CONTENTS 2-5 WELCOME LET TERS 6-11 THE HOST: DAVID TENNANT 12-17 THE FELLOW: SAMANTHA MORTON 20-29 THE OUTSTANDING CONTRIBUTION: JUNE GIVANNI 30-37 THE BREAK THROUGHS: VIVIAN OPARAH, GEORGIA OAKLEY, ELLA GLENDINING 40-46 THE YEAR THAT WAS 51-99 THE NOMINATIONS 100-101 HOW TO GET INVOLVED 102-112 THANKS & ACKNOWLEDGEMENTS
#EEBAFTAs Follow BAFTA BAFTA.ORG 1
As President of BAFTA, I am delighted to welcome you to the EE BAFTA Film Awards, bringing us together to celebrate the many extraordinary films made over the last year and the people who bring them to life. Occasions like tonight are wonderful showcases for the creative skill that powers the British and global screen arts, as well as providing a list of fantastic films for audiences around the world to enjoy. The screen arts are such an important part of the fabric of our nation. Our films, games and television shows are some of our best exports on the global stage, thanks to the skill, innovation and cultural dynamism of our country’s creative minds. But the industry relies on BAFTA to nurture the talent of tomorrow, so that budding filmmakers, no matter their background, have a real opportunity to bring their stories to life. I know many in the room tonight have contributed to this important work in some way, whether through mentoring, offering time to an initiative, or financial support. As a charity, BAFTA is hugely grateful to all those who support these endeavours. I am very proud to be involved with an organisation that is dedicated to breaking down barriers for the storytellers of the future. I warmly congratulate all the filmmakers whose work features in this year’s longlists and nominations, and I wish you all a wonderful evening. HRH The Prince of Wales, k.g. k.t. President of BAFTA
W E LC O M E It’s an honour to welcome you all this evening. Staging Britain’s biggest night of film is a unique and not-inconsiderable undertaking. The closely guarded 26 masks and gold envelopes backstage represent not only the pinnacle of achievement in film in the past year, they also represent year-long planning, preparation and dedication by a small and incredibly hardworking team of BAFTA staff and our partners, who bring this night to life. Thank you to you all. The EE BAFTA Film Awards are peer voted by 7,800 expert creatives and practitioners from our UK and international membership. We are delighted that record levels of voting took place ahead of the nominations, with more hours watched on our streaming platform, BAFTA View, than ever before. From All of Us Strangers to The Zone of Interest, the A to Z of films this year proved unmissable. Millions of people around the world are watching tonight on the BBC, Britbox and other outlets, many dreaming they might someday forge a successful career in the screen arts. It is thanks to the generosity of many of the guests present this evening, who donate to BAFTA and support our work as an arts charity, that we can continue to open doors for the next generation. Congratulations to all this year’s nominees. We hope you all have a fantastic night.
Jane Millichip CEO, BAFTA
Sara Putt BAFTA Chair
E E W E LC O M E Looking back on the past year’s big screen successes, it’s impossible to look beyond the summer’s headline double act: Barbie and Oppenheimer. Greta Gerwig’s riotous, candy-coloured feminist fable (thanks to Mark Kermode for that line) was a joy. And as BAFTA’s longstanding partners, everyone at EE could be proud to see Emma Mackey – last year’s EE Rising Star – play her part in the film’s success. Meanwhile, Florence Pugh’s turn in Christopher Nolan’s volatile and brilliant cinematic triumph saw another former EE Rising Star nominee go big at the box office. We continue to celebrate the industry’s emerging talent with the EE Rising Star Award. Now in its 19th year, it remains the only category voted for by the British public. Best of luck to our shortlist for 2024: Phoebe Dynevor, Ayo Edebiri, Jacob Elordi, Mia McKenna-Bruce and Sophie Wilde. I’ll leave you with a word on the EE Learn campaign we’re launching alongside this year's ceremony, which will showcase the importance of the arts and the impact they can have as a vehicle to develop life skills. Together, EE and BAFTA want to empower people to learn more, be more and do more. Who knows – perhaps it will help one or two rising stars of the future on their way.
Marc Allera CEO, EE
Above and following spreads: ©BAFTA/Charlie Clift, 2024
THE HOST David Tennant’s Opening Ceremonies tex t : paul simper
It started with Doug McClure and a dinosaur. A six-year-old David Tennant entranced on a family visit to the cinema, rapt at the raptors.
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“ I LOV E M O M E N TS I N
F I L M W H E N T H E WO R L D S P I N S O N I TS A X I S ” – David Tennant
“It’s my earliest film memory,” says the actor, Scotsman and, in his latest role, BAFTA host. “Summer holidays were spent at the theatre in Millport, on the isle of Cumbrae. We saw The Land That Time Forgot – not exactly Jurassic Park, but to my six-year-old self it was even better.”
Even as a moviegoer, monsters have always been a major draw for Tennant. Before the 1970s Edgar Rice Burroughs adaptations, he devoured the stop-motion creations of American-British animator Ray Harryhausen – including his 1963 masterpiece Jason and the Argonauts. “You can create anything on a screen So began a fascination with today with computers,” the the crafts of storytelling in actor considers. “But I think film, television and radio that the reason that his films has led Tennant from the still work is to do with the stages of Stratford-upon-Avon physical connection he had and the Donmar Warehouse to those models. You believed to the fantasy worlds of them. You understood that Harry Potter and the Goblet of you weren’t watching real Fire (2005) and Good Omens life but somehow, they were (2019); true crime character absolutely alive.” He cites studies playing figures from Aardman animations – who Alexander Litvinenko to returned this year with Dennis Nilsen; and a proud Chicken Run: Dawn of the tenancy of the Tardis as one Nugget – as a contemporary of the most beloved iterations example of the special quality of Doctor Who. of stop-motion craft. 11
Without revealing any of the surprises that were in store for filmgoers this year, a killer twist is another of Tennant’s prerequisites for a satisfying cinematic experience. “Goodfellas (1990) is one that I have the most vivid memories of. And ‘I see dead people’ (The Sixth Sense, 1999).
