Oscar

“Sinners” has made Oscars history.

The 98th Academy Award nominations were announced Thursday and Ryan Coogler’s musical horror earned 16 overall nominations, breaking the record for the most nominations for a film previously held by “All about Eve” (1950), “Titanic” (1997) and “La La Land” (2016). “Sinners’” nominations include best picture, directing, original screenplay and individual acting nods for stars Michael B. Jordan, Wunmi Mosaku and Delroy Lindo.

Paul Thomas Anderson’s comedic political thriller “One Battle After Another” followed with 13 total nominations, which included nods for picture, directing, adapted screenplay and actors Leonardo DiCaprio, Teyana Taylor, Benicio Del Toro and Sean Penn.

Yorgos Lanthimos’ alien comedy “Bugonia,” Chloé Zhao’s tragic Shakespeare drama “Hamnet,” Joseph Kosinski’s racing drama “F1,” Guillermo del Toro’s gothic monster mash “Frankenstein,” Josh Safdie’s ping-pong picture “Marty Supreme,” Brazilian political thriller “The Secret Agent,” Norwegian family drama “Sentimental Value” and Clint Bentley’s lyrical period piece “Train Dreams” rounded out the nominees for best picture.

Performers from both “The Secret Agent” and “Sentimental Value” also earned acting nominations, making it another banner year for international features. Other top nominees include “Frankenstein,” “Marty Supreme” and “Sentimental Value,” which earned nine nods apiece.

Actors Danielle Brooks and Lewis Pullman announced the nominations at the academy’s Samuel Goldwyn Theater. See the full list of nominees below.

Best picture
“Bugonia”
“F1”
“Frankenstein”
“Hamnet”
“Marty Supreme”
“One Battle After Another”
“The Secret Agent”
“Sentimental Value”
“Sinners”
“Train Dreams”

Actress in a leading role
Jessie Buckley, “Hamnet”
Rose Byrne, “If I Had Legs I’d Kick You”
Kate Hudson, “Song Sung Blue”
Renate Reinsve, “Sentimental Value”
Emma Stone, “Bugonia”

Actor in a leading role
Timothée Chalamet, “Marty Supreme”
Leonardo DiCaprio, “One Battle After Another”
Ethan Hawke, “Blue Moon”
Michael B. Jordan, “Sinners”
Wagner Moura, “The Secret Agent”

Actress in a supporting role
Elle Fanning, “Sentimental Value”
Inga Ibsdotter Lilleaas, “Sentimental Value”
Amy Madigan, “Weapons”
Wunmi Mosaku, “Sinners”
Teyana Taylor, “One Battle After Another”

Actor in a supporting role
Benicio del Toro, “One Battle After Another”
Jacob Elordi, “Frankenstein”
Delroy Lindo, “Sinners”
Sean Penn, “One Battle After Another”
Stellan Skarsgård, “Sentimental Value”

Directing
Chloé Zhao, “Hamnet”
Josh Safdie, “Marty Supreme”
Paul Thomas Anderson, “One Battle After Another”
Joachim Trier, “Sentimental Value”
Ryan Coogler, “Sinners”

Adapted screenplay
“Bugonia,” Will Tracy
“Frankenstein,” Guillermo del Toro
“Hamnet,” Chloé Zhao and Maggie O’Farrell
“One Battle After Another,” Paul Thomas Anderson
“Train Dreams,” Clint Bentley and Greg Kwedar

Original screenplay
“Blue Moon,” Robert Kaplow
“It Was Just an Accident,” Jafar Panahi
“Marty Supreme,” Josh Safdie and Ronald Bronstein
“Sentimental Value,” Joachim Trier and Eskil Vogt
“Sinners,” Ryan Coogler

Documentary feature
“The Alabama Solution”
“Come See Me in the Good Light”
“Cutting Through Rocks”
“Mr. Nobody Against Putin”
“The Perfect Neighbor”

Documentary short
“All the Empty Rooms”
“Armed Only with a Camera: The Life and Death of Brent Renaud”
“Children No More: ‘Were and Are Gone’”
“The Devil Is Busy”
“Perfectly a Strangeness”

Animated feature
“Arco”
“Elio”
“KPop Demon Hunters”
“Little Amélie or the Character of Rain”
“Zootopia 2”

