The 89th Academy Awards - The Winners

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Monday, June 26, 2017
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2017 Oscars 89th Academy Awards 

 

The 89th Academy Awards took place on Sunday, with “Moonlight” taking home the top prize. But not without some confusion. After Warren Beatty and Faye Dunaway said on stage that “La La Land” won best picture, it was revealed that “Moonlight” had, in fact, won the prize in an embarrassing Oscar flub. “Moonlight” also won prizes for best adapted screenplay and supporting actor for Mahershala Ali. It’s not as if “La La Land” went empty-handed, however. It won best actress for Emma Stone, cinematography, production design, original score, and original song.

 

 

Jimmy Kimmel Hosted the Ceremony, which Aired Live From

the Dolby Theater on ABC Network

 

multiple Oscars

 

The 89th Academy Awards show was certainly one for the books. After it was all said and done, front-runner "La La Land" won 6 out of its 14 total nominations including best actress and best director. But the most shocking moment of the night went to "Moonlight," which won best picture, after "La La Land" was mistakenly announced. "This is not a joke," a producer from "La La Land" said while standing on stage, correcting the big error. Then, the cast and crew of "Moonlight" eventually took the stage and accepted the award. In addition to the best picture win, "Moonlight's" Mahershala Ali took home his first Oscar for best actor in a supporting role and the film's writers Barry Jenkins and Tarell Alvin McCraney won for best adapted screenplay. "Fences'" Viola Davis also took home her first Oscar for best supporting actress and got an enthusiastic standing ovation from the crowd.

 

 "La La Land" - Winner of  Best Actress Best Director

Best Song and Best Score

 

 "Arrival" Winner of Best Sound Editing

 

 "Moonlight" - Winner of Best Picture, Best Supporting Actor and Best Adapted Screenplay 

 

angle shot of several Oscars

 

Following is the Full List of Nominees and Winners of the 89th Academy Awards:

 

 

Best Picture:
“Arrival”
“Fences”
“Hacksaw Ridge”
“Hell or High Water”
“Hidden Figures”
“La La Land”
“Lion”
“Manchester by the Sea”
“Moonlight”

 

Lead Actor:
Casey Affleck, “Manchester by the Sea”
Andrew Garfield, “Hacksaw Ridge”
Ryan Gosling, “La La Land,”
Viggo Mortensen, “Captain Fantastic”
Denzel Washington, “Fences”

 

Lead Actress:
Isabelle Huppert, “Elle”
Ruth Negga, “Loving”
Natalie Portman, “Jackie”
Emma Stone, “La La Land”
Meryl Streep, “Florence Foster Jenkins”

 

Supporting Actor:
Mahershala Ali, “Moonlight”
Jeff Bridges, “Hell or High Water”
Lucas Hedges, “Manchester by the Sea”
Dev Patel, “Lion”
Michael Shannon, “Nocturnal Animals”

 

Supporting Actress:
Viola Davis, “Fences”
Naomie Harris, “Moonlight”
Nicole Kidman, “Lion”
Octavia Spencer, “Hidden Figures”
Michelle Williams, “Manchester by the Sea”

 

Best Director:
Damien Chazelle, “La La Land”
Mel Gibson, “Hacksaw Ridge”
Barry Jenkins, “Moonlight”
Kenneth Lonergan, “Manchester by the Sea”
Denis Villeneuve, “Arrival”

 

Animated Feature:
“Kubo and the Two Strings”
“Moana”
“My Life as a Zucchini”
“The Red Turtle”
“Zootopia”

 

Animated Short:
“Blind Vaysha”
“Borrowed Time”
“Pear Cider and Cigarettes”
“Pearl”
“Piper”

 

Adapted Screenplay:
“Arrival”
“Fences”
“Hidden Figures”
“Lion”
“Moonlight”

 

Original Screenplay:
“20th Century Women”
“Hell or High Water”
“La La Land”
“The Lobster”
“Manchester by the Sea”

