or left behind. And in many ways, this character isn't that. He's middle-class, he's from a perfectly good family, but he's in the outside of society insofar as he lives quite a plain life, an unfulfilled life. That's what's pulling him to make a name for himself. It's almost more tragic in that he just feels forgotten. He just feels like a regular Joe. And I guess Kelly's asking, 'What's worse than being regular Joe?' For someone who has a big ego, that's not great. RELATED: 'Bono: Stories Of Surrender': On Irish Fathers & Sons, Processing Family Tragedy & How A Need To Be Heard Propelled A Dublin Kid To Become One Of The World's Biggest Rock Stars DEADLINE: O'CONNOR: He's got two kids, two boys and a wife. Alana Haim plays my wife in it. DEADLINE: O'CONNOR: Outside of Boston, in the Cambridge area, but we shot in Cincinnati, Ohio, which is architecturally very interesting for the period we're in, the '70s. Again, it's that middletown, quiet suburbia. DEADLINE: O'CONNOR: If you're looking at the moment in time, that's the relevance. An interesting angle on it, is that shooting somewhere like Ohio as the election was just going on was a very interesting place to be, and that's where J.D. Vance is from. I think, politically, that period in the '70s for America and the Vietnam War was really interesting. Kelly is diverting her eyes to the politics always in every film. It's there in the background and she is talking about it, but she isn't. It's like, she's never crude about it. It's not obvious like in so many scripts I read, and in many movies, and I understand why. They are movies that are built to, 'How can we get these things awards?' [With Kelly] a tear would be welling up in a scene and she'd be like, 'Cut! What are you doing? We don't cry in these movies.' She's the antithesis of that. She wants to keep it real. She doesn't want to get too earnest about things. There's a lightness to it. There's comedy, but there's depth. RELATED: DEADLINE: O'CONNOR: That's not the primary purpose. She's not seeking that. DEADLINE: O'CONNOR: The majority of the film is my character on the run. We come across John Magaro, who is an old friend of mine from art school, and there are all sorts of characters I come into play with. Todd Haynes had this great quote about Kelly, where he said, 'The thing about a Kelly Reichardt movie, is it's like a road movie that never quite hits the road.' They never quite get that joy. DEADLINE: O'CONNOR: It's someone who is the perfect answer for this, because it's someone who is not headline-grabbing at all. It's someone worth a bit of money, but not quite worth what they should be worth. It's Arthur Dove [a pioneer of American abstraction]. His artwork is kind of surreal, but it's also, well, in my opinion, not that attractive. It's funny because he is brilliant and he would sell for money, but it's not stealing a Picasso. Even in his grand thievery it's sort of underwhelming. DEADLINE: O'CONNOR: I remember thinking, 'Oh, that makes sense to me,' just for someone who is led by story to have grown up in that environment. But once we got to work it wasn't talked about an awful lot. So, I think it's in the background. These aren't stories that come from her father or anything like that, but I imagine it must've had an influence on her. DEADLINE: O'CONNOR: I would say as a Kelly fan, I watched this movie, and you can see Kelly Reichardt in it. You can see all of the humor. You can see the messaging that's not overt or crude. I think people won't be disappointed. RELATED: Ooh-La-La Land: Everything You Always Wanted To Know About Sex* (*And The Cannes Film Festival) DEADLINE: O'CONNOR: That really resonates with me. I think that's so true. Although, just to counter it a little bit, I would say, the thing is that first of all, she loves that mystery. She loves that she doesn't understand what we do, but I think she understands more than she makes out. I think actually she has a very clear idea of who the characters are. But, like any brilliant director, and I've been fortunate enough to witness this, there's this real gift you can have as a director where you say you have an idea. And rather than go to the actor and say, 'This is my idea, OK? Do it.' You just find a way of allowing the actor to discover the same idea you always had in the first place, because we then feel like we have an ownership over it. And that's not to downplay what actors do in any way. She's worked with some of the greats, like