Those moments when the world spins on its axis and you think you’ve been watching one thing, but actually you’ve been watching something else entirely.” Awards ceremonies usually come complete with their own rug-pulls, but tonight’s host was simply surprised
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to receive the call in the first place – following such luminaries as Graham Norton, Stephen Fry and Rebel Wilson in the role of master of ceremonies. “This was not a position I ever aspired to, but I am very thrilled to find myself in it,” Tennant says. “I don’t
mean to do anything other than keep it going. And there is a little machine that tells me what happens next. Other than that, I feel sort of blissfully ignorant, like I am stepping out of a plane and assuming my parachute will work.” Whatever the landing, at least there is a Doctor in the house.
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©Sarah Dunn
THE F E L L OW Samantha Morton’s Cult Credentials tex t : christina newl and
There’s an intrinsic wisdom and grit to this year’s BAFTA Fellowship recipient. On film, her characters have told the future in a dystopian America, journeyed to a commune for celebrity lookalikes, and hunted witches and wizards; they’ve also immigrated, brought up families, and experienced grief. Mostly, in one way or another, the women Samantha Morton has played have been survivors.
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“ W H AT D R I V E S
ME CRA ZY IS WHEN I ’ M WO R K I N G W I T H P E O P L E T H AT D O N ’ T H AV E PA S S I O N . I F YO U LOV E F I L M , YO U S H O U L D H AV E A L I T T L E M O R E DA N G E R I N YO U. A V I S I O N I N YO U R H E A R T ” – Samantha Morton
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“Films should be provocative. Films should make people have conversations”, Morton says when we speak. She is calling from the set where she is directing a new, low-budget project in her hometown of Nottingham, as made by her own production company. In true indie spirit, Morton can’t waste any time: all the while speaking passionately about acting and creativity, she is simultaneously eating a sandwich, getting into hair and makeup, and preparing to direct herself onscreen.
christina newland :
Congratulations on the BAFTA fellowship. How does it feel? samantha morton : I was
confused! I had to read the email a couple of times, and then I was very emotional. My speech can’t be very long: I’ll have to get through everything I want to say in 90 seconds. cn : How important was
regional film community and support to your early career?
sm : I trained at the TV
workshop in Nottingham in the late 80s and early 90s. Central TV and Carlton Studios funded the workshop. Sadly, the investment isn’t there for young people any more, because all the investment studios have pulled out. It’s heartbreaking because in the Midlands, much like Manchester or Leeds, the crews and the talent on offer are extraordinary. cn : It’s rare for an actor to
both have such a variety of roles and genres in their work, but to also maintain what feels like a particular sensibility. What are you thinking about when you look at a script? sm : I (strike a) balance between
television, independent cinema, and also trying to tell stories that I believe have to be told – and should be told – because of their social message. That’s massively important to me, with films (about real people) like Longford (2006) or Control (2007). I do enjoy playing working-class women, because that’s what I understand. But I can also play the queen of France! They just have to be utterly believable to me. 17
Under The Skin, 1997
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cn : Tell me about the
cn : You’ve worked with some
experience of making Morvern Callar with Lynne Ramsay and playing such an enigmatic character.
great, idiosyncratic filmmakers, from Harmony Korine to Darren Aronofsky. What do you look for in a director’s vision or approach?
sm : Lynne and I spent a lot
of time talking about her. She’s been in care in the book, and that was something I identified with; the PTSD thing of feeling removed from the situation. She (carries) that from childhood, and so when her boyfriend kills himself, she is watching her own life. My relationship with Lynne is one of so much inspiration and pride. I think she’s genuinely a genius in the way she sees the world.
sm : It’s my dream to work
with anybody that has a vision: please invite me to the party. I love watching them work, how they choose the shots, decide their camera movements, lighting decisions, editing, music. I like auteurs. What drives me crazy is when I’m working with people that don’t have passion. If you love film, you should have a little more danger in you. A vision in your heart.
cn : It’s often been said that
cn : What appealed to you you’re an actor who can utilise about the recent television a silence as well as you can roles you’ve taken on, as in a line delivery. Harlots or The Serpent Queen? sm : It’s life, isn’t it? Not
sm : I love historical drama.
everybody is speaking all of the time. They might be listening. Or maybe they’re not listening; maybe they’re waiting to speak, or thinking of what they’re going to say. That’s human behaviour.
I get to learn, I get to do what I love, be part of a family and learn about history. It’s amazing. And I get to travel. I’m the luckiest girl in the world.
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THE O U T S TA N D I N G CONTRIBUTION June Givanni unearths her PanAfrican Cinema Archive’s hidden threads tex t and co - curation : simran hans
In a chilly office overlooking London’s historic Fleet Street, June Givanni removes a small brass bird from inside a wooden box.
