EE BAFTA Nominations 2023.


Let’s do a quick run-down of the 2023 EE BAFTA nominations, just published today. Like the Golden Globes, BAFTA have had plenty of issues of late, with whiter-than-white, male-dominated shortlists and the bruising debacle of awarding and then cancelling a lifetime achievement award to Noel Clarke. The films are viewed at publicist-organised screenings, or at home via the BAFTA View player, trying to ensure a level playing field for all, although quite a burden if you’re trying to catch as many of the 220 entered films before the voting portal closes.

BAFTA usually has a bias towards British and European cinema, although US blockbusters generally do find an appeal. So there’s not much to cheer for Avatar 2, Babylon, Top Gun: Maverick and other films likely to show up elsewhere, the 2022/3 selection are a fairly tightly bunched affair. The most nominations go to All Quiet on the Western Front, but few of them are likely to be realised since Netflix productions generally sit poorly with voting members when it comes to the crunch. Three awards season favourites scored big, The Banshees of Innisherin, Everything, Everywhere All At Once and Elvis all scored big, with best film nominations and a slew of acting hits. The most contented category is likely to be best actor, where Bill Nighy’s austere turn in Living, Austin Butler as Elvis and popular candidate Brendan Fraser’s physical transformation in The Whale provide stern opposition. Tar also performed well with a best pic nomination, with Cate Blanchett’s remarkable performance likely to be a stick-on for a prize.

Also worthy noms include Danielle Deadwyler for Till and Viola Davis for The Woman King, while Kelly Condon (for Banshees) Emma Thompson (For Good Luck to You Leo Grande) and Carey Mulligan (for She Said) reflect a little bias towards home-grown talent. Jamie Lee Curtis might be a good shout for supporting actress for her wild turn in Everything, Everywhere, while Brendan Gleeson’s relegation to supporting actor for Banshees might well snare him a gong.

There’s also some rewards for some smaller films; See How They Run and Matilda: The Musical snag Best British Film noms alongside the critically fawned over Aftersun, excellent doc Electric Malady wins an unexpected dark horse victory, while Decision to Leave snares a deserved best director nom. All in all, it’s a stronger field than any year since Covid struck, and even though too many of these films didn’t firmly connect with audiences on release, awards are still a worthwhile if not essential way of communicating what’s worth seeing to a rather hesitant audience.


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  1. The list is endless and awful. I’m going to sound like an old curmudgeon – or a curmudgeon of any age in case I get cancelled for suggesting curmudgeons are exclusively of the older generation – and say they don’t make movies like they did. The past few years of Awardees has been enough to put you off movies for life.

    • I hear you, and you’re right; film has one reason to exist, and that’s to reach an audience. And unfortunately many of these films have nothing to offer. But the rot sets in when BAFTA and the US Academy accept streaming as film. They line their own pockets while killing the big selling point of cinema; exclusive content. The bodies supposedly dedicated to cinema are allowing it to die to secure their own future.

      • I never understood how they could accept streaming. Sure, the Oscar rules say it has to play one week in Los Angeles, but they cracked down in the past on movies that shied away from being the proper deal. Netflix is happy to spend an absolute fortune in their determination to win an Oscar as if that will somehow make them acceptable when the audiences they are targeting couldn’t care less – and may even be put off.

        • Streaming was always going to happen, but as with taxes, new tech seems to have been given a free pass. Netflix’s target audience don’t care about awards, they just crave junk food and that largely what they get. It’s like Macdonalds trying for a Michelin star, what’s the point? But BAFTA tripled the number of entry fees they get by considering streaming on an equal foot to cinema. If it doesn’t play for 45 days solely in cinemas, it’s not a film. But that stable door has bolted now…

            • I just looked it up. £3000 per entry. So imagine how much bafta are making from a ballooning number of admissible films.

                • 280 + films entered, probably same for tv. Not sure about games. But you’re banking not far off a million before you start to talk tv rights, sponsorship. A much more lucrative business since streaming was in the fold. Pity that BAFTA is meant to be celebrating excellence in cinema and tv, but ends up damaging the former to accommodate streaming services hell bent on killing cinema as we know it…

    • The 2023 WP4 nominations are Dune, Die Hard, Rat Race, Die Hard 2 and The Weird Al Story; a fine crop I’m sure you’ll agree! I wish they could all win, but we’ll just have to see how the voting goes…

      • Sounds like a bumper crop of winners there!
        Do we cast secret ballots or write big posts about which movie deserves to win and how anybody else who votes any other way is Evil Incarnate?

  2. I haven’t got one but got trophies for Karate and 10 pin bowling ( not a joint sporting event). I’ve only seen All Quiet, Banshees and 20mins of Everything Everywhere so not that interested in who won what.

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