The Academy of Motion Picture Arts and Sciences announced shortlists in consideration for the Oscars in nine categories: documentary feature, documentary short subject, international feature film, makeup and hairstyling, music (original score), music (original song), animated short film, live action short film and visual effects.
The full lists are below:
Fifteen films will advance in the documentary feature category after 159 films were submitted in the category. Members of the Documentary Branch vote to determine the shortlist and the nominees.
“Advocate” “American Factory” “The Apollo” “Apollo 11” “Aquarela” “The Biggest Little Farm” “The Cave” “The Edge of Democracy” “For Sama” “The Great Hack” “Honeyland” “Knock Down the House” “Maiden” “Midnight Family” “One Child Nation”
DOCUMENTARY SHORT SUBJECT
Ten films will advance in the documentary short subject category. There were 69 films qualified in the category. Members of the Documentary Branch vote to determine the shortlist and the nominees.
“After Maria” “Fire in Paradise” “Ghosts of Sugar Land” “In the Absence” “Learning to Skateboard in a Warzone (If You’re a Girl)” “Life Overtakes Me” “The Nightcrawlers” “St. Louis Superman” “Stay Close” “Walk Run Cha-Cha”
INTERNATIONAL FEATURE FILM
Ten films will advance to the next round of voting in the international feature film category (formerly known as foreign language film). Ninety-one films were eligible in the category.
Academy members from all branches were invited to participate in the preliminary round. They must have viewed the submitted films theatrically and met a minimum viewing requirement to be eligible to vote in the category. Their seven choices, augmented by three additional selections voted by the Academy’s International Feature Film Award Executive Committee, constitute the shortlist.
In the nominations round, Academy members from all branches are invited to opt-in to participate and must view all 10 shortlisted films in order to cast a ballot.
Czech Republic, “The Painted Bird” Estonia, “Truth and Justice” France, “Les Misérables” Hungary, “Those Who Remained” North Macedonia, “Honeyland” Poland, “Corpus Christi” Russia, “Beanpole” Senegal, “Atlantics” South Korea, “Parasite” Spain, “Pain and Glory”
MAKEUP AND HAIRSTYLING
Ten films will advance in the makeup and hairstyling category. All members of the Academy’s Makeup Artists and Hairstylists Branch will be invited to view seven-minute excerpts from each of the 10 shortlisted films on Saturday, January 4, 2020. Members will vote to nominate five films for final Oscar consideration.
“Bombshell” “Dolemite Is My Name” “Downton Abbey” “Joker” “Judy” “Little Women” “Maleficent: Mistress of Evil” “1917” “Once upon a Time…in Hollywood” “Rocketman”
MUSIC (ORIGINAL SCORE)
Fifteen scores will advance in the original score category. One hundred seventy scores were eligible in the category. Members of the Music Branch vote to determine the shortlist and the nominees.
“Avengers: Endgame” “Bombshell” “The Farewell” “Ford v Ferrari” “Frozen II” “Jojo Rabbit” “Joker” “The King” “Little Women” “Marriage Story” “Motherless Brooklyn” “1917” “Pain and Glory” “Star Wars: The Rise of Skywalker” “Us”
MUSIC (ORIGINAL SONG)
Fifteen songs will advance in the original song category. Seventy-five songs were eligible in the category. Members of the Music Branch vote to determine the shortlist and the nominees.
“Speechless” from “Aladdin” “Letter To My Godfather” from “The Black Godfather” “I’m Standing With You” from “Breakthrough” “Da Bronx” from “The Bronx USA” “Into The Unknown” from “Frozen II” “Stand Up” from “Harriet” “Catchy Song” from “The Lego Movie 2: The Second Part” “Never Too Late” from “The Lion King” “Spirit” from “The Lion King” “Daily Battles” from “Motherless Brooklyn” “A Glass of Soju” from “Parasite” “(I’m Gonna) Love Me Again” from “Rocketman” “High Above The Water” from “Toni Morrison: The Pieces I Am” “I Can’t Let You Throw Yourself Away” from “Toy Story 4” “Glasgow” from “Wild Rose”
ANIMATED SHORT FILM
Ten films will advance in the animated short film category. Ninety-two films qualified in the category. Members of the Short Films and Feature Animation Branch vote to determine the shortlist and the nominees.
“Dcera (Daughter)” “Hair Love” “He Can’t Live without Cosmos” “Hors Piste” “Kitbull” “Memorable” “Mind My Mind” “The Physics of Sorrow” “Sister” “Uncle Thomas: Accounting for the Days”
LIVE ACTION SHORT FILM
Ten films will advance in the live action short film category. One hundred ninety-one films qualified in the category. Members of the Short Films and Feature Animation Branch vote to determine the shortlist and the nominees.