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©BAFTA/Charlie Clift, 2024
The bird’s head is turned, as though peering over its shoulder. The brooch was given to her as a gift by an artist, who crafted it after spending time in the June Givanni PanAfrican Cinema Archive while studying at Central Saint Martins. They had been inspired by a concept that the curator, programmer and this year’s Outstanding British Contribution to Cinema award recipient had taught them about. Sankofa was the name of the pioneering film and video collective founded in 1983 by Black British artists Isaac Julien, Martina Attille, Maureen Blackwood, Nadine Marsh-Edwards and Robert Crusz. But sankofa is also “a philosophy,” says Givanni, originating from the Akan people of Ghana. “It’s about knowing the past to better guide your future, symbolised by a bird that’s looking back.” Wasis Diop, from the original shooting script for Hyenas (Djibril Diop Mambéty, 1992, Senegal)
Givanni is the founder of the June Givanni PanAfrican Cinema Archive, which comprises more than 10,000 items that tell the story of filmmaking across Africa and the diaspora. Freestanding shelves are stacked with carefully labelled boxes containing precious items. These include the original shooting script for Hyenas (1992), one of only two feature films made by Senegalese filmmaker Djibril Diop Mambéty, and rare copies of magazines that have ceased publication, like Ecrans d’Afrique and Black Film Bulletin, the latter of which Givanni started herself. A programme from the Third Eye Festival of World Cinema in London is evidence that there has always been an audience for Black film, and a publication detailing the independent films that emerged from the grantaided, community led workshops commissioned by Channel Four in 1986 are a reminder that vital groundwork for present-day investment in Black talent was being laid decades ago. 25
Givanni has been doing this work – identifying, preserving, studying and celebrating Black filmmaking – for over 40 years. “It’s this network of knowledge that a curator can take to various places, that I think people are really appreciative of,” she says. In the following pages, the recipient of this year’s Outstanding British Contribution to Cinema award uncovers some of those threads.
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Clockwise L-R: Bill Gunn on the cover of Black Film Review (1989, USA); African Video Centre Booklet (Date unknown, UK); festival programme, Third Eye Festival of World Cinema (1983, UK); still from Horace Ové’s Pressure (1975) for Black Film Bulletin’s ‘100 Years of Cinema’ issue (1996, UK) 27
Clockwise L-R: One of the last surviving physical copies of the dossier from the Black Film British Cinema Conference 1988 at the ICA (1988, UK); first edition of the Black & Asian Film/Video List (1988, UK); Anti-Racist Film Programme (1985, UK) 29
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L-R: Special issue on Black and Ethnic Minority Women published by the Greater London Council (1986, UK); African Conversations magazine (1995, UK) 31
In-conversation
VIVIAN O PA R A H ELLA GLENDINING GEORGIA OA K L E Y
THE BREAK THROUGHS The actor, director and documentary filmmaker on their debut features, BAFTA Breakthrough and the importance of community tex t : cl aire marie healy
Vivian Oparah (Rye Lane, 2023), Georgia Oakley (Blue Jean, 2022) and Ella Glendining (Is There Anybody Out There?, 2023) are all participants in 2023’s BAFTA Breakthrough UK, supported by Netflix. The initiative showcases and supports the next generation of creatives in film, games and television, helping leverage early success into sustainable careers.
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Above and following spreads: ©BAFTA/Vivek Vadoliya, 2023
ella glendining :
eg : Exactly. I’m not sure I’ve
I got very fixated on being a BAFTA Breakthrough. I’m not really sure why: I just decided, ‘this is a serious goal of mine’. I don’t know why I bothered applying before because I hadn’t actually made a feature film yet, but I was like, I’m just gonna say I’m in a wheelchair. See what happens! (laughs)
ever even picked up a game controller. For me, I really, really value mentor figures, so the mentoring aspect is a big draw. I feel like that’s really invaluable.
georgia oakley :
Yeah, it wasn’t my first time applying either! vivian oparah :
For me, Breakthrough is so useful. I feel like these incredible moments happen in your career and your life, and you’re put on a platform, but you don’t really know how to harness that moment so it’s not just “a moment.” go : I also really liked that
it’s interdisciplinary. And that there are people doing things that I know absolutely nothing about. Like they’re smashing it in the games industry, for instance.
vo : I really crave mentors.
I didn’t go to drama school, and I never studied acting, so I don’t have a cohort of people or friends already. Sometimes it can feel kind of superfluous, if I’m designated ‘One to Watch’ but I’m in my bedroom wondering what to do with my career (laughs). I want to feel like I’m learning. Being able to be mentored by people in the industry, and to be able to call everyone my contemporaries, just feels like a blessing. go : Having been on the
BAFTA BFI Flare scheme before, I knew that being part of a cohort is a wonderful thing. Maybe we won’t all be in the same room together at the same time, but even just being on the same list as other people, it means you share that in common. 35
“ A BIG INSECURIT Y
I S B E I N G A T I C K B OX EXERCISE FOREVER. B U T E Q UA L LY I U S E I T TO D R I V E M E F O RWA R D ” – Ella Glendining
It’s important because the film industry, particularly directing and writing, can be isolated and isolating. It can be quite daunting. Also, I think the industry, perhaps unintentionally, does pit people against each other. So there’s only space for one woman, or one disabled filmmaker, or one queer filmmaker. It’s nice to actually meet people, connect and reassure each other that there’s space for everybody.
vo : I also feel like in general,
it’s dangerous slash scary to only have one primary interest that you always return to – if I did that, I think I would base so much of my self-worth in that one thing. go : With Blue Jean I don’t
think I started out with any intention to contribute something that I felt was missing, but then as the project developed, I started thinking about things that I felt were lacking in terms of representation. And one eg : A big insecurity of mine of those things that’s easy is being a tick box exercise forever. That’s probably never to pinpoint in the film is in going to leave me, but equally the depiction of a lesbian relationship. You know, two I use it to drive me forward and let my work speak for itself. women sat on a sofa eating 37
“ A S A C R E AT I V E , YO U
WA N T TO B E E X PA N S I V E A N D C O N T I N U E TO C H A L L E N G E YO U R S E L F ” – Vivian Oparah
Pot Noodle on a Saturday night watching TV, and not having to show how they met or how they fell in love. I hadn’t seen enough of that.