 

Cinematography:
“Arrival”
“La La Land”
“Lion”
“Moonlight”
“Silence”

 

Best Documentary Feature:
“13th”
“Fire at Sea”
“I Am Not Your Negro”
“Life, Animated”
“O.J.: Made in America”

 

Best Documentary Short Subject:
“4.1 Miles”
“Extremis”
“Joe’s Violin”
“Watani: My Homeland”
“The White Helmets”

 

Best Live-Action Short Film:
“Ennemis Interieurs”
“La Femme et le TGV”
“Silent Nights”
“Sing”
“Timecode”

 

Best Foreign Language Film:

(Click Here to See the Trailers)
“A Man Called Ove”
“Land of Mine”
“Tanna”
“The Salesman” IRAN
“Toni Erdmann”

 

Film Editing:
“Arrival”
“Hacksaw Ridge”
“Hell or High Water”
“La La Land”
“Moonlight”

 

Sound Editing:
“Arrival”
“Deep Water Horizon”
“Hacksaw Ridge”
“La La Land”
“Sully”

 

Sound Mixing:
“Arrival”
“Hacksaw Ridge”
“La La Land”
“Rogue One: A Star Wars Story”
“13 Hours: The Secret Soldiers of Benghazi”

 

Production Design:
“Arrival”
“Fantastic Beasts and Where to Find Them”
“Hail, Caesar!”
“La La Land”
“Passengers”

 

Original Score:
“Jackie”
“La La Land”
“Lion”
“Moonlight”
“Passengers”

 

Original Song:
“Audition (The Fools Who Dream),” “La La Land”
“Can’t Stop the Feeling,” “Trolls”
“City of Stars,” “La La Land”
“The Empty Chair,” “Jim: The James Foley Story”
“How Far I’ll Go,” “Moana”

 

Makeup and Hair:
“A Man Called Ove”
“Star Trek Beyond”
“Suicide Squad”

 

Costume Design:
“Allied”
“Fantastic Beasts and Where to Find Them”
“Florence Foster Jenkins”
“Jackie”
“La La Land”

 

Visual Effects:

“Deepwater Horizon”

“Doctor Strange”

“Jungle Book”
“Kubo and the Two Strings”
“Rogue One: A Star Wars Story”

 


Ahead of the Oscars this Sunday, take a moment to look at the trailers of the Nominees for Best Foreign Language Films and check the following interviews with the directors behind the nominated movies. The five finalists range from dark to darkly funny, and you can watch trailers for all of them below. Click through the links to hear our interviews with the directors. Iran's "The Salesman" won   Best Foreign Language Film.

 

 GERMANY

 

“Toni Erdmann” (Germany): “It’s a father-daughter story,” says director Maren Ade. “The two have lost each other a little bit,” she says. “And the father visits his daughter spontaneously at work — she works abroad in Romania. In the beginning they don’t get along so well, so he tries a strange transformation into a new guy, ‘Toni Erdmann,’ trying to get closer to her. The guy has some fake teeth and strange wig and a strange suit and introduces himself as a lifestyle coach.” The father is kind of a joker, and the film is billed as a comedy-drama. Think of a German analog to Woody Allen — middle-class people dealing with awkward social interactions.“I’m always interested in these daily life situations because I think there’s often a lot of comedy in there,” Ade says. “There’s often a lot of pain involved. I’m interested in awkwardness between people. Or these moments when a ball starts rolling, everybody’s aware that something strange is happening but nobody can stop it, in a way.” Ade’s film shows a generational shift in Germany: from the ba by boomer, post-war generation that challenged authority to their more compliant offspring who are just trying to get ahead. “That’s exactly how I feel a bit about my generation, that we take all the values that our parents were fighting for a little bit too [for] granted,” she says. “The father belongs to a very political generation, especially in Germany, because it was the post-war generation and they had a strong enemy with the generation before.” “So they raised their children with a lot of warm values and sent them out to the world, believed in a world without borders,” she continues, “and now [their children are] confronted with that type of capitalism that came through the globalization that they actually wanted.” It’s social critique through comedy, but maybe it requires a uniquely German sense of humor. Or a full movie theater. “It’s something different when you watch it in a group,” Ade says. “But when you watch the film alone it becomes a very sad and melancholic film, and I’m happy about both sides.”

