LONDON — An unusually wide-open Oscar race remains uncertain following the 78th annual EE British Academy Film Awards, where trophies were handed out with the blanket enthusiasm of Oprah Winfrey giving away cars. (You get a BAFTA! And you get a BAFTA!) Although Edward Berger’s “Conclave” took home four awards, including best film and outstanding British film, this year’s BAFTAs honored nearly every major movie in contention, including “The Brutalist,” “Anora,” “Emilia Pérez,” “The Substance,” “Wicked” and “A Real Pain.” The ceremony, held for the third year at London’s Royal Festival Hall, also brought a few surprises.

Throughout the evening, returning host David Tennant kept things light and breezy and producers ticked through the list of awards with admirable (and very British) efficiency. Almost everyone steered clear of politics, there were only minor flubs and a partially reunited Take That performed — a joyous, ’90s-nostalgic moment that may be lost on American viewers. Inside the theater, the show spanned more than three hours, while the audience streaming at home saw an edited two-hour version. It wasn’t the most dramatic year, but it was a pleasant, celebratory one, befitting a particularly strong year of cinema.

Here’s what happened behind the scenes at the BAFTAs.

Recognition of Los Angeles

It took some serious wrangling to get the audience into the theater after a lingering two-hour champagne reception held across multiple levels of the venue. Once guests were successfully herded inside, it took even more wrangling to get everyone to sit down. Eventually settled, the crowd got a series of instructions: Find the fire exits, don’t swear, amp up the enthusiasm. “Basically, to the Brits in the crowd, be a bit more American,” said the helpful, unidentified announcer.

Prior to Tennant’s introduction, BAFTA chair Sara Putt took the stage. She welcomed the audience and then immediately offered her thoughts to Los Angeles following the recent wildfires.

“Before we begin, I want to take just a moment to send our heartfelt best wishes to our friends and colleagues in L.A. who have been impacted by the terrible wildfires, including many of our own BAFTA members,” Putt said. “We stand alongside you in admiration at your resilience and strength as you begin to rebuild. I also want to express our deep gratitude to those from the California community who have joined us here in London tonight.”

Putt also acknowledged the broad array of films nominated. “It has been a year of fabulous creativity and storytelling,” she said. “This year’s 42 nominated films are an incredible showcase of the very best in filmmaking today, both in Britain and globally.” That observation proved itself true throughout the evening.

No dogs allowed

Host David Tennant gets the BAFTAs underway.

(Tristan Fewings / BAFTA / Getty Images for BAFTA)

Last year, Tennant earned the love of the BAFTA audience with an opening sketch that involved Michael Sheen and an adorable dog named Bark Ruffalo. This year, he was sadly dog-less. Instead, the Scottish Tennant welcomed viewers with a pre-recorded segment featuring Helen Mirren, Jim Broadbent and Brian Cox. In the clip, Cox and Tennant began singing the Proclaimers’ “I’m Gonna Be (500 Miles),” eventually transitioning to Tennant live in the theater singing and dancing his way down to the stage. He amended the lyrics to fit the occasion, chanting, “I would walk 500 miles to host one BAFTAs more.”

The host got massive applause from the appreciative audience, who laughed when his mic pack fell off and he quipped, “Now cut that part out.” His monologue was short, with some solid jokes about sequels (“I’m back too”) and the nominated films. He even invoked Donald Trump, the only reference of the night to the U.S. president. “I’ve already said his name three times,” Tennant said. “It’s like summoning Beetlejuice.”

Conspicuously absent

Zoe Saldaña accepts the BAFTAs’ supporting actress prize for “Emilia Pérez.”

(Stuart Wilson / BAFTA / Getty Images for BAFTA)

Karla Sofía Gascón’s controversial tweets have overshadowed the awards run for “Emilia Pérez.” Gascón, nominated for leading actress, was not in attendance, although her co-stars Zoe Saldaña and Selena Gomez were front and center. Still, Gascón’s scandal loomed over the ceremony. “Emilia Pérez” received a more scattered response than other nominees whenever mentioned or showcased in a video clip, and the audience seemed uncertain how to react when Gascón’s name was read during her category (she didn’t win).

More telling was filmmaker Jacques Audiard’s acceptance speech for film not in the English language, which ran far over his allotted time. After recently disavowing himself from his leading lady, Audiard used the opportunity to re-embrace Gascón, a moment that was uncomfortably awkward. Speaking via a French interpreter, Audiard thanked Zoe and Selena before adding, “but also you, my dear Karla Sofía, [who] I kiss. I’m deeply proud of what we achieved together.”