Animated short
“Butterfly”
“Forevergreen”
“The Girl Who Cried Pearls”
“Retirement Plan”
“The Three Sisters”

Cinematography
“Frankenstein,” Dan Laustsen
“Marty Supreme,” Darius Khondji
“One Battle After Another,” Michael Bauman
“Sinners,” Autumn Durald Arkapaw
“Train Dreams,” Adolpho Veloso

Costume design
“Avatar: Fire and Ash,” Deborah L. Scott
“Frankenstein,” Kate Hawley
“Hamnet,” Malgosia Turzanska
“Marty Supreme,” Miyako Bellizzi
“Sinners,” Ruth E. Carter

Film editing
“F1,” Stephen Mirrione
“Marty Supreme,” Ronald Bronstein and Josh Safdie
“One Battle After Another,” Andy Jurgensen
“Sentimental Value,” Olivier Bugge Coutté
“Sinners,” Michael P. Shawver

International feature
“It Was Just an Accident” (France)
“The Secret Agent” (Brazil)
“Sentimental Value” (Norway)
“Sirāt” (Spain)
“The Voice of Hind Rajab” (Tunisia)

Live-action short
“Butcher’s Stain”
“A Friend of Dorothy”
“Jane Austen’s Period Drama”
“The Singers”
“Two People Exchanging Saliva”

Makeup and hairstyling
“Frankenstein,” Mike Hill, Jordan Samuel and Cliona Furey
“Kokuho,” Kyoko Toyokawa, Naomi Hibino and Tadashi Nishimatsu
“Sinners,” Ken Diaz, Mike Fontaine and Shunika Terry
“The Smashing Machine,” Kazu Hiro, Glen Griffin and Bjoern Rehbein
“The Ugly Stepsister,” Thomas Foldberg and Anne Cathrine Sauerberg

Original score
“Bugonia,” Jerskin Fendrix
“Frankenstein,” Alexandre Desplat
“Hamnet,” Max Richter
“One Battle After Another,” Jonny Greenwood
“Sinners,” Ludwig Göransson

Original song
“Dear Me” from “Diane Warren: Relentless”
“Golden” from “KPop Demon Hunters”
“I Lied to You” from “Sinners”
“Sweet Dreams of Joy” from “Viva Verdi!”
“Train Dreams” from “Train Dreams”

Production design
“Frankenstein”
“Hamnet”
“Marty Supreme”
“One Battle After Another”
“Sinners”

Sound
“F1”
“Frankenstein”
“One Battle After Another”
“Sinners”
“Sirāt”

Visual Effects
“Avatar: Fire and Ash”
“F1”
“Jurassic World Rebirth”
“The Lost Bus”
“Sinners”

Casting
“Hamnet”
“Marty Supreme”
“One Battle After Another”
“The Secret Agent”
“Sinners”

Oscar nominations landed Thursday morning and you’d really have to be a curmudgeon to complain, what with the year’s two best films, “One Battle After Another” and “Sinners,” hauling in the most nods. One of these movies is going to win best picture (probably “One Battle”), continuing a nice little streak of top-shelf winners. “Oppenheimer” to “Anora” to “One Battle After Another”? That’s the best run since the early ’90s when “The Silence of the Lambs,” “Unforgiven” and “Schindler’s List” prevailed.

Of course, not everyone is celebrating this morning. “Wicked: For Good”? The complete disrespectation! The latest “Avatar” sequel? More ash than fire.

The Oscars cap their nominees at five per category (with the exception of best picture), leading, invariably, to some surprises and omissions — some egregious, some understandable. For alliteration and search engine optimization, we’ll call these “snubs,” though you’d have to be a true narcissist, say somebody who’d threaten to invade a country because he felt scorned over not winning a prize, to really take it personally.

Fortunately, Hollywood is free of ego, leaving us just to rationally contemplate the academy’s choices and examine the snubs and surprises of the nominations for the 98th Academy Awards, which will be presented on March 15.

Cynthia Erivo, left, and Ariana Grande in “Wicked: For Good.”