“Brotherhood” “The Christmas Gift” “Little Hands” “Miller & Son” “Nefta Football Club” “The Neighbors’ Window” “Refugee” “Saria” “A Sister” “Sometimes, I Think about Dying”
Ten films remain in the running in the visual effects category. The Visual Effects Branch Executive Committee determined the shortlist. All members of the Visual Effects Branch will be invited to view 10-minute excerpts from each of the shortlisted films online or attend satellite bake-off screenings in January 2020. Following the screenings, members will vote to nominate five films for final Oscar consideration.
“Alita: Battle Angel” “Avengers: Endgame” “Captain Marvel” “Cats” “Gemini Man” “The Irishman” “The Lion King” “1917” “Star Wars: The Rise of Skywalker” “Terminator: Dark Fate”
Oscar nominations voting opens Jan. 2 and runs through Jan. 7. Nominations will be announced on Jan. 13. Final Oscar voting begins Jan. 30. Deadline for voting is Feb. 4. The Oscars will be handed out five days later on Feb. 9.
It’s just another pile of New York City bricks with a neon-lit
marquee, technically. But if you’re in Harlem and walk down 125th street
between Frederick Douglass Boulevard and Adam Clayton Powell Jr.
Boulevard, the presence of The Apollo Theater is unmistakable.
The Apollo documentary, premiering on HBO on Wednesday, November 6, attempts to illustrate its cultural significance in black history for the past 85 years. And considering the venue is famed for its amateur nights in which performers were either cheered or booed with zeal, it’s fitting that the film is a rousing success.
The blur of archival images at the outset reminds us of the generational scope of the Apollo’s impact: Duke Ellington, Louis Armstrong, Bo Diddley, Gregory Hines, Stevie Wonder, Gladys Knight, LL Cool J, Redd Foxx, Chris Rock and Will Smith all took the stage at some point in their careers. When they played to the audience — 1506 patrons at full capacity — they knew in their bones this wasn’t just any gig. The Apollo represented a space where black audiences could gather under even the most trying of circumstances to witness and judge popular art by their own standards. Jeering aside, this was a safe haven. Jamie Foxx, Angela Bassett and activist Herb Boyd are some of the luminaries that express how the top-notch entertainment at the Apollo has always been secondary to the rich communal spirit.
Director Roger Ross Williams (an Oscar winner for the short Music by
Prudence) weaves through performance and politics, past and present.
Resident historian, tour director and ambassador Billy “Mr. Apollo”
Mitchell — he’s worked on the premises since 1965 — serves as our
congenial guide (and frames the narrative), guiding curious pedestrians
through the halls and delivering a more traditional overview to the
It was white entrepreneur and promoter Frank Schiffman who opened the theater
in Harlem in 1934 as a talent showcase. The real estate became hallowed
ground almost immediately thanks to the craftsmanship on stage and the
business savvy behind the scenes. The hard-nosed Schiffman kept typed
index cards of every artist and noted everything from temperament to
ability. On Charlie Parker: “Excellent musician.” On Dizzy Gillespie:
“Not prepared.” Dizzy Gillespie!
The anecdotes that accompany some of these names are delicious in detail. In a remarkable account, a shy 17-year-old named Ella Fitzgerald originally planned to dance during the first year of Amateur Night in 1934. But after seeing the Edwards Sisters light up the stage with their synchronized steps, she decided to sing instead. She started scatting to Hoagy Carmichael’s “Judy” and took home first prize. A few years later, Ralph Cooper, who created and hosted Amateur Night, scouted Billie Holiday and convinced Schiffman to give her a shot. She performed the haunting protest song, “Strange Fruit.”
Several artists give their own first-hand recollections,
and, mercifully, don’t do it wearing rose-colored glasses. Smokey
Robinson waxes about how he and the Miracles had to share a cramped
eighth-floor dressing room and work their way down based on success;
actress Leslie Uggams recalls her first show there and says she was
getting ready to leave when she was told she had to grind through four
more that very day. (Performers typically did 29 shows a week!). Even
Aretha Franklin, in an interview filmed just before her 2018 death,
laments that she’s still waiting on the money that Schiffman owed her.
like most music-themed documentaries, the raw footage is the star of
the show. And while it’s always amusing to gawk at acts before they hit
it big, the videos here offer proper context to a specific time and
place in our history. Consider that Richard Pryor elicits howls of
laughter from the audience as he peppers the N-word throughout his
stand-up material. Meanwhile, James Brown fearlessly declares, “Say it
loud, I’m black and I’m proud” amid the civil rights riots of 1968.
(After he died in 2006, the funeral
was held at the Apollo as a tribute to both the venue and the
hardest-working man in showbiz.) Barack Obama was the first sitting
president to visit; he promptly brought down the house by crooning a few
bars of Al Green’s “Let’s Stay Together.”