Saldaña also thanked Gascón in her speech for supporting actress, although it was less overt. “This was a creative challenge of a lifetime,” Saldaña told the crowd, after admitting that her children asked her not to cry this time. She added that she wanted “to thank my wonderful cast, Karla, Selena, Adriana.”

“Films are supposed to change hearts and challenge minds,” Saldaña noted, perhaps obliquely referencing the controversy. “And I hope that ‘Emilia Pérez’ did something like this.” (For the record, Saldaña did cry twice, although she seemed to recover quickly. She also swore when she went over her time limit, breaking one of the main rules of the BAFTAs.)

Getting their moment

The team behind “Kneecap,” including writer-director Rich Peppiatt (right), celebrates winning the award for outstanding debut by a British writer, director or producer.

(Tristan Fewings / BAFTA / Getty Images for BAFTA)

A highlight of awards season is seeing less-celebrated films and filmmakers get their due. The BAFTAs offered several opportunities to honor artists who may not have gotten an Oscar nomination or who didn’t anticipate they would find themselves on the stage with a statue in hand.

Although “Kneecap” was Ireland’s official submission for the Oscar, it was overlooked in the eventual nominations. The BAFTAs gave writer-director Rich Peppiett’s six chances to win and the scrappy film took home outstanding debut by a British writer, director or producer. Peppiett found himself getting a standing ovation from several people in the room, including the members of Kneecap, as the audience cheered and whooped for him.

Onstage, he looked completely awe-struck. “I’m absolutely honored to be standing here,” Peppiett said. “Fifteen years ago today, I actually met my wife and a decade later, she convinced me to move to Belfast. And within two weeks of moving to Belfast, I met Kneecap. And now I’m standing here.”

He added, in one of the evening’s few semi-political statements, “‘Kneecap’ is more than a film. It’s a movement and it’s about how everyone should have their language respected. They should have their culture respected and they should have their homeland respected. This award is dedicated to everyone who is out there fighting that fight.”

Another sweet moment came when Jesse Eisenberg was awarded original screenplay for “A Real Pain.” The actor and filmmaker was so flummoxed when his name was read by presenter Lupita Nyong’o that he admitted, “I didn’t think I would win.” He added, “I do want to share this with my wife, who didn’t come because she didn’t think I win. The person who sat me didn’t think I’d win.” He dedicated the award to his wife, Anna Strout, saying she had “dragged” him around the globe. “It’s the way I got to know about the world, which is what this movie is about,” Eisenberg said, earning aws from the crowd.

There were more for the annual EE Rising Star award winner David Jonsson (best known stateside for “Alien: Romulus”), who seemed similarly unprepared to win (it’s the only award voted on by the British public). “I’ve got to be honest,” Jonsson said. “This isn’t why I do it.” He explained that growing up in East London he didn’t really see a space for himself in the entertainment industry. “But this award is about people and as long as we keep telling stories about people, I think there’ll be a space for me and for people like me and you and everyone watching at home,” Jonsson added.

Sharing the craft love

Unlike last year when “Oppenheimer” swept every awards show on the circuit, this year’s BAFTAs kept things fairly equitable. “Wicked” missed out on the acting categories, but earned awards for costume design and production design. “The Substance” fittingly won makeup & hair, while “The Brutalist” took home cinematography and original score. Composer Daniel Blumberg shouted out to his director, Brady Corbet, noting, “It’s been amazing to work with one of my best friends.”

Two of the most heartwarming speeches came when “Dune: Part Two” won special visual effects and sound. Both winners spent their time on stage praising filmmaker Denis Villeneuve, whose directorial efforts have been largely overlooked by awards bodies this year. Also acknowledged multiple times: “Wicked” director Jon M. Chu, another filmmaker overlooked by the Oscars.

A few upsets

Mikey Madison receives her leading actress award for “Anora” at the BAFTAs.

(Tristan Fewings / BAFTA / Getty Images for BAFTA)

One of the big surprises of the night came when Mikey Madison won leading actress for “Anora,” winning a tough category of nominees that included Oscar frontrunner Demi Moore and beloved Brit Marianne Jean-Baptiste, star of “Hard Truths.” Although Madison’s victory resulted in a shot of Mike Leigh shaking his head in frustration at Jean-Baptiste’s loss, the crowd was thrilled by the twist. “I really wasn’t expecting this,” Madison said, admitting she didn’t have a speech prepared. She added that she “probably should have listened to my publicist” and written something, prompting her publicist to stand up in the crowd and scream in agreement.