reach everyone. I’m personally very excited to make my next film, which has disabled characters at its core, but is not overtly about disability.
vo : With Rye Lane, I hadn’t
vo : Naturally, when people
really read anything like that before in terms of a Black female romantic lead, or a Black woman written like that – it really jumped off the page.
see you as one thing, they want to continue seeing you in things like that. Which is very sweet. But as a creative, you want to be expansive and continue eg : I really wanted to to challenge yourself. Also: represent my community. the reception can surprise But finding the balance in the you. With Rye Lane, it felt edit was probably my biggest like a super-British style of challenge. There was an early humor, but we premiered in iteration of the film where the snowy mountains of Utah I come across as really angry, at Sundance and people were and that would have been dying laughing. When it hits, good for disabled audiences, you’ve got to be proud of that. but equally I wanted it to 39
N ETFLIX PR O U D LY
2024 EE BAFTA FILM
DIRECTOR BRADLEY COOPER
ORIGINAL SCREENPLAY BRADLEY COOPER, JOSH SINGER LEADING ACTRESS
FILM NOT IN THE ENGLISH LANGUAGE J.A. BAYONA, BELÉN ATIENZA SANDRA HERMIDA
2v -CAREY MULLIGAN
LEADING ACTOR BRADLEY COOPER
CINEMATOGRAPHY MATTHEW LIBATIQUE MAKE UP & HAIR SIÂN GRIGG KAY GEORGIOU KAZU HIRO LORI MCCOY-BELL SOUND RICHARD KING STEVE MORROW TOM OZANICH JASON RUDER DEAN ZUPANCIC
LEADING ACTOR COLMAN DOMINGO
C O N G R AT U L ATES O U R
AWARDS NOMINEES
DOCUMENTARY MATTHEW HEINEMAN LAUREN DOMINO JOEDAN OKUN
ANIMATED FILM SAM FELL LEYLA HOBART STEVE PEGRAM
AND ALSO CONGRATULATES THE NOMINEES FOR THIS YEAR’S
EE RISING STAR AWARD PHOEBE DYNEVOR AYO EDEBIRI JACOB ELORDI MIA MCKENNA-BRUCE SOPHIE WILDE
DOCUMENTARY CHRIS SMITH, JOHN BATTSEK SIMON HALFON
Above and following spread: ©BAFTA/Greg Williams, 2023
THE YEAR T H AT WA S Six Degrees of 2023
Debuts, deep-dives and one unforgettable rap performance: connecting the dots of BAFTA’s cinematic year in review.
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As well as on-the-rise talent and historic wins, 2023’s film awards provided Richard E Grant witticisms, behind the scenes encounters, and the line heard around the world by anyone who ever did the thing... 44
Listen up. Ahead of tonight’s Film Awards, the Countdown to the BAFTAs podcast series provided a deep-dive behind the scenes of longlisted films in the Best Film category: From Anatomy of a Fall to Past Lives, 2023’s leading filmmakers shared their respective projects’ journeys to the big screen. 45
“ LOACH, LEIGH, ALAN
CLARKE: THEY SHOWED ME THAT THE WORLD I WAS LIVING IN WAS WORTHY OF BEING ON SCREEN. I WASN'T SEEING IT IN THAT ESCAPIST WAY THAT I WAS SEEING SPAGHETTI WESTERNS, BUT I DID THINK THAT MY LIFE HAD SOME KIND OF VALUE ON A SCREEN.
I JUST NEVER THOUGHT I COULD GET THERE ” – Shane Meadows 46
The David Lean lecture is Also, in December 2023, BAFTA’s annual celebration of as part of BAFTA’s ongoing the leading filmmakers goal to address socio-economic of our time. Following such inequality in the screen arts, names as Lone Scherfig, it published a new ‘Invisible Pedro Almodóvar, and Spike Barriers’ guide for hirers. Lee, the self-taught Midlands The 16 testimonials from filmmaker shane meadows leading creatives include gave this talk in December. Danny Brocklehurst, The director reflected on his Aisha Bywaters, shane journey into the arts, how to meadows , Jack O’Connell, combat imposter syndrome charlot te regan and and shared his childhood over 30 testimonials. love for pirated VHS tapes of Spaghetti Westerns. ©BAFTA/2023 Getty Images
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Successful participants of BAFTA Breakthrough receive voting membership of BAFTA for a year, as well as a completely tailored year of support, industry introductions and career development: this year, cinematic ones-to-watch including writer/director charlot te regan , performer Bella Ramsey and director georgia oakley make up the latest recruits. But did you know the Netflix-supported Breakthrough scheme also encompasses global talent in India and the USA?
BFI Flare x BAFTA (in partnership with BFI Network) showcases and supports six LGBTQIA+ filmmakers each year working in film and television, with opportunities including mentoring, wellbeing and career coaching. Look out for former Flare names on your screens from georgia oakley , who this year entered the Breakthrough cohort; writer/director Amrou Al-Kadhi and producer Savannah James-Bayly, whose debut feature Layla just premiered at Sundance; and, in case you missed them, 2023 also saw the release of Dionne Edwards’ Pretty Red Dress, Paris Zarcilla’s Raging Grace and Eimhear O’Neill’s Let the Canary Sing.
