When Killers Of The Flower Moon was the only Best Picture nominee not nominated in the screenplay category, that kind of let you know that it’s stock was dropping. Still, the nine other nominees (plus May December) have made up one of the strongest years for screenplays in a very long time. Both the original and adapted categories have felt very fluid and it still kind of feels like a toss-up. But, the votes are in and predictions need to be made.
With that said, let’s get original and adaptive!
Best Original Screenplay
THE NOMINEES:
Anatomy Of A Fall (Justine Triet and Arthur Harari)
The Holdovers (David Hemingson)
Maestro (Bradley Cooper & Josh Singer)
May December (screenplay by Samy Burch, script by Samy Burch & Alex Mechanik)
Past Lives (Celine Song)
WHO WILL WIN?: I think this is where Anatomy Of A Fall gets its hardware. The film has, seemingly, only increased in positive vibes as more and more people are checking it out after receiving four big nominations (this one, Best Actress, Best Director, Best Picture). It doesn’t really have a shot in the other three, so I think Anatomy gets the recognition it deserves here.
WHO SHOULD WIN?: Another category like Best Supporting Actor, this screenplay is just chock full of so many wonderful words. I think I would give it to Past Lives, the feature film from Celine Song. It’s a movie with such an original voice and an interesting point of view and I know I’m gonna be real bummed when it doesn’t win.
DOES ANYONE ELSE HAVE A CHANCE?: Yeah. I think besides Maestro and May December, the other films could very easily slide in. Past Lives has amazing buzz and people really gravitated towards it. And The Holdovers is an amazing script, and the film will already be picking up a major Oscar when Randolph wins Best Supporting Actress. If you see Randolph and the screenplay winning, it could mean a big night for The Holdovers.
WHO GOT SNUBBED?: So many movies were so darn good, but I would get rid of Maestro and throw on Air. That script absolutely coasts and is just a perfect piece of writing as scene after scene is effortlessly set up.
Best Adapted Screenplay
THE NOMINEES:
American Fiction (Cord Jefferson)
Barbie (Greta Gerwig & Noah Baumbach)
Oppenheimer (Christopher Nolan)
Poor Things (Tony McNamara)
The Zone Of Interest (Jonathan Glazer)
WHO WILL WIN?: Honestly? Any of them. You could make an absolutely convincing case for any of these five to be taking home the hardware. They are all amazing interpretations of all kinds of different source material. Like, pick a name out of a hat and your odds are about even. But I think this is the one place where Oppenheimer is truly vulnerable, especially because Nolan is looking more and more like the lock for Best Director. So I’m going to say this is where American Fiction pulls out its big win of the evening, as voters know Sterling K. Brown and Jeffrey Wright are probably not gonna be taking the trophy home.
WHO SHOULD WIN?: Again, any of these films would deserve it. But I think Greta Gerwig did the most with Barbie than any person possibly could have. She made a funny, sweet, thoughtful film that captured a world who was skeptical that this wouldn’t be any more than a two-hour doll commercial.
DOES ANYONE ELSE HAVE A CHANCE?: I will say it again: EVERYONE ELSE HAS A CHANCE.
WHO GOT SNUBBED?: There were no snubs, but just not enough spaces for the deepest year that this category has seen in my lifetime. If it were solely up to me, I probably would have swapped out American Fiction with Are You There, God? It’s Me, Margaret. That movie got absolutely hosed by the Academy and they should all be ashamed of themselves.
Fancy Boys Club 