Here’s what you need to know:
The latest winners.
LOS ANGELES — Bong Joon Ho and Han Jin Won won best original screenplay for “Parasite.” They beat out Quentin Tarantino, who wrote “Once Upon a Time … in Hollywood.”
Taika Waititi won best adapted screenplay for the satire “Jojo Rabbit,” which he also directed and starred in as Adolf Hitler. It was Waititi’s first win. His screenplay was based on the novel “Caging Skies” by Christine Leunens.
“Once Upon a Time … in Hollywood” won best production design. Nancy Haigh handled the 1960s-era set decoration, while Barbara Ling brought faded Los Angeles locales back to life.
Jacqueline Durran won best costume design for “Little Women.” Durran, who also worked on “1917,” previously won in this category for “Anna Karenina” (2013).
“The Neighbors’ Window” won best live-action short. Directed and written by Marshall Curry, the film focuses on a middle-aged mother whose life is shaken up when free-spirited 20-somethings move in across the street.
[Here are the Oscar winners so far.]
The show opened with a call for inclusion.
Janelle Monáe opened the 92nd Academy Awards by putting the audience on notice: Inclusion would be showcased — loudly — on the Oscar stage, regardless of the predominantly white group of nominees. “I’m so proud to stand here as a black queer artist telling stories,” she said before launching into a jazzy song-and-dance number that found her duetting with Billy Porter and, ultimately, singing in a flower-covered coat while lying in an aisle.
Chris Rock and Steve Martin then took the stage — serving as the de facto hosts for a ceremony that was officially hostless — and took turns skewering the Academy of Motion Picture Arts and Sciences for putting forward an overwhelmingly white group of nominees and, once again, overlooking women in the directing category.
“There’s something missing,” Martin said.
“Vaginas?” Rock responded, to raucous applause.
Without much of a pause, the show switched gears and the first Oscar was handed out. Regina King (“If Beale Street Could Talk”) awarded the supporting actor prize to Brad Pitt for playing a stuntman in “Once Upon a Time … in Hollywood.” Pitt offered a caustic appraisal of the Senate’s handling of impeachment proceedings before settling into a more upbeat speech that thanked Leonardo DiCaprio, his co-star, and Quentin Tarantino, who directed the film.
“You are one of a kind,” Pitt said of Tarantino.
The acting winners have been predicted for weeks.
Pray for an envelope mix-up. Without one, the show could be thoroughly predictable.
Contrary to initial expectations, the ceremony, will not serve as a pivotal moment for Netflix, which leads the field with 24 nominations. “The Irishman,” Netflix’s primary contender, collapsed on the campaign trail, leaving a traditional movie from a traditional studio, the war epic “1917,” as the favorite to win best picture. (The last film about World War I to receive Hollywood’s top prize was “Lawrence of Arabia” in 1963. So perhaps that will give a few historians a tingle.)
This year’s acting races have been locked for weeks. Renée Zellweger (“Judy”), Joaquin Phoenix (“Joker”), Laura Dern (“Marriage Story”) were virtually assured to join Pitt (“Once Upon a Time … in Hollywood”) in taking home Oscars. And do your best to feign surprise when “American Factory” wins the Oscar for best documentary and Elton John (“Rocketman”) collects the prize for song; those wins are set in stone, at least according to handicappers at Gold Derby, an entertainment honors site.
Cinematography? International Feature? Long since sewn up by Roger Deakins (“1917”) and Bong Joon Ho’s genre-busting “Parasite,” the first South Korean movie to be nominated for what used to be known as best foreign film.
And yet.
Surprises are possible. Last year, Glenn Close — the most-nominated living actor, male or female, without a statuette — was expected to finally win best actress for her role in “The Wife.” But the Academy of Motion Picture Arts and Sciences once again denied her a trip to the stage. The Oscar went to a delightfully gobsmacked Olivia Colman (“The Favourite”).
The best-picture race is between ‘1917’ and ‘Parasite.’
This time around, the best-picture category could hold a surprise. “Parasite,” a provocative take on class warfare, could sneak past “1917” to become the first foreign-language film to collect Hollywood’s top prize. The academy has greatly expanded its international voting ranks in recent years.
Both “1917” and “Parasite” are anomalies as major best-picture contenders: No actors are nominated from either film, something that usually indicates the Oscar will go to another candidate. “Once Upon a Time … in Hollywood,” with nods for Pitt and Leonardo DiCaprio, would be a decent spoiler bet. The Nazi satire “Jojo Rabbit,” which scored a nomination for Scarlett Johansson, also has a long shot.
But there are exceptions to this rule. “Slumdog Millionaire” was named best picture in 2009 without any acting nominations.
Unlike last year, the academy has (mostly) avoided shooting itself in the foot in the run-up to the ceremony — no firing a host, no backtracking on a “popular” Oscar category, no proposed shoving of some awards into commercial breaks.
‘Little Women’ and ‘Jojo Rabbit’ may only score one.
With its technical wizardry and impressive box office results — $287 million worldwide and counting — “1917” is considered a good bet to convert at least six of its 10 nominations into trophies. Look for it to be honored for sound editing, sound mixing and visual effects in addition to receiving the prizes for best picture, director and cinematography.