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Time’s Up UK congratulates all the nominees in this year’s awards. We are grateful to BAFTA and to over 60 industry partners who have contributed to the establishment of CIISA, the first ever Creative Industries Independent Standards Authority launching at the end of the year to ensure the safety and wellbeing of all those who work in the creative industries.
ciisa.org.uk
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THE N O M I N AT I O N S pg . 53 Adapted Screenplay pg . 55 Animated Film pg . 57 Best Film pg . 58 British Short Animation pg . 59 British Short Film pg . 61 Casting pg . 63 Cinematography pg . 65 Costume Design pg . 67 Director pg . 69 Documentary pg . 71 Editing pg . 73 Film Not in the English Language Make Up & Hair pg . 79 pg . 75 Leading Actor Original Score pg . 81 pg . 77 Leading Actress Original Screenplay pg . 83 Outstanding pg . 84 British Film Outstanding Debut pg . 87 by a British Writer, Director or Producer Production Design pg . 89 Sound pg . 91 Special Visual Effects pg . 93 Supporting Actor pg . 95 Supporting Actress pg . 97 EE Rising Star pg . 99 53
ADAPTED SCREENPL AY
all of us strangers
Andrew Haigh
oppenheimer
american fiction
Christopher Nolan
Cord Jefferson
poor things
Tony McNamara
the zone of interest
Jonathan Glazer
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A N I M AT E D F I L M
the boy and the heron
Hayao Miyazaki, Toshio Suzuki
chicken run : dawn of the nugget
elemental
Peter Sohn, Denise Ream
Sam Fell, Leyla Hobart, Steve Pegram
spider - man : across the spider - verse
Joaquim Dos Santos, Kemp Powers, Justin K. Thompson, Avi Arad, Phil Lord, Christopher Miller, Amy Pascal, Christina Steinberg 57
BEST FILM
anatomy of a fall
Marie-Ange Luciani, David Thion
killers of the flower moon
the holdovers
Mark Johnson
Dan Friedkin, Daniel Lupi, Martin Scorsese, Bradley Thomas oppenheimer
Christopher Nolan, Charles Roven, Emma Thomas poor things
Ed Guiney, Yorgos Lanthimos, Andrew Lowe, Emma Stone 59
BRITISH SHORT A N I M AT I O N
crab day
Ross Stringer, Bartosz Stanislawek, Aleksandra Sykulak
visible mending
Samantha Moore, Tilley Bancroft
wild summon
Karni Arieli, Saul Freed, Jay Woolley 60
BRITISH SHORT FILM
festival of slaps
Abdou Cissé, Cheri Darbon, George Telfer
jellyfish and lobster
gorka
Joe Weiland, Alex Jefferson
Yasmin Afifi, Elizabeth Rufai such a lovely day
Simon Woods, Polly Stokes, Emma Norton, Kate Phibbs yellow
Elham Ehsas, Dina Mousawi, Azeem Bhati, Yiannis Manolopoulos 61
Congratulations to the 2024 EE BAFTA Film Awards Nominees
Best Film
Outstanding British Film
Documentary
CASTING
all of us strangers
Kahleen Crawford
the holdovers
anatomy of a fall
Susan Shopmaker
Cynthia Arra
how to have sex
Isabella Odoffin
killers of the flower moon
Ellen Lewis, Rene Haynes 63
C I N E M ATO G R A P H Y
killers of the flower moon
Rodrigo Prieto
oppenheimer
maestro
Hoyte van Hoytema
Matthew Libatique
poor things
Robbie Ryan
the zone of interest
. Łukasz Zal
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COSTUME DESIGN
barbie
Jacqueline Durran
napoleon
killers of the flower moon
Dave Crossman, Janty Yates
Jacqueline West
oppenheimer
Ellen Mirojnick
poor things
Holly Waddington
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NOMINATED FOR BEST FILM | LEADING ACTRESS | DIRECTOR ORIGINAL SCREENPLAY | CASTING | EDITING FILM NOT IN THE ENGLISH LANGUAGE
DIRECTOR all of us strangers
Andrew Haigh
anatomy of a fall
Justine Triet
maestro
the holdovers
Bradley Cooper
Alexander Payne
oppenheimer
Christopher Nolan
the zone of interest
Jonathan Glazer
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D O C U M E N TA R Y
20 days in mariupol
Mstyslav Chernov, Raney Aronson Rath, Michelle Mizner
beyond utopia
american symphony
Madeleine Gavin, Rachel Cohen, Jana Edelbaum, Sue Mi Terry
Matthew Heineman, Lauren Domino, Joedan Okun
still : a michael j . fox movie
Davis Guggenheim, Jonathan King, Annetta Marion wham !
Chris Smith, John Battsek, Simon Halfon 71
Making a mark Congratulations to all nominees Official Scrutineers and Partner to BAFTA for over 25 years. Impact that matters for over 150 years. deloitte.co.uk/TMT © 2024 Deloitte LLP. All rights reserved.
EDITING
anatomy of a fall
Laurent Sénéchal
oppenheimer
killers of the flower moon
Jennifer Lame
Thelma Schoonmaker
poor things
Yorgos Mavropsaridis
the zone of interest
Paul Watts
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ENJOY RESPONSIBLY
Live in the Delicious PROUD TO BE OFFICIAL WINE PARTNER SINCE 2009.
