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Interview: Ivo van Hove on Adapting Visconti’s The Damned for the Stage

We spoke to the Belgian-born titan of the theater about the experience of bringing new life to Visconti’s provocative The Damned.



Interview: Ivo van Hove on Adapting Visconti’s The Damned for the Stage
Photo: Jan Versweyveld

There are no half measures with Ivo van Hove. Whether he’s revisiting modern classics like Arthur Miller’s A View from the Bridge and The Crucible, or premiering David Bowie’s musical Lazarus, you can expect riveting—and in some instances controversial—theater fare from the Belgian-born director. So there’s great anticipation for his latest New York production: an epic staging of The Damned at the Park Avenue Armory, which runs from July 17 to 28.

The production, created for the Comédie-Française theater in Paris, premiered two summers ago at the Festival d’Avignon and is adapted from the Oscar-nominated screenplay for the 1969 film by Italian auteur Luchino Visconti. An operatic tale of decadence and greed, The Damned recounts the internecine struggles and disintegration of the powerful von Essenbeck family as they collude with the rising Nazi regime in 1930s Germany.

Hailed as a visionary, and sometimes dismissed as a provocateur, van Hove is currently in great demand in theater capitals across the globe. His upcoming international projects include the world-premiere stage adaptation of Hanya Yanagihara’s A Little Life, opening in September at the Toneelgroep Amsterdam, van Hove’s home-theater base; a new adaptation of All About Eve, set to premiere next February in London’s West End; and Électre/Oreste, a combination of two Euripides plays that will be presented next Summer at the ancient Epidaurus theater in Greece. And it’s just been announced that van Hove will helm a new interpretation of the classic American musical West Side Story, slated for Broadway at the end of next year.

Recently, I had the chance to sit down with van Hove and talk about the experience of bringing new life to Visconti’s provocative The Damned.

What drew you in the first place to Visconti’s film?

The first thing that was important for me when I read the screenplay is that it talks about the venomous alliance between the industrial world and the political world—in this case the steel industry and the extreme right-wing Nazi regime. They need each other for some reason. And that’s the great shocking thing, because this family is based on the Krupps, the world-famous steel industry family. There’s a wonderful moment in the beginning where the patriarch says, “I hate this man”—he doesn’t even mention Hitler by name—“but for the good of the company, for the prosperity of our family we have to do this.” So that’s how people make alliances—things to think about.


As you know from my work, I like a big family story. So that’s the second reason. But this is also a terrible family. The mother has a very complicated relationship with her son; the son doesn’t feel loved by his mother. I call it a nest of vipers. Is that a good English word for it? There is no tenderness, or if there is, it’s manipulative. This is a family that’s everything you don’t want your family to be. They are the anti-family. At the same time, it was one of the most influential and powerful families in Europe at that time.

Then I discovered during my preparations, and even more during rehearsals, that there was also a story about two young men: The famous one is Martin [grandson of the patriarch], but there is also [his cousin] Günther. Günther wants to be an artist and play music and Martin just doesn’t know what he wants in his life. He’s searching and he wants some guidance; he has no parents taking care of him so he’s like an adolescent kicking around and making provocations. These two young people are totally in this minefield of politics and financial interests, which they couldn’t care less about; they are totally apolitical. And then you see, step by step, how these two young people develop into Nazis. They turn into destroyers—people who are going to destroy other people. Even if they think the Nazis are going to change the world, these two join the Nazis purely for personal reasons. One does it for revenge on his mother and the other to avenge the killing of his father.

Was it difficult to recreate that period of German history?

I not only hesitated but refused to bring Nazis on stage [before this] because it is so difficult. Nazi ideology is the most terrible you can imagine so I don’t want to make fun of it; I don’t want to make it kind of a freak show. I wanted to have a “Heil Hitler!” moment that really frightened me and gave me goosebumps. I think we found a theatrical solution to do that. But when I read the story, I think it was much more. It almost becomes emblematic for what is still going on. We must not forget people really believed that this was a change for the better and Hitler was democratically elected. The people of Germany at that moment wanted him. Of course, he used them all for his goals, which was the exclusion of a lot of people.