The performances weren’t all groundbreaking crowd-pleasers. Though pre-teen, pre-Fugees Lauryn Hill covering a Smokey Robinson classic could be viewed in hindsight as a sign of her prodigious talent, the audience boos her. Off-stage, The Apollo endured its own hardships. Williams breezes through its woeful chapter in the 1970s when the site had to close due to bankruptcy. Manhattan borough President Percy B. Sutton tried but failed to turn it around financially. It’s now a federal and city landmark run by the state of New York.
Can this historical attraction remain mythical? After all, Harlem
itself is now so gentrified that The Apollo is located across from,
yikes, The Gap. The jazz greats that once breathed life inside that
theater have given way to acts like Lady Gaga and Guns N’ Roses.
These facts also go without mention. But Williams wisely culminates his
film with a 2018 all-star on-stage reading of Ta-Nehisi Coates’
“Between the World and Me,” a manifesto to the experience of being black
in America. No singing, no dancing, no jokes. It’s a strong statement
on the social and political meaning behind every artistic performance: A
community can indeed find healing through the power of art.
The Apollo premieres on HBO on Wednesday, November 6.
A space like the Apollo Theater, Harlem’s high church of American
music, didn’t just play host to up-and-comers, storied legends and
energetic wannabes — it amplified the sound and spirit of black
entertainment in a way that reverberated far outside its walls.
movie tasked with celebrating its 85 years as a cultural landmark would
have its work cut out for it, which makes Oscar-winning filmmaker Roger
Ross Williams’ beautifully turned, rich and moving documentary “The
Apollo” a true gift for these turbulent, who-are-we? times: essential
history and quintessential performance expertly woven together to remind
us what lasting, vibrant artistry and community looks like. From the
heyday of jazz to the sweetness of soul and the power of hip-hop — with
the reality of race ever present — Williams offers up a celebration worthy of the Apollo’s legacy.
its blend of the archival, the interviewed, and modern-day footage, the
first miracle of the film is that it never feels overstuffed with
talking heads, or perfunctorily assembled, or rushed in covering its
many glories across nearly a century. It’s a real beating-heart tribute,
always streaked with feeling, whether joyous or poignant. That’s partly
because the theater’s spirit, from its Depression-era launch as a mixed
hot spot at a time when black people couldn’t patronize nightclubs in
their own backyard, always intertwined excellence in black entertainment
— launching the careers of Ella Fitzgerald, Billie Holiday and Stevie
Wonder, and cementing the live chops of countless others across music,
dance and comedy — with the notion that simply being on that stage, in
that audience, constituted not only a vital act of expression, but also a
feeling of home. It’s why Williams always threads in footage old and
new of the block’s streets and citizens among the glittering stories and
stars, as if to stress that the Apollo was as much a good neighbor as a
Williams makes the potent choice to bracket this
history with a verité glimpse of the Apollo’s behind-the-scenes
preparation for a multimedia staging of Ta-Nehisi Coates’
galvanizing book, “Between the World and Me.” Coates’ words of
ceaseless struggle and fierce belonging echo through the film as we see
Holliday make the Apollo a safe space for protest music with “Strange
Fruit” (which she was pressured not to perform), favorite son James Brown
anthemize the civil rights era with “Say It Loud — I’m Black and I’m
Proud,” and truth-to-power rap artists flood the stage in the ’80s.
Just as inspiring is the tradition surrounding the Apollo’s fabled
amateur night — the world’s longest-running talent show, a lively format
by which the untapped (who have included Ella Fitzgerald and Lauryn
Hill over the years) can command the spotlight, and perhaps earn a
famously boo-ready crowd’s hard-won love. But like a lot about the
Apollo, it’s the opportunity to give voice to that which lies behind
this beloved rite. Cincinnati student Bianca Graham traveled to New York
by bus to perform a soaring rendition of Whitney Houston’s “I Have
Nothing,” and when she tears up at the memory of a friend shot and
killed by a cop, you can believe the theater’s soul must course through
each and every respect-paying hopeful that hits its stage.
The anecdotes are like music too, with spirited tales of nerves, awe
and camaraderie from Smokey Robinson, Leslie Uggams, Patti Labelle and
Pharrell Williams, and necessary context from backstage overseers like
former owner Bobby Schiffman, current President Jonelle Procope and
historian/tour guide Billy Mitchell. From these reverent insiders, and
Williams’ graceful stewardship, comes a lasting portrait of an artistic
institution that’s seen ups and downs but continues to thrive by
bringing people together and getting the most out of many of them. It’s
hard not to forget an early clip of Ella Fitzgerald and what she heard
way on that amateur night in 1934 when her then-unknown teenage self
balked at following the crowd-slaying, legendary Edwards Sisters with
her own meager dance routine.
A man yelled, “You’re out here, do something.” So she sang.