In the lead-up to the 97th Annual Academy Awards, we’re going to take a look at each of the categories for one of the film industry’s biggest nights of the year and give them their proper due. I’ll share some thoughts on the nominees, inquire about some snubs, and share some predictions and wishes for the big night.
Today, let’s take a look at the nominees in the screenwriting categories, both original and adapted.
Best Adapted Screenplay
Nominees
A Complete Unknown (James Mangold and Jay Cocks, based on the book Dylan Goes Electric! by Elijah Wald)
Conclave (Peter Straughan, based on the novel by Robert Harris)
Emilia Pérez (Jacques Audiard; In collaboration with Thomas Bidegain, Léa Mysius and Nicolas Livecchi, based on Audiard’s opera libretto of the same name, which is based on the novel Écoute by Boris Razon)
Nickel Boys (RaMell Ross & Joslyn Barnes, based on the novel The Nickel Boys by Colson Whitehead)
Sing Sing (Screenplay by Clint Bentley, Greg Kwedar; Story by Clint Bentley, Greg Kwedar, Clarence Maclin, John “Divine G” Whitfield, based on various works of the Rehabilitation Through The Arts [RTA] program at Sing Sing Maximum Security Prison)
How did The Academy forget about… ?
It’s a little surprising that fellow best picture nominees Wicked (based on, well, you probably already know), Dune: Part Two (based on the works of Frank Herbert), and I’m Still Here (based on the memoirs of Marcelo Rubens Paiva) didn’t factor more highly here, but it’s nice to see Nickel Boys and Sing Sing – two films that are sadly underrepresented at this year’s awards, despite the former’s Best Picture nomination – get shout outs here.
What are they doing here?
A common thread across some of these future columns will be the peculiar inclusions of both Emilia Pérez and A Complete Unknown in major categories. In the case of Audiard’s film, a lot of that has to do with the current controversies the film finds itself embroiled in thanks to the past actions of its star, but these nominations came out before a lot of that came to the forefront. The script is also a mess of big swings that don’t always pay off (that musical number set in a surgeon’s office is beyond the pale). But it’s still a more interesting movie than A Complete Unknown, which, like Emilia Pérez, is a fine enough movie. A Complete Unknown starts off as an interesting, if still conventional take on biopic cliches before just devolving into the well done same-old-same-old. One could pick up the template for that kind of biopic down at the dollar store.
So what’s going to win and what do you want to win?
This is really Conclave’s race to lose. There are few categories this year that feel like a dead, solid lock to me, and this is one of them. The twisty screenplay and bristling dialogue keeps Conclave moving, entertaining, thoughtful, and philosophical. It has the ability to make something niche into a mainstream thriller, which is no small feat. I expect The Academy will feel the same.
And while I think Nickel Boys is one of the best films of last year, I have to root for Sing Sing. A true collaborative process every step of the way, this tale of inmates finding a creative outlet through the power of writing and performing for the stage is unlike any other script this year. I would love to see an upset here, but I fear Conclave is too big to fail in this category.
Best Original Screenplay
Anora (Sean Baker)
The Brutalist (Brady Corbet and Mona Fastvold)
A Real Pain (Jesse Eisenberg)
September 5 (Moritz Binder and Tim Fehlbaum, co-Written by Alex David)
The Substance (Coralie Fargeat)
How did The Academy forget about… ?
Justin Kuritzkes’ screenplay for Challengers remains, for my money, the best script of the year, and its failure to be included here still shocks me. A good case could also be made for Halina Reijn’s script for Babygirl and Mike Leigh’s Hard Truths. These three films are intensely realized character pieces where the script is one of their strongest assets.
What are they doing here?
This is going to sound slightly nit-picky, but technically September 5 both doesn’t have a script and is also an adaptation. In retelling the story of ABC Sports’ coverage of the hostage crisis at the Munich Olympics, a lot of the script is being pulled from actual transcripts of historic events. Similarly, the approach of the film is to feel as organic and real time as possible, meaning a lot of the interactions are off the cuff and fleeting. I assume a lot of Academy members got Aaron Sorkin vibes from this, and while it’s not a bad inclusion, there were more deserving films to get that slot. A bit of a square peg in a round hole here.
As for the rest…
This is a tough one for me because the scripts to the other four are pretty solid. The Brutalist weaves an epic story of American dreams, immigrant experiences, and economic divides with tremendous detail and scope. Anora similarly looks at an American dreamer, albeit through a darkly comedic and differently tragic light. The Substance is a flashy parable about the pressures women face to stay looking beautiful forever, but all of its technical and performative mastery was born on Fargeat’s page first. And Eisenberg’s script for A Real Pain is the kind of thing actors dream about getting handed; a movie filled with stand out moments and no bad parts, but also down to earth and humane. They’re all great.
So what’s going to win and what do you want to win?
Sean Baker is one of a very small handful of talents who’ve been nominated across four separate categories for working on the same movie, and I think this category is where it seems most likely The Academy will reward his efforts on Anora. As my favourite film of last year, it’s hard for me to root against Anora in any category, and my heart lies with Baker’s film here, as well. But if one of the others win, I wouldn’t be that upset. There is a part of me that is subtly rooting for A Real Pain, though.
Where to find the nominees:
A Complete Unknown is now playing in select theatres.
Anora is now playing in select theatres. It is also available to rent or buy digitally.
The Brutalist is now playing in select theatres.
Conclave is now playing in select theatres. It is also available to rent or buy digitally, as well as on Blu-Ray and DVD.
Emilia Pérez is now streaming on Netflix.
Nickel Boys is now playing in select theatres.
A Real Pain is now streaming in Canada on Disney+. It is also available to rent or buy digitally.
September 5 is now playing in select theatres. It is also available to rent or buy digitally.
Sing Sing is now playing in select theatres. It is also available to rent or buy digitally.
The Substance is now streaming on MUBI. It is also available to rent or buy digitally.