There’s a chilling line in The Damned where an SS officer talks about channeling the young man’s hate.

Yes, obviously the Nazis use Günther. I thought about the system of radicalization. You see that a lot now. You see that these young people are used because they have a frustration against society. They have a grudge against society because they don’t feel accepted, they don’t feel assimilated, and they have a hard time finding the right education and finding a great job. These things are connected. A lot of ideologies feed on this frustration.


Does it feel like The Damned has become very timely?

More timely now, I dare to say it. Visconti was a visionary you can say, but in his time it was more like looking back to a period. Now we are living in it.

In recent years you’ve adapted many film scripts for the stage. What is it that attracts you to the movies?

When I do a movie on stage I do an adaptation of the movie script, not of the movie. In this case I didn’t see the movie again. I saw it when I was young, and of course there are many images that are so strong in your mind. You can’t avoid them. But for me, it was very easy when I read the script to find my own aesthetics. If I don’t feel that immediately then I don’t do it. Because it makes no sense to repeat the aesthetics of a movie that has been made already.

Is it difficult working with a text that wasn’t intended for the stage?

One of the reasons why I started doing movie scripts on stage is because of the themes. And when you do a movie script on stage, most of the time it’s a world premiere. It’s as if you are doing Hamlet for the first time. That is for me a huge challenge: how to invent the theatrical world for this material. It pushes me further in my thinking about theater.


You seem to be a fan of Visconti. You previously adapted three other of his movie scripts: Rocco and His Brothers, Obsession, and Ludwig.

I was a movie freak when I was young. Actually, I didn’t go to the theater because I didn’t have much money. Movies were cheap, and I lived around the corner from a movie theater, so I went to the movies three or four times a week. I’m a child of the ’70s, and so I lived in the great times of American directors like Cassavetes, Scorsese, Coppola. Also, Italian movies were at a very high level as well as French movies. Then, German movies were just emerging. This was also a time when it was very normal for a theater director to be an opera director and a movie director. Fassbinder did it, Bergman did it, and later on Patrice Chéreau. And, of course, Visconti did it. His movies are like huge canvasses of cruelties of humanity, of cravings of humanity, of despair. As I said, I love family dramas, but not in itself. It has to be telling something about the world: the family as a kind of metaphor for the world. This is something Visconti always found in most of his movies. He has these very personal stories about very recognizable people against the bigger cosmos. He didn’t make very many movies, but every movie that he made dealt with something really specific and was different from the other. He was very much politically engaged.

Would you say there’s also a Shakespearean element to The Damned?

Visconti was a big classicist. The Oresteia is clearly there, a family drama with someone who is killed. Then there’s Macbeth. At a certain moment, this woman marries her lover. He’s not the normal successor, but he’s pushed by her into the kingdom [to become the head of the firm]. There’s a sexual energy between them that pushes them toward evil. That’s justified for total victory and for power—actually not to do anything with that power but just to own it. It’s a great script, really very well written.

Will the staging at the Park Avenue Armory be different from the original that you staged at Avignon two years ago?

It will be close to the original. We opened at the Festival d’Avignon at the Pope’s Palace, which is a huge space, about the size of three Broadway theaters. We have the same width at the Armory. The Pope’s Palace is open air and seats 2000 people. It’s a hard space. I had seen many productions there, so I knew what I had to do and also what not to do. We will have the same feeling here in New York. The Armory does productions that come alive in that space; the space has to give something extra. The Damned is a big production with a lot of actors on stage and it’s very interactive with video and music. The set is more like an installation. When you first see it, the set doesn’t mean anything, but when you start using it—it starts to mean everything. For us, the whole production is always what we call the ritual of evil—so there are a lot of ritualistic moments. This family starts killing each other, and they are killed by the Nazis. A lot of people get killed.


