Best Director: Ranking Every Oscar Nominee
Written by Andreas Babiolakis
Last year’s winner: Bong Joon-ho-Parasite.
We are now done all of the technical nominees, so we just have the three big non-film awards, and then every single version of Best Picture, whether it’s literally Best Picture, or all of the other deviations (International Feature, Documentary Feature, Animated Feature, and all of the shorts categories). Since I don’t want to split the two big acting categories, let’s go straight to the second biggest prize: Best Director. I try to remind readers whenever I can that Best Director does not always go hand-in-hand with Best Picture (even though I believe the same film will win both categories this year). For me, one film can be better than another, but the latter can have more interesting, refreshing, or prioritized direction. A good example is in 2015, when I thought Spotlight was a better film than The Revenant, but the latter had such an aesthetic, auteur quality to it; it clearly deserved the award more. So, with that in mind, you might be seeing this kind of mentality throughout this list. I’m observing which directors left more of a mark on their films. Here are your nominees.
Biggest Snub: Judas and the Black Messiah-Shaka King
I know Judas and the Black Messiah was late to the game, and this category was already stacked (even without the surprise nomination of Thomas Vinterberg), but King’s thumbprint on his film is crucial. His integration of real footages (and replications of his own of actual events and images), as well as his more-than-the-norm approach to everything else elevates Judas from a biopic or based-on-a-true-story archetype to something far more exciting, visceral, and intense.
5. Promising Young Woman-Emerald Fennell
This is one of those instances where I hate having to place someone last. I think it’s special that first time filmmaker Emerald Fennell is here, especially since she took so many risks and made her voice very clear even this early on. Why is she last then? I might not like every single decision she made (more on that in the review), but I appreciate that she was willing to try many things. Otherwise, her successes are remarkable, her boldness is unmistakable, and I’m dying to see what else she is going to make. Despite being last, Fennell earned her spot.
4. Another Round-Thomas Vinterberg
I think everyone was shocked that Thomas Vinterberg found his way here, but I think it’s a positive surprise for sure. Even though Another Round is no The Hunt, I think Vinterberg got some love here for his interesting choices, like having the title cards of alcohol percentages, or some of the changes in filmmaking style between sober states and drunken outings. I think this nomination is more of a recognition thing, but welcome to the club anyway, Thomas! Besides, it’s always nice to see an international director be recognized here, even if their film isn’t up for Best Picture or anything (still great to see this kudos nonetheless).
3. Mank-David Fincher
Much of Mank’s success comes from the entire crew’s recreation of the Golden Age of Hollywood, but you know David Fincher’s stamp-of-approval is all over this. Case in point: the little things, like the punched holes in the “film” for the projectionist to swap reels, the overlays in some sequences, and other throwback tributes. Mank would have felt like an older film anyway, but Fincher clearly went the extra mile to make it so. In a film like Fight Club, his commentary-via-filmmaking is more abrasive and meant to grab your attention. In Mank, he creates an illusion, and it’s quite a lush experience.
2. Minari-Lee Isaac Chung
So Minari was my film of the year, and Lee Isaac Chung’s direction here is truly deserving of being recognized. He creates such a poetic, soothing environment, which never translates to frightening or anxious; at its most negative, Minari is heartbreaking. Chung’s tone throughout the film is hypnotic, and his ability to blend domestic concerns, suburbian America in the ‘80s, and the blissfulness of life is such a magnificent achievement. Another surprising nomination (far less than Vinterberg, to be fair), but I’m thrilled that Chung made it.
1. Nomadland-Chloé Zhao
Even though I prefer Minari as a film overall, what Chloé Zhao pulls off with Nomadland takes the cake for me in a category like Best Director. Her film zips past different experiences and sights (churned into memories), and the entire picture is lived, not watched. Furthermore, her coalescing of a fictional story and the accounts of real nomads (featured pretty much as themselves) creates a singular American tale; not quite a documentary, but a masterful depiction and capturing of real life as well. Zhao’s understanding of America is second to none, and Nomadland is the next great American film thanks to her untouchable vision.
Who I want to win: Chloé Zhao. I think she has been an exciting filmmaker for the last few years (soon to be featured on Films Fatale’s upcoming Wall of Directors; more news on that soon), and Nomadland is clearly her opus. Nonetheless, I love all five of these filmmakers and think they are all worthy of being here, but, to me, what Zhao creates with Nomadland is just such a unique, refreshing experience.
Who I think will win: At this point, it seems impossible for Chloé Zhao to lose. There would have to be a major shift in the awards season to change everything, but I can’t see that happening.
Tune in tomorrow for our next Academy Award category! We’re reviewing every single nominee.
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.