Oscar craft nominations are pretty evenly split in the season of the spectacle, led by "Elvis" and the late-surging "All Quiet on the Western Front" with six nominations. Other top contenders include "Babylon," "The Batman," and "Everything Everywhere All at Once."
Jordan Peele's disruptive sci-fi/horror film, "Nope," was dismissed altogether, despite the excellent work of cinematographer Hoyte van Hoytema and sound design by supervising sound editor Johnnie Burn, both of whom topped IndieWire's Best Cinematography and Best Sound of 2022 lists.
"All Quiet," an award-winning anti-war film, dominated the Oscar shortlists and BAFTA nominations alike, winning nominations in every category: visual effects (production visual effects supervisor Volker Bertelmann), score (nearly atonal music that conveys the soldiers' emotions and the film's horror movie vibes), and sound (a sonic connection with the war machine from sound supervisor Markus Stemler and re-recording mixer Lars Ginzel).
"Elvis" from Baz Luhrmann received six craft nominations for the film "Moulin Rouge," including film director Mandy Walker, who is only the third woman to be recognized by his division. They are also nominated for cinematography (co-supervised by two-time Oscar winner Catherine Martin and Karen Murphy), makeup/hairstyling (led by two-time Oscar winner Mark Coulier, prosthetics supervisor Jason Baird, and hair concept designer Aldo Signoretti), recording (sound
"Avatar" is a sequel to "The Amazing Journey," which won four Oscars for visual effects and world-building. It expanded into the oceanic world of Pandora, while its state-of-the-art dynamic and immersive sound impressed the branch.
"Wakanda Forever," directed by Ryan Coogler, received mixed results: neither composer Ludwig Göransson nor production designer Hannah Beachler returned to the same categories as the previous one, yet it expanded its scope of work with makeup/hairstyling and visual effects. Tems, Göransson, Rihanna, and Coogler returned with the powerful original song, "Lift Me Up," which was performed by Rihanna as a tribute to Chadwick Boseman.
"Top Gun: Maverick," a multibillion-dollar global sensation, was also a major player, despite not receiving a cinematography nomination (editor Eddie Hamilton), but it remains a frontrunner for visual effects (supervising sound editors James Mather and Al Nelson), and re-recording mixers Chris Burdon and Mark Taylor).
"The Batman" by Matt Reeves was a gritty, noir-ish procedural, distinguished by its makeup/hairstyling (for Colin Farrell's unrecognizable Oz/Penguin, courtesy of prosthetic makeup artist Mike Marino), visual effects (supervised by Dan Lemmon and boasting ILM's pop-up StageCraft LED wall), and sound (customized for portraying Gotham and its superhero and villains, led by supervising sound editors William Files and Douglas Murray
'Everything Everywhere All at Once,' A24's Best Picture nominee (and overall nominees leader) was honored with a surprise nod for the experimental trio Son Lux's unconventional score. The Daniels' Best Directorial and Original Screenplay-nominated duo (Daniel Kwan and Daniel Scheinert) was a masterful team in balancing the epic multiverse adventure with the intimate family story.
Due to Damien Chazelle's wild journey through Hollywood's hedonistic excess during the Roaring Twenties, it exhibited some of the finest experimental techniques. These include score (La La Land) award winner Mary Zophres created a monumental period piece that was original and primal) and production design (production designer Florencia Martin and set decorator Anthony Carlino highlighted the continuities in construction and demolition).