What was the biggest challenge you faced with this production?

To make all these rich themes in The Damned come alive and be visible, and hopefully to create something that also moves people. It’s not about making a historical document—the ending is a very specific thing that’s not in the movie. I won’t say too much more.

The Damned runs from July 17—28 at the Park Avenue Armory.



2019 Oscar Nominations: The Favourite and Roma Lead Field, Bradley Cooper Snubbed for Director, & Cold War Surprises

Nominations for the 91st Academy Awards were announced today and The Favourite and Roma led the way.



The Favourite
Photo: Fox Searchlight Pictures

Nominations for the 91st Academy Awards were announced Tuesday morning. Yorgos Lanthimos’s The Favourite and Alfonso Cuarón’s Roma led the nomination count with 10, followed by Adam McKay’s Vice and Bradley Cooper’s A Star Is Born with eight, Ryan Coogler’s Black Panther with seven, and Spike Lee’s BlacKkKlansman with six.

Cold War made a strong showing, with Pawel Pawlikowski claiming his first nomination for best director. Notably snubbed in the category was Bradley Cooper and Peter Farrelly, whose Green Book is considered the favorite to win best picture after its victory at the Producers Guild Awards. Elsewhere, Timothée Chalamet (Beautiful Boy) had to make way for Sam Elliott (A Star Is Born) in best supporting actor, while Willem Dafoe (At Eternity’s Gate) snagged a spot in the best actor race thought to be reserved for John David Washington (BlacKkKlansman).

See below for a full list of the nominations.

Best Picture
Black Panther
Bohemian Rhapsody
The Favourite
Green Book
A Star Is Born

Best Director
Alfonso Cuarón (Roma)
Yorgos Lanthimos (The Favourite)
Spike Lee (BlacKkKlansman)
Adam McKay (Vice)
Pawel Pawlikowski (Cold War)

Best Actress
Yalitza Aparicio (Roma)
Glenn Close (The Wife)
Olivia Colman (The Favourite)
Lady Gaga (A Star Is Born)
Melissa McCarthy (Can You Ever Forgive Me?)


Best Actor
Christian Bale (Vice)
Bradley Cooper (A Star Is Born)
Willem Dafoe (At Eternity’s Gate)
Rami Malek (Bohemian Rhapsody)
Viggo Mortensen (Green Book)

Best Actress in a Supporting Role
Amy Adams (Vice)
Marina de Tavira (Roma)
Regina King (If Beale Street Could Talk)
Emma Stone (The Favourite)
Rachel Weisz (The Favourite)

Best Actor in a Supporting Role
Mahershala Ali (Green Book)
Adam Driver (BlacKkKlansman)
Sam Elliott (A Star Is Born)
Richard E. Grant (Can You Ever Forgive Me?)
Sam Rockwell (Vice)

Best Costume Design
Mary Zophres, The Ballad of Buster Scruggs
Ruth E. Carter, Black Panther
Sandy Powell, The Favourite
Sandy Powell, Mary Poppins Returns
Alexandra Byrne, Mary Queen of Scots

Best Sound Editing
Black Panther
Bohemian Rhapsody
First Man
A Quiet Place

Best Sound Mixing
Black Panther
Bohemian Rhapsody
First Man
A Star Is Born


Best Animated Short
Animal Behaviour
Late Afternoon
One Small Step

Best Live-Action Short

Best Film Editing
Barry Alexander Brown, BlacKkKlansman
John Ottman, Bohemian Rhapsody
Yorgos Mavropsaridis, The Favourite
Patrick J. Don Vito, Green Book
Hank Corwin, Vice

Best Original Score
Ludwig Goransson, Black Panther
Terence Blanchard, BlacKkKlansman
Nicholas Britell, If Beale Street Could Talk
Alexandre Desplat, Isle of Dogs
Marc Shaiman, Mary Poppins Returns

Best Documentary Feature
Free Solo
Hale County This Morning, This Evening
Minding the Gap
Of Fathers and Sons

Best Documentary Short Subject
Black Sheep
End Game
A Night at the Garden
Period. End of Sentence.