In the documentary category, it seemed like “No Other Land” would be an easy winner. But the film, which is nominated for the Oscar, was overlooked for “Super/Man: The Christopher Reeve Story.” Directors Ian Bonhôte and Peter Ettedgui were thrilled by the honor and brought three of Reeve’s children onstage with them to accept the award. Bonhôte recalled being at the BAFTAs 7 years ago when he was nominated for “McQueen” and admitted that after losing that year his children began to call him “BAFTA-less Dad.” Not anymore.

A true honor

Warwick Davis accepts the prestigious Fellowship Award for lifetime achievement, the night’s highest honor, at the BAFTAs.

(Stuart Wilson / BAFTA / Getty Images for BAFTA)

The BAFTA Fellowship is awarded each year to someone who has made an outstanding contribution in their career. This year’s honoree was British actor and “Willow” star Warwick Davis. The actor, an integral part of many blockbuster franchises, including “Star Wars” and “Harry Potter,” helms Little People UK, which supports people with dwarfism like himself. Davis was feted by Tom Felton, a.k.a. Draco Malfoy, before a tribute video featuring George Lucas, Mark Hamill and Ron Howard was aired. Davis’ children Annabelle and Harrison closed the emotional clip, which celebrated the actor’s prolific and joy-filled career.

Davis received a lengthy standing ovation and deafening applause as he took the podium, keeping his composure until he shared that he has been heartbroken since he lost his wife Samantha last year. “Since then, life has been pretty tough for me,” Davis acknowledged. He thanked his children for helping him continue working and engaging in life before acknowledging another special someone, though not by name. “You know who you are,” he said, getting choked up, a reaction shared by the audience. “Thank you for showing me that life will still have meaning and for helping me to laugh and to love again.”

The actor quipped that he would keep his speech short (“yeah, you can laugh”), but despite its terseness, it was the night’s most emotional moment.

Election of a new pope

The team from “Conclave” receives the award for outstanding British film at the BAFTAs.

(Tristan Fewings / BAFTA / Getty Images for BAFTA)

By the end of the night,voters had spoken and “Conclave” had been declared best film. The final award was presented by Mark Hamill, whose appearance was marred by shaking hands and a pair of trousers that seemed to be slipping off his waist. The actor was visibly thrown as he announced the category and the producers cut the large screens in the room. The broadcast was later edited, although Hamill regained his composure when he read out the winner. Many guests speculated about the incident during the dinner afterward, wondering with concern whether Hamill had a momentary anxiety attack.

It didn’t impact the “Conclave” crew, however. The filmmakers took the stage alongside co-stars Isabella Rossellini and Ralph Fiennes, with 14 people in total accepting the statuette. (In line with the film itself, only three were women.) Berger notably thanked Focus Features and U.K. distributor Black Bear for “pushing the film into the theaters in such a big way,” a reminder that the year’s top movies are best enjoyed on the big screen.

Earlier in the night, accepting for outstanding British film, Berger noted, “We live in a time of a crisis of democracy and institutions that usually used to bring us together are used to pull us apart. And sometimes it’s hard to keep the faith in that situation. But that’s why we make movies and that’s why we really made this movie.”

A complete list of tonight’s winners

Best Film: “Conclave”

Director: Brady Corbet, “The Brutalist”

Leading Actress: Mike Madison, “Anora”

Leading Actor: Adrien Brody, “The Brutalist”

Supporting Actress: Zoe Saldaña, “Emilia Pérez”

Supporting Actor: Kieran Cukin, “A Real Pain”

Outstanding British Film: “Conclave”

Outstanding Debut by a British Writer, Director or Producer: “Kneecap”

Film Not in the English Language: “Emilia Pérez”

Documentary: “Super/Man: The Christopher Reeve Story”

Animated Film: “Wallace & Gromit: Vengeance Most Fowl”

Adapted Screenplay: “Conclave”

Original Screenplay: “A Real Pain”

Original Score: “The Brutalist”

Costume Design: “Wicked”

Production Design: “Wicked”

Special Visual Effects: “Dune: Part Two”

Makeup & Hair: “The Substance”

Editing: “Conclave”

Cinematography: “The Brutalist”

Casting: “Anora”

Sound: “Dune: Part Two”

British Short Animation: “Wander to Wonder”

British Short Film: “Rock, Paper, Scissors”

EE Rising Star: David Jonsson