Could Danielle Deadwyler be the first Black woman to take home the Best Actress prize in more than two decades? (Shockingly, the only one ever to do so in the Academy’s 93-year history is Halle Berry for Monster’s Ball in 2002.) It’s certainly possible, given the buzz around her turn in Chinonye Chukwu’s touching rendering of the life of civil rights pioneer Mamie Till, who campaigned for justice following the murder of her 14-year-old son in ’50s Mississippi.
It would be unwise to count out Damien Chazelle, whose last film about the wonders and pitfalls of Hollywood, 2016’s La La Land, won six Oscars. His latest, a heart-pumping, mile-a-minute romp, transports us to the hedonistic ’20s as the industry transitions from silent pictures to sound. It features elaborate sets, a jaunty score from Justin Hurwitz, jaw-dropping costumes by Mary Zophres, and Brad Pitt, Diego Calva and Margot Robbie as three lost souls determined to make it big.
Baz Luhrmann’s high-octane, hallucinatory biopic of the troubled king of rock ’n’ roll is divisive to say the least, but there’s one thing critics and audiences agree on: Austin Butler’s brooding take on the hip-shaking superstar is a triumph. Expect to see him in the Best Actor category, and nods for the film’s make-up and hair, production design and costuming, too (the latter two courtesy of Luhrmann’s wife and frequent collaborator, the four-time Oscar winner Catherine Martin).
This story first appeared on vogue.co.uk