Best Foreign-Language Film
Capernaum (Lebanon)
Cold War (Poland)
Never Look Away (Germany)
Roma (Mexico)
Shoplifters (Japan)

Best Production Design
Hannah Beachler and Jay Hart, Black Panther
Fiona Crombie and Alice Felton, The Favourite
Nathan Crowley and Kathy Lucas, First Man
John Myhre and Gordon Sim, Mary Poppins Returns
Eugenio Caballero and Barbara Enriquez, Roma

Best Visual Effects
Avengers: Infinity War
Christopher Robin
First Man
Ready Player One
Solo: A Star Wars Story

Best Cinematography
Robbie Ryan, The Favourite
Caleb Deschanel, Never Look Away
Alfonso Cuarón, Roma
Matty Libatique, A Star Is Born
Lukasz Zal, Cold War

Best Makeup and Hairstyling
Mary Queen of Scots

Best Animated Feature
Incredibles 2
Isle of Dogs
Ralph Breaks the Internet
Spider-Man: Into the Spider-Verse


Best Adapted Screenplay
Bradley Cooper, Will Fetters, and Eric Roth, A Star Is Born
Joel Coen and Ethan Coen, The Ballad of Buster Scruggs
Spike Lee, David Rabinowitz, Charlie Wachtel and Kevin Willmott, BlacKkKlansman
Barry Jenkins, If Beale Street Could Talk
Nicole Holofcener and Jeff Whitty, Can You Ever Forgive Me?

Best Original Screenplay
Deborah Davis and Tony McNamara, The Favourite
Paul Schrader, First Reformed
Brian Hayes Currie, Peter Farrelly, and Nick Vallelonga, Green Book
Alfonso Cuarón, Roma
Adam McKay, Vice

Best Original Song
“All the Stars,” Black Panther
“I’ll Fight, RBG
“The Place Where Lost Things Go,” Mary Poppins Returns
“Shallow,” A Star Is Born
“When a Cowboy Trades His Spurs for Wings,” The Ballad of Buster Scruggs

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WATCH: Stylish Queer Short Film Stay Makes Its Online Premiere

Brandon Zuck’s sexy and stylish gay thriller Stay debuts for free online.



Brandon Zuck

Writer-director Brandon Zuck’s sexy and stylish gay thriller Stay made its premiere on the film festival circuit back in 2013, but the L.A.-based filmmaker is finally debuting it for free online. The short film, which Zuck claims is loosely based on events from his past, follows Ash (Brandon Harris) and his ex-boyfriend, Jacks (Julian Brand), on a road trip to the Florida Keys where the pair get mixed up in a fatal drug deal.

“I think maybe I was holding onto the film because it’s such a part of me,” Zuck says about his decision to release Stay on YouTube, which has been criticized by queer creators and organizations like GLAAD for ever-changing content guidelines that appear to target content made by and for LGBT people.

“YouTube started age-restricting my other LGBT films and—to be totally honest—I got furious. YouTube is this faceless behemoth and there’s nothing someone like me can do to fight any of it directly. Really the only thing I could think of was just putting more queer content out there. And Stay was sitting right there on my desktop where it’s always been. So I just hit upload. And it got age-restricted. C’est la vie. Next.”

Watch Stay below:

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2019 Oscar Nomination Predictions

How has Oscar royally screwed things up this year? Let us count the ways.



