From weird academy rules making a nod unlikely to just a general lack of non-white nominees, here are this year’s biggest Oscar snubs.
The complete lack of female directors nominated. We’ve got Greta Gerwig for Little Women, Lulu Wang for The Farewell, and Marielle Heller with A Beautiful Day in the Neighbourhood – three of the best received films of 2019 – who weren’t recognised. I generally love Quentin Tarantino films, but Once Upon a Time in Hollywood was slow, boring and uninspired, and yet he STILL got a best director nod.
Dannie Higginbotham, Web Editor
The Farewell’s writer-director Lulu Wang should have been nominated for Writing (Original Screenplay) or Directing. Not only was she was able to capture the identity crisis felt by many Chinese Americans, she also shared a range of Chinese customs and tendencies – particularly the way they keep worries from family members out of love – in the most subtle and non-judgmental way possible. I was so impressed by her mastery of the subject, and the way she told the story with such empathy and sensibility.
Nicola Chan, Reporter
I was quite shocked when I found out that Frozen II had not been nominated for Best Animation this year. Not only is it a disappointing setback for representation of women at the Oscars, but I truly believe the film deserved to be recognised for its stunning visuals, and for relaying very important messages about familial/self-love, and about dealing with grief, to younger generations. I am happy, though, that some more indie animated features like Klaus (which I adored!) are up for the win.
Nicole Moraleda, Sub-editor
I think Jennifer Lopez should’ve been a Best Supporting Actress nominee for her role in Hustlers. She simply dominates Lorene Scafaria’s film with an electrifying and flawless performance. What’s more, seeing as she landed so many nominations for this role, including at the Golden Globes, Screen Actors Guild Awards and Critics’ Choice Movie Awards, I honestly thought she would’ve had a shot at the Oscars, too. It’s just disappointing not to see her name on the list.
Joanne Ma, Reporter
People of colour across the board. You can pretty much count the number of non-white nominees on your fingers – and that’s including the production team of an actual Korean film. The academy has to do better than one non-white acting nod, let alone all the other categories.
Karly Cox, Deputy Editor
Without a doubt, this year’s biggest snub is Greta Gerwig missing out on a Best Director nomination – and if Little Women doesn’t win, I’ll be fuming. Although she’s an Academy member (so can vote for nominations), she’s not a director member, so couldn’t vote for her nomination in that role. And apparently not enough of the director members thought she deserved it. Someone, please, change the rules,and save this brilliant female director from going down in Oscar history for the worst snub ever.
Veronica Lin, Reporter
It’s a huge disappointment that Beyonce’s Spirit, from the live-action remake of Disney’s The Lion King, was shut out of the nominations for Best Original Song, especially since Elton John’s Can You Feel the Love Tonight won the category for the original animated film 25 years ago. I mean how can anyone pass up a live performance by Queen Bey?!
Doris Wai, Multimedia Editor
Ne Zha, the Chinese animation about the Chinese mythological character of the same name. It was actually entered for Best International Feature Film but didn’t get the nomination, which is a real shame. I would say it could’ve definitely competed with anything from Disney or Pixar: The Lion King, Toy Story 4 ... you name it.
Wong Tsui-kai, Web Reporter
Daisy Ridley for Best Actress as Rey in Star Wars: The Rise of Skywalker. She had to portray her inner struggle with the dark side and sold it really well; and her onscreen chemistry with Adam Driver was so palpable they (literally) bent the rules of space and time.
Jamie Lam, Special Projects Editor
When Taylor Swift sang “I’d be just like Leo” in her song The Man, she obviously meant she was destined to keep missing out on top film awards. (See: DiCaprio’s historic lack of wins.) Swift has been a Best Song nominee at many film award shows in the past, but has always gone home empty-handed. I’m sure she was hoping that she’d finally get some love from the Academy for her song Beautiful Ghosts, from the film Cats.
Granted, Cats was a weird-as-heck movie, but Swift’s original song was probably the best thing about it. And even if it doesn’t deserve to actually win Best Song (that title needs to go to Into The Unknown from Frozen II, which thankfully is nominated), it at least deserved a nod.
Charlotte Ames-Ettridge, Sub-editor