FILM NOT IN THE ENGLISH LANGUAGE
20 days in mariupol
Mstyslav Chernov, Raney Aronson Rath, Michelle Mizner
past lives
anatomy of a fall
Celine Song, David Hinojosa, Pamela Koffler, Christine Vachon
Justine Triet, Marie-Ange Luciani, David Thion
societ y of the snow
J.A. Bayona, Belén Atienza, Sandra Hermida the zone of interest
Jonathan Glazer, James Wilson
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LEADING ACTOR bradley cooper
Maestro
colman domingo
Rustin
barry keoghan
paul giamat ti
Saltburn
The Holdovers
cillian murphy
Oppenheimer
teo yoo
Past Lives
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WARNER BROS. PICTURES CONGRATULATES OUR NOMINEES AT THE EE BAFTA FILM AWARDS IN 2024
ORIGINAL SCREENPLAY
LEADING ACTRESS
SUPPORTING ACTOR
GRETA GERWIG, NOAH BAUMBACH
MARGOT ROBBIE
RYAN GOSLING
PRODUCTION DESIGN
COSTUME DESIGN
SARAH GREENWOOD, KATIE SPENCER
JACQUELINE DURRAN
LEADING ACTRESS
SUPPORTING ACTRESS
FANTASIA BARRINO
DANIELLE BROOKS
OUTSTANDING BRITISH FILM PAUL KING, DAVID HEYMAN , p.g.a., ALEXANDRA DERBYSHIRE , p.g.a., SIMON FARNABY
EE RISING STAR AYO EDEBIRI
W W W. W B AWA R D S . C OM / B A F TA
©2024 Warner Bros Ent. All Rights Reserved.
LEADING ACTRESS fantasia barrino
The Color Purple
sandra h Ü ller
Anatomy of a Fall
vivian oparah
carey mulligan
Rye Lane
Maestro
margot robbie
Barbie
emma stone
Poor Things
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MAKE UP & HAIR
killers of the flower moon
Kay Georgiou, Thomas Nellen
napoleon
maestro
Jana Carboni, Francesco Pegoretti, Satinder Chumber, Julia Vernon
Sian Grigg, Kay Georgiou, Kazu Hiro, Lori McCoy-Bell
oppenheimer
Luisa Abel, Jaime Leigh McIntosh, Jason Hamer, Ahou Mofid poor things
Nadia Stacey, Mark Coulier, Josh Weston 81
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ORIGINAL SCORE
killers of the flower moon
Robbie Robertson
poor things
oppenheimer
Jerskin Fendrix
Ludwig Göransson
saltburn
Anthony Willis
spider - man : across the spider - verse
Daniel Pemberton
83
ORIGINAL SCREENPL AY
anatomy of a fall
Justine Triet, Arthur Harari
the holdovers
barbie
David Hemingson
Greta Gerwig, Noah Baumbach
maestro
Bradley Cooper, Josh Singer
past lives
Celine Song
85
O U T S TA N D I N G
all of us strangers
Andrew Haigh, Graham Broadbent, Pete Czernin, Sarah Harvey how to have sex
Molly Manning Walker, Konstantinos Kontovrakis, Emily Leo, Ivana MacKinnon
napoleon
Ridley Scott, Mark Huffam, Kevin J. Walsh, David Scarpa
the old oak
Ken Loach, Rebecca O’Brien, Paul Laverty poor things
Yorgos Lanthimos, Ed Guiney, Andrew Lowe, Emma Stone, Tony McNamara
BRITISH FILM
wonka
Paul King, Alexandra Derbyshire, David Heyman, Simon Farnaby rye lane
the zone of interest
Raine Allen-Miller, Yvonne Isimeme Ibazebo, Damian Jones, Nathan Bryon, Tom Melia
Jonathan Glazer, James Wilson ´
saltburn
Emerald Fennell, Josey McNamara, Margot Robbie scrapper
Charlotte Regan, Theo Barrowclough
87
HOME TO THE ARTS SINCE 1889
Official Hotel to the EE BAFTA Film Awards for 14 years.
O UTSTAND I N G D E B UT BY A BRI TI SH W R I TER, DIRECTOR O R P R O D UC E R
blue bag life
Rebecca Lloyd-Evans (Director), Lisa Selby (Director), Alex Fry (Director)
bobi wine : the people ’ s president
earth mama
Savanah Leaf
Christopher Sharp
(Writer, Director, Producer), Shirley O’Connor (Producer), Medb Riordan (Producer)
(Director. Also directed by Moses Bwayo)
how to have sex
Molly Manning Walker (Writer, Director)
is there anybody out there ?