Walt Disney Studios Motion Pictures
Photo: Walt Disney Studios Motion Pictures

How has Oscar royally screwed things up this year? Let us count the ways. The hastily introduced and unceremoniously tabled (for now) “best popular film” Oscar. The impending commercial-break ghettoization of such categories as best cinematography and best film editing, but most certainly not best song and best animated feature. The abortive attempts to unveil Kevin Hart as the host not once, but twice, stymied by the online backlash over years-old anti-gay Twitter jokes and leading AMPAS to opt for George Glass as this year’s master of ceremonies. The strong-arming of its own membership to deter rank-and-file superstars from attending competing precursor award shows. If these end up being the last Oscars ever, and it’s starting to feel as though it should be, what a way to go out, right? Like the floating island of plastic in the Pacific, the cultural and political detritus of Oscar season has spread far beyond any previous rational estimates and will almost certainly outlive our functional presence on this planet. And really, when you think about it, what’s worse: The extinction of mankind or Bohemian Rhapsody winning the best picture Oscar? In that spirit, we press on.



There will be plenty of time, too much time, to go deep on the many ways Green Book reveals the flawed soul of your average, aged white liberal in America circa 2019. For now, let’s just admit that it’s as sure a nominee as The Favourite, Roma, and A Star Is Born. (There’s snackable irony in the fact that a movie called The Front Runner became very much not an Oscar front runner in a year that doesn’t appear to have a solid front runner.) And even though few seem to be predicting it for an actual win here, Spike Lee’s BlacKkKlansman has an almost spotless precursor track record, showing up almost across the board among the guilds. Predicting this category would’ve been easy enough when Oscar limited it to five films, but it’s strangely almost as easy this year to see where the line will cut off between five and 10. Adam McKay’s Vice may be without shame, but you don’t have to strain hard to see how people could mistake it for the film of the moment. Bohemian Rhapsody is certainly lacking in merit, but, much like our comrade in chief, Oscar has never been more desperate for people to like and respect him, and a hit is a hit. Except when it’s a Marvel movie, which is why Black Panther stands precariously on the category’s line of cutoff, despite the rabid enthusiasm from certain corners that will likely be enough to push it through.

Will Be Nominated: BlacKkKlansman, Black Panther, Bohemian Rhapsody, The Favourite, Green Book, Roma, A Star Is Born, and Vice

Closest Runners-Up: If Beale Street Could Talk and A Quiet Place

Should Be Nominated: BlacKkKlansman, Burning, First Reformed, Let the Sunshine In, and Zama

Best Director

Yorgos Lanthimos

Everyone can agree that Bohemian Rhapsody will be one of the best picture contenders that doesn’t get a corresponding best director nomination, but virtually all the other nominees we’re predicting have a shot. Including Peter-flashing Farrelly, whose predictably unsubtle work on Green Book (or, Don and Dumber) netted him a widely derided DGA nomination. The outrage over Farrelly’s presence there took some of the heat off Vice’s Adam McKay, but if any DGA contender is going to swap out in favor of Yorgos Lanthimos (for BAFTA favorite The Favourite), it seems likely to be McKay. As Mark Harris has pointed out, Green Book is cruising through this awards season in a lane of its own, a persistently well-liked, well-meaning, unchallenging throwback whose defiant fans are clearly in a fighting mood.


Will Be Nominated: Bradley Cooper (A Star Is Born), Alfonso Cuarón (Roma), Peter Farrelly (Green Book), Yorgos Lanthimos (The Favourite), and Spike Lee (BlacKkKlansman)

Closest Runners-Up: Ryan Coogler (Black Panther), Barry Jenkins (If Beale Street Could Talk), and Adam McKay (Vice)

Should Be Nominated: Lee Chang-dong (Burning), Claire Denis (Let the Sunshine In), Spike Lee (BlacKkKlansman), Lucrecia Martel (Zama), and Paul Schrader (First Reformed)

Best Actress

Yalitza Aparicio

Had Fox Searchlight reversed their category-fraud strategizing and flipped The Favourite’s Olivia Coleman into supporting and Rachel Weisz and Emma Stone into lead, the five best actress slots would arguably have been locked down weeks, if not months, ago, unless Fox’s bet-hedging intuits some form of industry resistance to double female-led propositions. As it stands, there are four locks that hardly need mention and a slew of candidates on basically equal footing. Hereditary’s Toni Collette has become shrieking awards show junkies’ cause célèbre this year, though she actually has the critic awards haul to back them up, having won more of the regional prizes than anyone else. The same demographic backing Collette gave up hope long ago on Viola Davis being able to survive the Widows collapse, and yet there by the grace of BAFTA does she live on to fight another round. Elsie Fisher’s palpable awkwardness in Eighth Grade and winning awkwardness navigating the Hollywood circuit have earned her an almost protective backing. But we’re going out on a limb and calling it for the rapturously received Roma’s Yalitza Aparicio. Voters could, like us, find it not a particularly great performance and still parlay their good will for her into a nomination that’s there for the taking.