Michelle [Williams]. It's just that I think Kelly undervalues her talent and she does have those ideas. What you're doing is fitting into a Kelly Reichardt vision, and it's a negotiation, of course, but she is somehow imprinting these ideas in us. That's my belief anyway. DEADLINE: O'CONNOR: First of all, she's an art lover. She loves film so very much. She's one of those filmmakers that has an encyclopedic knowledge of movies, particularly old movies. We've often forgotten with Kelly, she does teach at Bard. She's a great teacher. Again, that's a similar thing to being a great director. She worked with Todd Haynes at the start. She's worked in film for years in different roles and capacities. She went to art school, she's got all that history there, and it just comes through in all of her movies. It's just Kelly. It's so obviously her. DEADLINE: O'CONNOR: She sent me some documentary footage from the '70s. I can't remember the name of it, but that was more just to get this idea of how families are together. There's a couple of scenes [in The Mastermind] where it's Bill Camp, Hope Davis, me, Alana, and we all sat around the table. RELATED: Brazilian Comeback: How The Cannes 2025 Country Of Honor Is Following The Success Of 'I'm Still Here' DEADLINE: O'CONNOR: It's kind of an undercurrent of the movie. We don't go to Vietnam. We don't ever really talk about it. There might be a brief moment over the dinner table where Bill Camp comments on it. And the reason it's an undercurrent is like, here is a man of age who isn't at war. DEADLINE: The History of Sound O'CONNOR: Then they go on this journey. The film follows Lionel who has this synesthesia, where he can see color and see and feel emotions when he listens to music. He also has an incredible singing voice. And David is like an archivist and has a fascination with collecting the old folk songs of America. And then they go on this very beautiful journey together. And I go missing for a long time. DEADLINE: O'CONNOR: I couldn't play the piano until I did this movie. I still can't, but I can play it better than I could. I took a few lessons and I just learned in the end. I'd like to think the truth is I didn't have an awfully long time to prep for this movie, and I jumped in between projects. He's a very beautiful character that is so meaningful to me and to the movie, of course, but I didn't have an awful lot of time, so I just learned those songs on piano. DEADLINE: O'CONNOR: I think it's that thing of what the film does incredibly well is it plays into that feeling of nostalgia and regret and loss. I came in and they shot all of my stuff, which is mostly this traveling through America which is very beautiful. So that was really just lovely. We did that for a couple of weeks, then I left. Then I was on Challengers, and then I was shooting Knives Out [Wake Up Dead Man]. So it was all kind of busy and I felt like that movie was over. But of course they had all of the rest of the movie to shoot. And when I saw it, seeing what they'd done, what they created without me was just … I was so proud of them. It was such a nice feeling. But what's so beautiful about it is this feeling of song and of music. When you listen to a piece of music and it transports you to a certain place or a time, and if you close your eyes, you can feel like you are actually there. DEADLINE: O'CONNOR: David is a connector, he pulls people together, but his ultimate aim is to collect these songs. Whereas Lionel, Paul's character, starts to see that what they're getting isn't just these songs. As you said, it's community. DEADLINE: Knives Out O'CONNOR: I wish we did. I am so boring nowadays. I'm in bed by nine o'clock. I don't know what's happened to me. But no, I am afraid I didn't. But we had a great time. And on Knives Out, James Bond was in it, Andrew Scott, some of my closest friends. It was lovely. Even though I'm again playing an American, we shot it in London. So, it was the first time I could be home for ages. DEADLINE: Knives Out Emma O'CONNOR: I said to Rian Johnson, 'My favorite role I think I've ever played was Mr. Elton.' I remember when I saw that movie, thinking, there's all these brilliant actors, Johnny Flynn, Anya [Taylor-Joy], Mia Goth, Callum Turner, all these guys are doing one movie and then me and Tanya Reynolds are doing, I don't know what we're doing, but it's not the same movie. But I had the time of my life. Unfortunately, I'm not allowed to go quite so over the