Ella Glendining (Director)
89
CONGRATULATIONS TO ALL EE BAFTA FILM AWARDS NOMINEES WE’RE PROUD TO BE A PART OF: POST PRODUCTION
ALL OF US STRANGERS Mixed at Pinewood Post, Shepperton Studios SALTBURN Mixed at Pinewood Post, Pinewood Studios
PRODUCTION
INDIANA JONES AND THE DIAL OF DESTINY Shot At Pinewood Studios across seven Stages and Underwater Stage NYAD Shot At Pinewood Dominican Republic Studios THE CREATOR Shot At Pinewood Studios on Stage 3 ONE LIFE Shot At Pinewood Studios on TV Studio Two
UNDERWATER STAGE
MISSION: IMPOSSIBLE - DEAD RECKONING - PART ONE NAPOLEON
www.pinewoodgroup.com
PRODUCTION DESIGN
barbie
Sarah Greenwood, Katie Spencer
oppenheimer
killers of the flower moon
Ruth De Jong, Claire Kaufman
Jack Fisk, Adam Willis
poor things
Shona Heath, James Price, Zsuzsa Mihalek
the zone of interest
Chris Oddy, Joanna Maria Kus, ´ Katarzyna Sikora 91
PARAMOUNT PICTURES PROUDLY CONGRATULATES ITS NOMINEES AND WISHES ALL A SUCCESSFUL EVENING
SPECIAL VISUAL EFFECTS • SOUND
SOUND
ferrari
Angelo Bonanni, Tony Lamberti, Andy Nelson, Lee Orloff, Bernard Weiser mission : impossible - dead reckoning part one
maestro
Richard King, Steve Morrow, Tom Ozanich, Jason Ruder, Dean Zupancic
Chris Burdon, James H. Mather, Chris Munro, Mark Taylor oppenheimer
Willie Burton, Richard King, Kevin O’Connell, Gary A. Rizzo the zone of interest
Johnnie Burn, Tarn Willers
93
CONGRATULATIONS TO ALL NOMINEES AND WINNERS OF THE EE BAFTA FILM AWARDS
OB TRUCKS • FIXED RIG • FLY PACKS REMOTE PRODUCTION • SPECIALIST CAMERAS AERIAL FILMING • RF WIRELESS TECHNOLOGY AND SERVICES UK.EMGLIVE.COM
SPECIAL VISUAL EFFECTS
the creator
Jonathan Bullock, Charmaine Chan, Ian Comley, Jay Cooper mission : impossible - dead reckoning part one
guardians of the galaxy vol .3
Theo Bialek, Stephane Ceretti, Alexis Wajsbrot, Guy Williams
Neil Corbould, Simone Coco, Jeff Sutherland, Alex Wuttke napoleon
Henry Badgett, Neil Corbould, Charley Henley, Luc-Ewen Martin-Fenouillet poor things
Tim Barter, Simon Hughes, Dean KoonJul, Jane Paton 95
Michael G. Wilson & Barbara Broccoli congratulate all of tonight’s EE BAFTA Film Awards nominees and winners
SUPPORTING ACTOR robert de niro
Killers of the Flower Moon
robert downey jr .
Oppenheimer
ryan gosling
jacob elordi
Barbie
Saltburn
paul mescal
All of Us Strangers
dominic sessa
The Holdovers
97
SUPPORTING ACTRESS emily blunt
Oppenheimer
danielle brooks
The Color Purple
sandra h Ü ller
claire foy
The Zone of Interest
All of Us Strangers
rosamund pike
Saltburn
da ’ vine joy randolph
The Holdovers
99
E E R I S I N G S TA R
As voted for by the public.
phoebe dynevor
jacob elordi
ayo edebiri
mia m c kenna - bruce
sophie wilde
All nominations correct at time of press. 101
HOW TO GET I N V O LV E D We are an industry of storytellers. Stories change lives – they influence how we think, how we behave and they inspire us. It is crucial that the stories that are being told, and the storytellers, truly reflect the society we live in. To ensure this the screen industries must be open to talented people from all backgrounds. We work year-round to identify and tackle barriers to opportunity, ensuring that the next generation of filmmakers, game designers, and screen arts creatives are supported to fulfil their creative potential. BAFTA is an independent arts charity and we need to raise all our own income. To support our work we rely on income from individual donations, trusts, foundations, corporate partnerships and membership subscriptions. To find out more, and to explore ways you could support, contact: fundraising@BAFTA.org
103
JURIES AND CHAPTERS juries british short animation
Jo Allen (Chair) Courtney Arumugam Gillian Comerford Sarah Cox Uli Meyer Maryam Mohajer Julian Nott Dave Peacock Joanna Quinn Cara Speller
casting
Marc Samuelson (Chair) Babou Ceesay Ellie Foumbi Louise Kiely Kirsty Kinnear Sarah Leung Jemima Williams Tamara Notcutt Theo Park Kevin Riddle David Rubin Paul Schnee director
Emily Stillman (Chair) Rienkje Attoh Alexandra Derbyshire Sally El Hosaini Sarah Gavron Jina Jay Aleem Khan Joanna Scanlan
british short film
documentary
Rita Osei (Chair) Nikki Amuka-Bird Georgi Banks-Davies Yaw Basoah Zillah Bowes Anuree De Silva Cheyenne Ford Jessi Gutch Jessica Henwick Ross Mackenzie Ngozi Onwurah Francisco Rodriguez-Weil
Geraldine Atlee (Chair) Diane Becker Ian Bonhôte Mandy Chang Lindsey Dryden Carolyn Hepburn Keoni Kailimai Kat Mansoor Cherish Oteka Lisa Marie Russo Rubika Shah Orlando von Einsiedel 104
leading actor
Sara Putt (Chair) Olivia Colman Jon Finn Eddie Hamilton Nida Manzoor Bernard Telsey Liz Trubridge Susanna White Stephen Woolfenden leading actress
Anthony Andrews (Chair) Isra Al Kassi Prano Bailey-Bond Nainita Desai Richard Hicks Jason Isaacs Larushka Ivan-Zadeh Alby James Shantelle Rochester outstanding british film
Jason Solomons (Chair) Nikki Amuka-Bird Yann Demange Saul Dibb Theresa Ikoko Elizabeth Karlsen Frances O Connor Georgia Oakley Ashanti Omkar Uberto Pasolini Rachel Robey Misan Sagay Haris Zambarloukos
outstanding debut by a british writer , director or producer
Clare Stewart (Chair) Naomi Ackie Justin Edgar Joy Gharoro-Akpojotor Rose Glass Kristy Matheson Ray Panthaki Andee Ryder Elhum Shakerifar Neeraj Singh Mandy Walker With thanks to Anthony Andrews, Thomas Benski and Aisha Bywaters. supporting actor
Alexa Jago (Chair) Melissa Adeyemo Tania Freimuth Danny Huston Tracy Ifeachor Donald Mowat Cynthia Okoye David Oyelowo Michael Ryan Cilla Ware 105
supporting actress
ee rising star
David Proud (Chair) Hashim Alsaraf Anthony Andrews Jason Flemyng Amy Hubbard Colin Jones Sophie Turner Rachel Wang Elizabeth Yianni-Georgiou Dominic Young
Anna Higgs (Chair) Adam Ackland Lucy Bevan Helen Bownass Lena De Casparis Sope . . . Dìrísù Daisy Edgar-Jones Nina Gold Larushka Ivan-Zadeh Thomas Macklin Himesh Patel Laura Weir Henry Wong
chapters craft chapters
Acting Casting Cinematography Costume Design Directing Editing Make Up & Hair Music Production Design Screenplay Sound Special Visual Effects opt - in chapters
Animation British Short Animation and British Short Film Documentary Film Not in the English Language Outstanding British Film
With thanks to Charles Gant and Scarlett Russell. longlisting
Anna Higgs (Chair) Anthony Andrews Nainita Desai Sope . . . Dìrísù Paapa Essiedu Sarah Gavron Briony Hanson Larushka Ivan-Zadeh Andrew Miller Úna Ní Dhonghaíle Sara Putt Marc Samuelson Nadia Stacey Emily Stillman Anand Tucker Craft chapters consist of Academy members with specialist experience in the relative field. Opt-in chapters are open to all members who are willing to commit to watching the eligible films.