 

 SWEDEN

 

“A Man Called Ove” (Sweden):  We all know this man: He yells at you to clean up after your dog. Scolds children playing. He’s always on the lookout for people who are disturbing the peace. That’s Ove. He is an unhappy widower whose wife Sonje has died. When he’s fired from his engineering company after 43 years, he has to find other ways to occupy his time. He buys flowers daily to place on his wife’s grave. He makes the rounds through his housing development. He takes on the role of enforcer over recycling, parking and obeying the rules. One day, Ove puts on his best suit and decides to kill himself. But his attempts are interrupted by the loudness of a new family moving in across the street.

 

 DENMARK

 

“Land of Mine” (Denmark): Every country wants to show the world its good side. But there’s always a dark side it doesn’t want to let out. That’s the motivation behind the Danish film “Land of Mine,” one of five nominees for best foreign language film. “I wanted to show Denmark’s true face,” says the movie’s director Martin Zandvliet. He knew there were a lot of hidden stories in Danish history, but when he stumbled across the stories involving German boys, he knew he had the makings of a film. Soon after the end of World War II, in the mid-1940s, Denmark used German teenage boys sitting in prison camps along the border between the two countries — POWs — to dig up and defuse land mines planted by the Nazis. Zandvliet says his research revealed around 500 teenagers died doing the work, while between 900 and 1,000 were maimed. This is a story rarely told about Denmark. “It’s not one of our finest moments,” says Zandvliet, who adds that he’s received hate mail calling him unpatriotic. But patriotism isn’t exactly what he was going for, anyway.

 

AUSTRALIA

 

“Tanna” (Australia):  “Tanna” has been described as a sort of “Romeo and Juliet” set in Oceania, on the island nation of Vanuatu. The film is based on a true story from about 30 years ago, in which a man and a woman from two different tribes fall in love. They want to marry, but customs and tradition forbid it. “It’s a tragic story,” says co-director Bentley Dean, “but it’s one that changed the course of their custom and their culture for good.” Bentley, his wife and two young sons spent seven months living with the people from the Yakel tribe on the tiny island of Tanna. The entire cast is made up of villagers who re-enacted the story. Dean says they still live a traditional life. “Imagine grass skirts, still hunting with bows and arrows, living the way their ancestors have always lived for thousands of years,” Dean says. They didn’t have a script when he started production. He says the film is a complete collaboration between the team and the tribe. “It’s their story.” The villagers had never even seen a film before. Dean wanted to show them the finished product, so they set up a makeshift screen by sewing two queen sheets together and tying them to banyan trees. “It’s in their language and it’s their story, and it was just brilliant,” Dean says. “It was more like going to a football match than going to a movie. There [were] lots of catcalls, lots of screaming, singing along with the songs. It was just magic.”

 

 

 IRAN - Winner of Best Foreign Language Film

 

“The Salesman” (Iran): Asghar Farhadi, the renowned Iranian filmmaker, didn’t take home a Golden Globe last month, but he has been putting Iranian cinema in the global spotlight for years. Back in 2012, his movie “A Separation” won the Oscar for best foreign language film. Since then, he’s taken home many other international awards. His most recent work, “The Salesman,” was nominated for a Golden Globe and an Academy Award. It’s a tense story, based in modern-day Tehran. “It is about a couple who are rehearsing a production of Arthur Miller’s ‘Death of a Salesman,'” Farhadi explains through his interpreter, Dorna Khazeni. “In the process of moving homes, they are confronted with events that they could not forseen and that creates an apheaval in their lives".