top on this movie. ChallengersSeparate Rooms O'CONNOR: Unfortunately not. Luca's working all the time. He's such a busy bee and rightly so. We're constantly talking. He may well do it, but unfortunately it won't be with me. DEADLINE: O'CONNOR: I'm shooting this summer in Europe with an American director, more of which I can't say. But then I am going to go and do some other stuff for a little bit. I love my ceramics, I love gardening. My poor garden is suffering when I go away. And I'm definitely looking forward to some time to just try some other things and maybe get back on stage. It's been too long. There are conversations around various places. Maybe not exclusively in London as well. DEADLINE: O'CONNOR: I think there's an element of that. Like Alice Rohrwacher's who for me is … the filmmakers I always loved were Pasolini, Rossellini, Bellocchio, to me she's that. Luca's a hero of mine. But one of my first films, with Francis Lee, was God's Own Country in the UK. I think he's one of our greats. And he's extremely thoughtful. And because of that, his films come when they come. You have to wait. But I'll always work with him again. I think we've also suffered a little bit in the British film industry with arts funding being cut. And I think that's been difficult for places like the BFI for supporting young filmmakers. I don't think that's the reason people are doing more films in America. I think that's just sometimes what happens. But I'm always on the lookout to be at home. DEADLINE: O'CONNOR: About this time last year, I was in New York and on the night of the Met Gala, I got a text from my agent saying, 'Can you meet Steven Spielberg tomorrow for coffee?' And I was like, 'Yes!' And I went to his office, Amblin. He told me he didn't have a script, but he told me the story of the movie and he said, 'Would you like to do it?' And I sort of feigned, 'Let me think about it.' But obviously… DEADLINE: Good joke. O'CONNOR: It was kind of straightforward. He's just the most special person. He seems to have the most incredible amount of energy I've ever witnessed. He comes up to you, he whispers in your ear like an excited child about an idea, a thought, and it's truly inspiring. DEADLINE: O'CONNOR: Emily Blunt and myself are kind of following that track. DEADLINE: O'CONNOR: In some way. DEADLINE: O'CONNOR: I've got to dash, I've got to go to makeup. DEADLINE: Oh, you're not an alien, are you? O'CONNOR: Maybe. [laughing] I wouldn't need any makeup for that! DEADLINE: Bonus Track O'CONNOR: Hopefully. Maybe something down the line. I noticed that Harris Dickinson's got his movie [Urchin] at Cannes, which I'm delighted about. I think he's really inspired me actually go and maybe try it. You know what it's like, it gets busy, but it is definitely a dream of mine. Best of Deadline Everything We Know About The 'Hunger Games: Sunrise On The Reaping' Movie So Far Sean 'Diddy' Combs Sex-Trafficking Trial Updates: Cassie Ventura's Testimony, $10M Hotel Settlement, Drugs, Violence, & The Feds All The 'Mission: Impossible' Movies In Order - See Tom Cruise's 30-Year Journey As Ethan Hunt
Vogue Singapore
29-04-2025
- Entertainment
- Vogue Singapore
From a Paul Mescal–Josh O'Connor Romance to a New Spike Lee Joint, the 10 Hottest Releases Coming to Cannes 2025
For the past few years, the Cannes Film Festival has been riding high. Yes, the sun-soaked grande dame of European showcases has always been influential, but ever since Bong Joon Ho's Parasite scooped the Palme d'Or in 2019 and went on to take the Academy Award for best picture in 2020, it has become something of an Oscars incubator. A case in point: Thomas Vinterberg's Another Round in 2020; Ryusuke Hamaguchi's Drive My Car in 2021; Justine Triet's Anatomy of a Fall and Jonathan Glazer's The Zone of Interest in 2023; and Coralie Fargeat's The Substance , Jacques Audiard's Emilia Pérez , and Sean Baker's Oscar-dominating Anora just last year. So what of Cannes 2025? This time around, 2024's jury president, Greta Gerwig, is passing the baton to national treasure Juliette Binoche—the first time one woman has succeeded another in this role in 60 years—and the honorary Palme d'Or for lifetime achievement is due to be presented to industry stalwart Robert De Niro. Meanwhile, the official selection includes the directorial debuts of two festival favorites (Harris Dickinson's London-set Urchin and Scarlett Johansson's June Squibb and Chiwetel Ejiofor-led Eleanor the Great ) alongside