(Giles Keyte/Universal Pictures/Giles Keyte / Universal Pictures)

SNUB: “Wicked: For Good” (picture)
The first “Wicked” earned 10 nominations last year, going on to win two Oscars. Surely, the sequel would be popular too. But the box office was down (more than $200 million globally), the reviews were mostly meh, and academy members took note. Duplicating the first movie’s Oscar haul was going to be a challenge, as some voters would naturally resist rewarding something they had just honored a year ago. And the material posed its own challenges, as the musical’s second act isn’t as fun or focused. But to go from 10 nominations to being completely shut out? What a difference a year makes.

SURPRISE: “F1” (picture)
There’s a demographic in the motion picture academy affectionately known as “steak-eaters,” men in the autumn of their years who appreciate a good Dad Movie centered on old(ish) guys who most definitely know best. With membership broadening, this demo has lost a bit of its influence over the years. But the dudes can take a victory lap today, celebrating the nomination of Joseph Kosinski’s swaggering, vroom-vroom sports movie.

SNUB: “Avatar: Fire and Ash” (picture)
The third “Avatar” movie has grossed $1.3 billion worldwide, which is impressive, though still about $1 billion behind 2022’s “Avatar: The Way of Water.” That movie, like the first one, was nominated for best picture. But “Fire and Ash” couldn’t even manage a nod from the Producers Guild, a group that operates from a bigger-the-better mentality. There’s a feeling of fatigue about the franchise, with even creator James Cameron giving the distinct impression that he’s ready to move on. Here’s another signal that it’s time.

SNUB: “It Was Just an Accident” (picture)
The warning signs were there. Jafar Panahi’s searing (and often funny) social critique of authoritarianism did not fare well on the Oscar or BAFTA early lists. But with the current political climate and the alarming events transpiring in Panahi’s native Iran, it still felt like it’d make the best picture cut. Its absence feels like a big miss or, less charitably, a dereliction of duty.

Stellan Skarsgård, left, and Elle Fanning in a scene from director Joachim Trier’s “Sentimental Value.”

(Kasper Tuxen/Neon)

SURPRISE: Joachim Trier, “Sentimental Value” (director)
Trier seemed to be slipping down the ranks of contenders, but voters no doubt appreciated his film’s salty view of Hollywood as well as the way “Sentimental Value” subtly shifted between past and present, hope and hurt. Trier also earned an original screenplay nomination, repeating the success he enjoyed with his last movie, “The Worst Person in the World,” also starring Renate Reinsve.

SNUB: Guillermo del Toro, “Frankenstein” (director)
Scorsese stumped for him, as did David Fincher, George Lucas and Jason Reitman. “It’s a remarkable work,” Scorsese said during a Q&A with Del Toro. “It stays with you. I dreamed of it.” The affable, movie-loving Del Toro has won many fans inside and outside the industry over the years, along with Oscars for directing and producing the 2017 best picture winner “The Shape of Water” and for “Pinocchio,” the enchanting 2022 movie that snagged animated feature. “Frankenstein” isn’t his best work, but Del Toro did snag a Directors Guild nod. And “Frankenstein” itself earned 9 Oscar nominations. The directors branch, though, went with Trier.

SNUB: Jafar Panahi, “It Was Just an Accident” (director)
Panahi has had quite the year: He won the Palme d’Or at Cannes in May and was sentenced in December to one year in prison for “propaganda activities” related to his work. Both speak to the effectiveness of “It Was Just an Accident,” a withering critique of the cruelty and corruption of an authoritarian regime. Panahi did receive his first Oscar nomination, an original screenplay nod.

SURPRISE: Kate Hudson, “Song Sung Blue” (lead actress)
Hudson’s winning turn in this sincere heart-warmer about a husband-wife Neil Diamond tribute act gave the actor her first nomination since her spectacular arrival a quarter-century ago in “Almost Famous.” “Song Sung Blue” had its own lane in this race, appealing to voters starved for the kind of sincere adult drama that studios once routinely made. And Hudson had a number of famous friends — Demi Moore, Reba McEntire and, of course, her mom, Goldie Hawn — hosting screenings and singing her praises. Maybe even singing some Neil Diamond songs. Who can resist? Not voters.

Chase Infiniti in “One Battle After Another.”