But the academy is otherwise poised to spread the little gold men around.
“Little Women,” with six nominations, received one Oscar, for Jacqueline Durran’s period costume designs. “Jojo Rabbit,” also with six nominations, had to make due with a lone win for Taika Waititi’s adapted screenplay.
The night’s most-nominated film, “Joker,” honored in 11 categories, will probably win for Phoenix’s performance and for Hildur Gudnadottir’s score. An Oscar for her would end the academy’s 22-year streak of honoring male composers.
Best production design is unusually competitive.
When it comes to production design, voters tend to favor period reconstructions and fantasy world-building. (“Black Panther” won this category last year.) On Sunday it was a three-way race. “1917” took viewers into muddy trenches and a bombed-out French town. “Once Upon a Time … in Hollywood” recreated swinging 1969 Los Angeles. And the “Parasite” team created an ultramodern house with secret passageways and an elegant garden.
Barbara Ling and Nancy Haigh won for “Once Upon a Time … in Hollywood,” denying a chance for “1917” to get on the board early in the ceremony.
Vows of inclusion could clash with the results.
It would appear that the academy’s much-hyped inclusion initiatives are backfiring. The organization barely avoided another #OscarsSoWhite debacle by nominating Cynthia Erivo (“Harriet”) for best actress; she is the only black person among the 20 acting nominees. Once again, the directing field is entirely male, despite it having been a banner year for female filmmakers. Almost all of the nominees for best picture tell stories about “white male rage,” as “Saturday Night Live” pointedly noted last month in a segment that went viral.
Some winners could blast the academy for its choices. Phoenix, collecting the best actor prize at the recent BAFTAs, Britain’s equivalent of the Academy Awards, condemned the film industry for what he called “systemic racism.”
The producers of the ABC telecast have used presenter invitations to make the ceremony more diverse. Scheduled presenters include Chris Rock, Spike Lee, Zazie Beetz (“Joker”), Lin-Manuel Miranda and Utkarsh Ambudkar (“Brittany Runs a Marathon”).
The Oscars for best picture and best director may not match.
Academy voters increasingly like to uncouple best director from best picture. It’s called having your cake and eating it, too.
The two categories have split 50 percent of the time over the past decade. Last year, Alfonso Cuarón won the directing Oscar for “Roma,” about a domestic worker in Mexico City in the 1970s. “Green Book,” directed by Peter Farrelly, won best picture (to some boos).
This year, Sam Mendes (“1917”) is the directing favorite. But Bong could pull off an upset for “Parasite.” The other nominees are Quentin Tarantino (“Once Upon a Time … in Hollywood”), Todd Phillips (“Joker”) and Martin Scorsese (“The Irishman”).
Director and every other category — except best picture — are voted on with a single-choice system; voters pick their choice and the one with the most votes wins. Best picture now has a complicated “preferential” system in which nominees are ranked 1 through 9, and the second- and third-place positions can carry as much weight as first place.
The best-picture category can have as many as 10 or as few as five nominees, depending on how voters spread their support. This year there are nine: “1917,” “Parasite,” “Once Upon a Time … in Hollywood,” “Joker,” “The Irishman,” “Jojo Rabbit,” “Ford v Ferrari,” “Marriage Story” and “Little Women.”
It could be a rough night for Netflix.
The academy’s old guard has resisted a dogged push by Netflix to join the best picture club, arguing that, since the streaming service does not release its films in a traditional theatrical manner, its offerings should be better considered by Emmy voters.
But the streaming giant seemed to be holding a very strong hand this year. “The Irishman,” Scorsese’s gangster character study, received 10 nominations. Noah Baumbach’s “Marriage Story” got six. “The Two Popes” goes into the ceremony with three.
In the end, Netflix may have to do a lot of smiling through gritted teeth. Prognosticators are predicting two wins: supporting actress (Dern) and documentary (“American Factory”).
Rain on the red carpet.
The soggy red carpet did little to dampen the mood of the guests who showed up in droves two hours before the show’s start. Inside the Dolby Theater, the trend of serving only plant-based food on the awards circuit continued, with taro root tacos, cucumber wrapped avocados and eggplant crisps. “I couldn’t tell if it was onions or radishes,” said one befuddled guest.
Hollywood’s power brokers are all in attendance. But only Jeff Bezos was given his own trays of food as he stood at a high-top table in the lobby bar, snacking with his son and keeping tabs on his phone.
Maya Rudolph, Julia Louis-Dreyfus and Spike Lee, all scheduled to present, mingled among the guests. Lee was dressed in a custom-made purple and gold tuxedo with “24” on the lapels to honor Kobe Bryant, who died in a helicopter crash two weeks ago. “I called my friends at Gucci,” he said, referring to how the tribute suit came to be.
Even the show’s producer Stephanie Alain, who is helming the telecast with Lynette Howell Taylor, was out mingling before the start of the show with her husband. “It’s going to be a great show. Very musical,” Alain said. She was glancing at her watch to see when she needed to head backstage. When asked if she’s been extra stressed in the lead up to the show, her husband said, “Oh, she’s loves this.”
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