Will Be Nominated: Yalitza Aparicio (Roma), Glenn Close (The Wife), Olivia Colman (The Favourite), Lady Gaga (A Star Is Born), and Melissa McCarthy (Can You Ever Forgive Me?)

Closest Runners-Up: Toni Collette (Hereditary), Viola Davis (Widows), and Elsie Fisher (Eighth Grade)


Should Be Nominated: Juliette Binoche (Let the Sunshine In), Toni Collette (Hereditary), Olivia Colman (The Favourite), Regina Hall (Support the Girls), and Melissa McCarthy (Can You Ever Forgive Me?)


John David Washington

Take Toni Collette’s trophies thus far in the competition and double them. And then add a few more. That’s the magnitude of endorsements backing First Reformed’s Ethan Hawke. And his trajectory has the clear markings of an almost overqualified performance that, like Naomi Watts’s in Mulholland Drive, cinephiles decades from now will wonder how Oscar snubbed. If Pastor Ernst Toller and Sasha Stone are right and God is indeed watching us all and cares what the Academy Awards do, Hawke’s nomination will come at the expense of John David Washington, whose strength in the precursors thus far (SAG and Globe-nominated) is maybe the most notable bellwether of BlacKkKlansman’s overall strength. Because, as with the best actress category, the other four slots are basically preordained. Unlike with best actress, the bench of also-rans appears to be one solitary soul. A fitting place for Paul Schrader’s man against the world.

Will Be Nominated: Christian Bale (Vice), Bradley Cooper (A Star Is Born), Rami Malek (Bohemian Rhapsody), Viggo Mortensen (Green Book), and John David Washington (BlacKkKlansman)

Closest Runners-Up: Ethan Hawke (First Reformed)

Should Be Nominated: Yoo Ah-in (Burning), Ben Foster (Leave No Trace), Ethan Hawke (First Reformed), Meinhard Neumann (Western), and John David Washington (BlacKkKlansman)

Supporting Actress

Emily Blunt

Every Oscar prognosticator worth their bragging rights has spent the last couple weeks conspicuously rubbing their hands together about Regina King’s chances. The all-or-nothing volley that’s seen her sweep the critics’ awards and win the Golden Globe, and at the same time not even get nominations from within the industry—she was left off the ballot by both SAG and the BAFTAs—are narrative disruptions among a class that lives for narratives and dies of incorrect predictions. But despite the kvetching, King is as safe as anyone for a nomination in this category. It doesn’t hurt that, outside the pair of lead actresses from The Favourite, almost everyone else in the running this year feels like a 7th- or 8th-place also-ran. Except maybe Widows’s Elizabeth Debicki, whose fervent fans probably number just enough to land her…in 7th or 8th place. Vice’s Amy Adams is set to reach the Glenn Close club with her sixth Oscar nomination, and if she’d only managed to sustain the same loopy energy she brings to Lynne Cheney’s campaign-trail promise to keep her bra on, she’d deserve it. Which leaves a slot for supportive housewives Claire Foy, Nicole Kidman, and Emily Blunt. Even before the collapse of Mary Poppins Returns, we preferred Blunt’s chances in A Quiet Place.