For details of the voting process, including any key changes made for 2024, please visit: awards.bafta.org/entry
OFFICERS OF THE ACADEMY officers hrh the prince of wales , kg kt
President of BAFTA
hilary rosen
Chair, Television Committee tara saunders
barbara broccoli cbe
Vice-President, Film
Chair, Games Committee bal samra
david gardner obe
Vice-President, Games dame pippa harris dbe
Vice-President, Television
Co-optee and Chair, Commercial Committee and Chair, Governance and Appointments Committee paul taiano obe
board of trustees sara put t
Chair of BAFTA julie la ’ bassiere siobhan reddy
Deputy Chairs of BAFTA
Co-optee and Chair, Finance, Audit and Risk Committee co - optees
Kathryn Busby Patrick Keegan Elliot Knight Andrew Miller mbe
anna higgs
Chair, Film Committee ade rawcliffe
honorary advisors
Medwyn Jones Marc Samuelson
Chair, Learning, Inclusion and Talent Committee 108
executive jane millichip
Chief Executive Officer committees elected members of the film commit tee
elected members of the television commit tee
Anna Higgs Chair Emily Stillman Deputy Chair Anthony Andrews Geraldine Atlee Nainita Desai Alexa Jago Julie La’Bassiere David Proud Jason Solomons Clare Stewart
Hilary Rosen Chair Christine Healy Deputy Chair Adeel Amini Furquan Akhtar Emma Butt Rajiv Nathwani Ade Rawcliffe Beryl Richards* Sue Vertue Claire Zolkwer
elected members of the games commit tee
Tara Saunders Chair Des Gayle Deputy Chair Katherine Bidwell Nick Button-Brown* James Brooksby Anisa Sanusi Del Walker
* Children’s Representatives 109
F I L M AWA R D S PARTNERS With enduring thanks to our title sponsor and official partners to the EE BAFTA Film Awards in 2024. TITLE SPONSOR
P L AT I N U M T I E R
Official Jewellery and Watch & Nominees’ Party Supporter
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Official Water
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Official Spirit 111
ACKNOWLEDGEMENTS b a f ta w i s h e s t o t h a n k ... ee
Our title sponsor the film commit tee
Anna Higgs Chair, Emily Stillman Deputy Chair, Anthony Andrews, Geraldine Atlee, Nainita Desai, Sope . . . Dìrísù, Sarah Gavron, Alexa Jago, Julie La’Bassiere, Kat Mansoor, David Proud, Jason Solomons, Nadia Stacey, Clare Stewart, Rachel Wang sara put t
Chair of BAFTA j u l i e l a ’ b a s s i e r e , s i o b h a n r e d dy
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AT B A F TA e x e c u t i v e d i r e c t o r o f awa r d s & c o n t e n t
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film officer
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executive producer
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event producer
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awa r d s
Kelly Smith, Daljit Billen, Nick Boocock, Chloe Fraser, Natalie Gurney, Lewis Peet, Katie Warren, Tia Wedderburn, Meghana Krishnamurthy productions
Harry Balmforth, Hattie Barker, Ella Coveney, Daniel Dalton, Kristen Helmick, Georgia Maskery, Jasmine Mounir, Joe Okell, Lauren Prince, Jamie Rowland, Victoria Walker events
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h e a d o f pa r t n e r s h i p s
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pa r t n e r s h i p s
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CREDITS e d i t o r
d es i g n & c ov e r a rt
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Abigail Bills
photography director
a d s a l e s Emma Tarcy
Claire Rees
j u n i o r p r o d u c e r , p h o t o g r a p h y
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Best Film nominee imagery used with kind permission from the distributors. Executive portraits: BAFTA/Scott Garfitt (HRH The Prince of Wales); BAFTA/Sophia Spring (Jane Millichip), BAFTA/Ellie Smith (Sara Putt); pg.16 ©Arrow Entertainment. Courtesy Everett Collection. Although every effort has been made to ensure the accuracy of the information contained in this publication, the Publishers cannot accept liability for errors or omissions. No part of this publication may be reproduced without the written permission of BAFTA. 114
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