(Warner Bros. Pictures)

SNUB: Chase Infiniti, “One Battle After Another” (lead actress)
Infiniti’s placement in the lead category, clearing the decks in supporting for co-star Teyana Taylor, raised a few eyebrows. She’s only in the movie for about half an hour, and though her character drives the action and ends the movie in spectacular fashion, that wasn’t enough in a category flush with weightier work.

SNUB: Amanda Seyfried, “The Testament of Ann Lee” (lead actress)
For true believers in Seyfried’s frenzied work in Mona Fastvold’s story of devotion and delusion, it’s hard to shake this one off.

SNUB: Cynthia Erivo, “Wicked: For Good” (lead actress)
Here’s the rub: The second half of “Wicked” no longer centers Erivo’s Elphaba. When she’s on the screen — and not wearing that sex cardigan — she’s still great, masterfully conveying Elphaba’s vulnerability and sadness. But in a competitive lead actress category, Erivo simply didn’t have the screen time to convince voters to give her an encore nomination.

SURPRISE: Delroy Lindo, “Sinners” (supporting actor) Lindo finally earned his first Oscar nomination, riding the wave of “Sinners’” record haul. His portrayal of the world-weary Mississippi bluesman Delta Slim was central to the movie’s exploration of life in the Jim Crow South and included a powerful monologue that told the story of the lynching of a fellow musician. The movie wouldn’t have been as special without it.

Paul Mescal in “Hamnet.”

(Agata Grzybowska / Focus Features)

SNUB: Paul Mescal, “Hamnet” (supporting actor) He played Shakespeare, but voters weren’t in love. How sharper than a serpent’s tooth it is to have a thankless audience.

SNUB: Ariana Grande, “Wicked: For Good” (supporting actress)
Grande functioned as a co-lead in the first “Wicked,” winning a supporting actress nomination last year, and took center stage in the sequel. But her Oscar fortunes waned as “Wicked: For Good” couldn’t replicate the spell the original cast on audiences. It’s possible too that, good as she is at light comedy, some voters didn’t buy Glinda’s transformation after spending nearly the entire movie betraying Elphaba at every turn. With friends like her, who needs enemies?

SURPRISE: Elle Fanning, “Sentimental Value” (supporting actress)
SAG-AFTRA voters ignored the cast of “Sentimental Value” for the Actor Awards, but the ensemble came back in a big way with the academy. Fanning, playing an A-list American actress navigating the strained family dynamics of the auteur who hired her for his comeback, joined Reinsve, Inga Ibsdotter Lilleaas and Stellan Skarsgård among the nominees.

SNUB: Odessa A’zion, “Marty Supreme” (supporting actress)
A’zion’s chances at a nomination seemed to rise along with the success of “Marty Supreme.” She picked up an Actor Award nomination earlier this month for playing Rachel, the film’s chaos-creating schemer. Oh well. Maybe we’ll see her at the Emmys later this year for her tumultuous turn as a Gen Z influencer in “I Love LA.”

SNUB: “No Other Choice” (international feature)
Oscar voters have been resistant to Park Chan-wook in the past, ignoring the likes of “Decision to Leave” and “The Handmaiden.” But “No Other Choice,” a humane — and darkly comic — look at ugly things people can do when desperate felt like a potential breakthrough. Park will have to wait … again.

Bobb has fallen down the pecking order at City after the January arrival of Antoine Semenyo from Bournemouth.

“I know there are rumours, I know there are talks,” manager Pep Guardiola said on Saturday after City’s win over Wolves.

Asked if Bobb wants to leave the club, Guardiola replied: “I think so.”

Bobb, who has also had interest from Bundesliga side Borussia Dortmund, has featured 15 times for City this season without scoring.

He last played on 17 December against Brentford in the Carabao Cup, when he hobbled off injured inside the opening 20 minutes.

Fulham have lost only one of their last seven Premier League games under Silva and sit seventh in the table following their 2-1 win over Brighton on Saturday.

Bobb has featured six times for Norway this year, helping them qualify for this summer’s World Cup, and would unite with compatriot Sander Berge at Craven Cottage.

He missed almost the whole of last season after fracturing a bone in his leg during training in August 2024.

As the Sundance Film Festival winds down its final edition in Park City, Utah, this week, ahead of its move to Boulder, Colo., next year, its sway over the nonfiction field at the Oscars remains as steady as ever. All five current Academy Award nominees for documentary feature premiered at last year’s festival, with Sundance films winning the category six times over the last decade.