Will Be Nominated: Amy Adams (Vice), Emily Blunt (A Quiet Place), Regina King (If Beale Street Could Talk), Emma Stone (The Favourite), and Rachel Weisz (The Favourite)

Closest Runners-Up: Claire Foy (First Man), Nicole Kidman (Boy Erased), and Margot Robbie (Mary, Queen of Scots)

Should Be Nominated: Sakura Ando (Shoplifters), Zoe Kazan (The Ballad of Buster Scruggs), Regina King (If Beale Street Could Talk), Rachel McAdams (Disobedience), and Haley Lu Richardson (Support the Girls)

Supporting Actor

Timothée Chalamet

The same people who’re curiously doubting Regina King’s nomination chances seem awfully assured that Sam Elliott’s moist-eyed, clearly canonical backing-the-truck-up scene in A Star Is Born assures him not only a nomination but probably the win. Elliott missed nominations with both the Golden Globes and BAFTA, and it was hard not to notice just how enthusiasm for A Star Is Born seemed to be cooling during the same period Oscar ballots were in circulation. Right around the same time, it started becoming apparent that BlacKkKlansman is a stronger draw than anyone thought, which means Adam Driver (who everyone was already predicting for a nod) won’t have to suffer the representationally awkward fate of being the film’s only nominee. Otherwise, the category appears to favor previously awarded actors (Mahershala Ali and Sam Rockwell) or should have been previously awarded actors (Chalamet). Leaving Michael B. Jordan to remain a should have been previously nominated actor.

Will Be Nominated: Mahershala Ali (Green Book), Timothée Chalamet (Beautiful Boy), Adam Driver (BlacKkKlansman), Richard E. Grant (Can You Ever Forgive Me?), and Sam Rockwell (Vice)

Closest Runners-Up: Sam Elliott (A Star Is Born) and Michael B. Jordan (Black Panther)


Should Be Nominated: Timothée Chalamet (Beautiful Boy), Adam Driver (BlacKkKlansman), Hugh Grant (Paddington 2); Richard E. Grant (Can You Ever Forgive Me?), and Steven Yeun (Burning)

Adapted Screenplay

Can You Ever Forgive Me?

Get beyond the best picture hopefuls BlacKkKlansman and If Beale Street Could Talk, which seem deservedly locked, and A Star Is Born, which is even more deservedly iffy, and you’ll see the screenwriters’ branch deciding just how seriously to take themselves this year, and whether they’re feeling like spiritually reliving the moments that found them nominating Bridesmaids and Logan. If so, then expect Crazy Rich Asians and Black Panther to factor in here. If they most definitely don’t feel frisky, then maybe the foursquare First Man has a shot at reversing its overall downward trajectory. If they’re seeking that “just right” middle ground, then Can You Ever Forgive Me? and The Death of Stalin are in.

Will Be Nominated: BlacKkKlansman, Can You Ever Forgive Me?, The Death of Stalin, If Beale Street Could Talk, and A Star Is Born

Closest Runners-Up: Black Panther, Crazy Rich Asians, and First Man

Should Be Nominated: BlacKkKlansman, First Man, Leave No Trace, The Grief of Others, and We the Animals

Original Screenplay

First Reformed

It’s not unusual for some of the year’s most acclaimed movies whose strength isn’t necessarily in their scripts to get nominated only in the screenwriting categories. First Reformed, which even some of its fiercest defenders admit can sometimes feel a bit like Paul Schrader’s “It’s Still Rock and Roll to Me” greatest-hits package, stands to be another of them. But it’ll be a close call, given the number of other equally vanguard options they’ll be weighing it against, like Sorry to Bother You, which arguably feels more urgently in the moment in form, Eighth Grade, which is more empathetically post-#MeToo, and even Cold War, which had a surprisingly strong showing with BAFTA. Given the quartet of assured best picture contenders in the mix, First Reformed is going to have to hold off all of them.


Will Be Nominated: The Favourite, First Reformed, Green Book, Roma, and Vice

Closest Runners-Up: Cold War, Eighth Grade, and Sorry to Bother You

Should Be Nominated: The Ballad of Buster Scruggs, Bodied, First Reformed, Sorry to Bother You, and Western

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