a whole host of frothy comedies, epic blockbusters, sweeping romances, and awards hopefuls. Ahead of Cannes 2025, set to run from 13 to 24 May, these are the 10 releases you just can't miss. The Phoenician Scheme Hot on the heels of his last two Cannes-premiering features, The French Dispatch and Asteroid City , Wes Anderson's latest exquisitely crafted romp is—wait for it—a blood-soaked crime drama featuring plane crashes, fist fights, and giant explosions. With Benicio del Toro in the part of an embattled tycoon and Kate Winslet's daughter and rapidly rising star Mia Threapleton as his heir apparent—alongside (deep breath) Michael Cera, Scarlett Johansson, Tom Hanks, Riz Ahmed, Richard Ayoade, Jeffrey Wright, Benedict Cumberbatch, Charlotte Gainsbourg, and Willem Dafoe—it's a wild adventure across deserts and jungles, oceans and cornfields, marking a welcome change of pace for the beloved auteur. The History of Sound Heartthrobs Paul Mescal and Josh O'Connor, both recently at the festival with Aftersun and La Chimera , respectively, return with this love story from Living helmer Oliver Hermanus, the tale of two men who set out to record the lives, voices, and folk music of their compatriots in rural New England during World War I. It's been a long time coming, given it was first announced back in 2021, but everything we know so far—from the fact that Mubi is distributing it, to the news that Ben Shattuck, who penned the ravishing short story on which it's based, is behind the adaptation—suggests it'll be worth the wait. Eddington Courtesy of A24 Films A pandemic-era, pitch-black comedy-meets-contemporary western from mind-melter Ari Aster ( Hereditary , Midsommar , Beau Is Afraid ), this hotly anticipated entry casts Joaquin Phoenix as an ambitious sheriff in small-town New Mexico who flouts public health restrictions and goes head to head with the community's incumbent mayor (Pedro Pascal) at a divisive election in the midst of the first 2020 lockdown. Still not ready to revisit this bleak period of recent history? I hear you, but with the likes of Emma Stone, Austin Butler, and Micheal Ward filling out this ensemble, and the director sure to infuse the film with the surreal humor and horror that's become his trademark, I'm afraid it will be essential viewing. Highest 2 Lowest Courtesy of David Lee Despite being left off the initial line-up announcement, Spike Lee has, thankfully, confirmed that his next thriller, an English-language reimagining of the 1963 Akira Kurosawa police procedural High and Low , will indeed be premiering out of competition at Cannes. Taking center stage is Denzel Washington—who'll be coming to the Croisette for the first time, no less—as a New York music mogul at the height of his fortune who faces a crucial decision. Joining him is a fittingly eclectic troupe spearheaded by Jeffrey Wright, Ice Spice, and A$AP Rocky. Splitsville In this fizzy comedy, Hit Man breakout Adria Arjona asks for a divorce from her good-natured husband (Kyle Marvin), prompting him to turn to his friends (Dakota Johnson and Michael Angelo Covino, also the film's director) for support. The secret to their successful union, though? An open marriage—a revelation that shocks our leading man to his very core, and pushes him to make a very reckless move. Nicholas Braun and O-T Fagbenle provide support, too, in what is certain to be a juicy and fascinating examination of modern relationships, akin to the auteur's last Cannes release, 2019's The Climb . Nouvelle Vague If you, like me, grew up obsessed with the French New Wave films of the late '50s and early '60s, and Jean-Luc Godard's groundbreaking debut Breathless , in particular—the poetic, Parisian mood piece centered on a chain-smoking Jean-Paul Belmondo and a gamine, pixie-cropped Jean Seberg, still an enduring fashion reference—then you're in for a treat: Richard Linklater's much-buzzed-about new project is a behind-the-scenes look at that film's creation and the cinematic movement it birthed, featuring Guillaume Marbeck as Godard, Zoey Deutch as Seberg, and Aubry Dullin as Belmondo. Where else could it possibly launch but at Cannes? Sentimental Value Courtesy of Kasper Tuxen / Mubi Surely one of the best films of this decade so far, Joachim Trier's dazzling coming-of-age saga The Worst Person in the World , which made a global star of its enchanting lead, Renate Reinsve, took Cannes by storm back in 2021. Now, the pair are back with their follow-up, alongside