“Sundance has been a kick-starter for my entire career,” says Ryan White, director of “Come See Me in the Good Light,” his fourth film to premiere at the festival. The intimate portrait of Colorado poet laureate Andrea Gibson, who faces a terminal diagnosis with a spirit of resilience, needed the boost. “The lead words are poetry and cancer, and it’s a character-driven film about a non-binary person,” White says. “It wasn’t the easiest film to get off the ground.” A similar challenge could apply to other nominees, including “Mr. Nobody vs. Putin” and “Cutting Through Rocks,” which focus on everyday individuals taking on oppressive systems in Russia and Iran, respectively. “There are the types of films that can get lost because they’re not about a celebrity, and they don’t have these marquee descriptors. Sundance does such an amazing job of discovering these diamonds.”

Andrea Gibson, left, and Megan Falley in “Come See Me in the Good Light.”

The exposure at the start of the film festival season “gives you that one-year runway that allows you to play festivals all year long,” says White, who was back at Sundance to celebrate the end of an era. He also knows the pain of not making the cut. “My first two films didn’t get into Sundance, and then my third one did. I’m always telling young filmmakers to use the Sundance rejection as fuel.”

A festival berth was strong motivation for “Mr. Nobody” filmmaker David Borenstein, who collaborated with his subject, a schoolteacher near the Ural Mountains named Pavel (“Pasha”) Talankin, as he quietly documented Russian propaganda efforts to rally his young students around the war in Ukraine. “That was the goal the entire time making this film,” says the director, an American based in Copenhagen. “I never thought once about anything after Sundance.” When the Danish Film Institute submitted his film as the country’s entry for the international feature Oscar, he had a new goal. “We were the last to start campaigning because we didn’t have a streamer behind us.”

Borenstein interrupted a family vacation in the Dominican Republic to return to Sundance for meetings and figure out next steps. “Forget winning or losing,” he says. “You have six weeks where you have a voice, where Pasha has a voice. How do you use it?” Talankin, who fled his home — first for Turkey, then the Czech Republic — is, for the moment, no longer “Mr. Nobody,” but as Borenstein notes, “He sacrificed his whole life to do this.”

Iranian American filmmakers Mohammadreza Eyni and Sara Khaki were well into the eight-year production of “Cutting Through Rocks” when they became recipients of a 2020 Sundance Documentary Fund grant. “The timing was perfect and we really, really, really needed that support,” says Khaki, joining Eyni on a video conversation from Park City, where their film won the Grand Jury Prize in the world cinema category last year. “Sundance is something beyond only the festival for us,” Eyni says. “It’s more about persistence as a filmmaker and the cinematic approach to the stories and sense of community.”

“Cutting Through Rocks” follows Sara Shahverdi, the first woman elected to the council of her northwestern Iranian village, as she challenges the practice of child marriage and other patriarchal norms and empowers young women by showing them how to ride motorbikes, as she does herself. The message of resistance feels relevant worldwide, but most urgently in Iran, where estimates of deaths during recent protests top 30,000 people. “We want small stories and anecdotes to remind us that we can bring change,” Eyni says, “even when it’s tough, even when it seems impossible.” Although the film is the first documentary from Iran to be nominated for an Oscar, the news has been hard to share there because of the government’s weeks-long internet blackout.

“We are experiencing a lot of complex emotions,” Eyni says.

Sara Shahverdi, the subject of Oscar-nominated documentary feature “Cutting Through Rocks.”

(Gandom Films)

Sundance thrives on exactly those kinds of feelings. The dramatic premiere of “Come See Me in the Good Light” was, for its filmmaker, “The best night of my entire career.” What began as a film about the end of Gibson’s life quickly became a story about the joy of a life well-lived, experienced alongside the charismatic subject’s wife, poet Megan Falley. When White broke the news about the film’s acceptance, “Andrea was so emotional saying, ‘You’re telling me if I survive for six more weeks, I might see this movie?’” he recalls. And they did.

“I think people fell in love with Andrea during the course of that film, but they probably assumed that Andrea had passed away, and they were about to see a card at the end of the film,” White continues. Then Gibson walked up. “It was like a rock star rising from the ashes. You could literally feel the theater vibrating.”