Stellan Skarsgård, Inga Ibsdotter Lilleaas, and Elle Fanning: an achingly intimate account of two sisters who reconnect with their estranged father, a prolific filmmaker, after the death of their mother. Expect tears, a meditation on the reconciliatory power of art, and, all being well, another expertly pitched Oscar campaign. Alpha Fearless provocateur Julia Ducournau, who made Cannes audiences gag with the rip-roaring cannibal horror Raw and then became only the second woman to scoop the Palme d'Or in 70 years with the bizarre, no-holds-barred Titane , is tearing into the festival with a nerve-jangling third offering—and it's sure to get the town talking. Billed as the auteur's most personal and profound work to date, it features Tahar Rahim and Golshifteh Farahani, and tracks a schoolgirl who becomes a pariah following a rumour that she's been infected with a new disease. Let the inevitable eye-popping, stomach-churning bloodbath commence. The Mastermind After 2022's gentle, meditative, Michelle Williams and Hong Chau-led artist's portrait Showing Up , indie darling Kelly Reichardt returns to Cannes with another knockout cast—Josh O'Connor, John Magaro, Alana Haim, Hope Davis, and Gaby Hoffmann—in another quirky art world yarn: the barnstorming story of a man who orchestrates an audacious art heist against the backdrop of both the Vietnam War and a burgeoning women's liberation movement. Look forward to '70s aesthetics, nods to the small-scale crime capers of that era, and a dissection of that period's sociopolitical upheaval. Mission: Impossible – The Final Reckoning Cannes can't get enough of Tom Cruise—the Hollywood legend brought Top Gun: Maverick to the Croisette back in 2022 (complete with a fighter jet fly-by, naturally), so of course all roads led to the French Riviera when it came to celebrating the debut of the eighth (and presumably final) film in the heart-pounding Mission Impossible franchise. Helmed by Christopher McQuarrie and co-starring Hayley Atwell, Vanessa Kirby, Angela Bassett, and Hannah Waddingham, this is a breathless ride featuring the now 62-year-old action man hanging off planes, jumping off buildings, and beating men to a pulp—undeniably impressive, and perfect for when you need a break from the festival's usual high-minded fare. This article was first published on British Vogue.
Yahoo
18-04-2025
- Entertainment
- Yahoo
Eli Roth Announces Surprise ‘Rotten Fruit' Reunion — Punk Claymation Series Now Streaming Unseen Episodes
We've seen horror director Eli Roth split open skulls before, but the jack-of-many-trades and (surprise!) stop-motion animator has never been stuck in your head like he will be with 'The Rotten Fruit.' Catchy bordering on torturous, the theme song for Roth's latest archival release goes a little something like… ♫ Rotten Fruit… We're The Rotten Fruit… The most popular band in the wooorld! ♫ More from IndieWire 'The Legend of Ochi' Review: A Stunningly Beautiful Fantasy Throwback Struggles to Sustain Its Magic 'La Chimera' Filmmaker Alice Rohrwacher Named 2025 Cannes Camera d'Or Jury President Celebrating its 25th anniversary by finally making its streaming debut on the platform WeShort today, April 18, 'The Rotten Fruit' is a cult classic web series co-created by Roth and Noah Belson. A childhood friend of the gonzo filmmaker, better known to genre fans for his credit as Guitar Man in 'Cabin Fever,' Belson grew up making movies with Roth in Newton, Massachusetts. While living in L.A. trying to break into the industry together, the pair developed 'The Rotten Fruit' for the now-defunct in 2000. Despite a lofty goal to become 'the HBO of the internet,' released just three of the eight episodes Roth, Belson, and their animation crew made on a shoestring budget. The other five installments have either never been released or remain completely unseen, until now. By the time these so-called 'new' episodes were posted online, the duo told IndieWire, the site had gone completely bankrupt. 'Even though it was limited in terms of who saw it, we had a lot of people contacting us asking about more episodes,' Roth told IndieWire. The director not only wrote, animated, and edited on the project but also composed and performed its outrageous songs; Belson and Roth voiced the shorts' cast together. 'We had a mailing list with thousands of people on it who were constantly asking, 'When are more 'Rotten Fruit' episodes coming out?'' Roth said. 'Now, it's like, 'We're working on it. Really.' 'Give us 25 more years, maybe,' Belson joked. 'But we'll get you some more.'' Speaking with IndieWire over Zoom, the reunited collaborators shared their hopes to revive 'The Rotten Fruit' as a modern satire soon. They also reflected on the ridiculousness of the original production — a 'crazy' quintessential SoCal summer that, for good or bad, sounds like the plot of its own movie. From the pitfalls of early web financing to a backyard pool filled with alligators, 'The Rotten Fruit' got as rock-and-roll behind the scenes as its edible punk rockers look getting sliced and diced on stage. Running roughly three minutes each, all eight 'Rotten Fruit' episodes are free for anyone to watch during the raunchy (or should we say ranchy?) comedy's first week streaming on WeShort. The short film service is working in partnership with Roth's fan-owned media company and genre brand, The Horror Section. The following episode descriptions were provided to IndieWire: Episode 1 — 'The Battle of the Bands' The Rotten Fruit compete against the popular boy band C-5 in a battle of the bands. Suspecting they might lose, the Fruit use cutthroat tactics to ensure victory. Episode 2 — 'Concert Riots' After a stampede at one of their concerts resulting in the death of a fan, the band decide to put on a benefit show, with even more disastrous results. Episode 3 — 'The Critic' The Rotten Fruit take their biggest critic hostage to try and win him over. Episode 4 — 'We Are the World' Manager Guy The Pie Shapiro arranges a collaboration for a charity song, only for the band to learn it's with the newly re-formed C-5. Episode 5 — 'Snackster' The Rotten Fruit try to put an end to online piracy by personally going after the fans stealing their music. Episode 6 — 'David Lunch' The Rotten Fruit film a music video with legendary artist and surrealist director David Lunch. Episode 7 — 'Room Service' The Rotten Fruit trash a hotel room, then are tricked into cleaning it up. Episode 8 — 'Cancer Boy' The Rotten Fruit decide to record a benefit song for a young peach with cancer, only to realize that no good deed goes unpunished. WeShort is now streaming 'The Rotten Fruit.' Check back for IndieWire's full interview with Roth and Belson. Best of IndieWire Nightmare Film Shoots: The 36 Most Grueling Films Ever Made, from 'Deliverance' to 'The Wages of Fear' The 24 Best Vampire Movies Ever Made, from 'Nosferatu' to 'Sinners' The 27 Best War Movies of the 21st Century, from 'Dunkirk' to 'The Hurt Locker'
The Guardian
14-02-2025
- Entertainment
- The Guardian
Peter Bradshaw's Baftas predictions: which films will triumph – and which will fall?
Will win ConclaveShould win The BrutalistShoulda been a contender All We Imagine As Light Will win Jacques Audiard for Emilia Pérez Should win Sean Baker for AnoraShoulda been a contender Alice Rohrwacher for La Chimera Will win KneecapShould win Sister MidnightShoulda been a contender Layla Will win ConclaveShould win Love Lies BleedingShoulda been a contender On Becoming a Guinea Fowl Will win Emilia PérezShould win All We Imagine As LightShoulda been a contender The Beast Will win Wallace and Gromit: Vengeance Most FowlShould win Wallace and Gromit: Vengeance Most FowlShoulda been a contender Memoir of a Snail Will win The BrutalistShould win A Real PainShoulda been a contender Do Not Expect Too Much From the End of the World Will win ConclaveShould win ConclaveShoulda been a contender American Fiction Will win Ralph Fiennes for ConclaveShould win Timothée Chalamet for A Complete UnknownShoulda been a contender Cillian Murphy for Small Things Like These Will win Cynthia Erivo for WickedShould win Marianne Jean-Baptiste for Hard TruthsShoulda been a contender Angelina Jolie for Maria Will win Kieran Culkin for A Real PainShould win Kieran Culkin for A Real PainShoulda been a contender Tom Hardy for The Bikeriders Will win Ariana Grande for WickedShould win Isabella Rossellini for ConclaveShoulda been a contender Kathy Burke for Blitz Will win Volker Bertelmann for ConclaveShould win Daniel Blumberg for The BrutalistShoulda been a contender John Powell and Stephen Schwartz for Wicked Will win Stéphane Fontaine for ConclaveShould win Lol Crawley for The BrutalistShoulda been a contender Hélène Louvart for La Chimera Will Win Super/Man: The Christopher Reeve Story Should win No Other LandShoulda been a contender Grand Theft Hamlet Will win Marisa AbelaShould win Mikey MadisonShoulda been a contender Naomi Scott
