Here’s our take on the prophetic Best Film Editing category for the “IF THE OSCARS WERE TOMORROW” series. Along with writing and directing nods, this is essentially a must-have nomination for any film hoping for an edge in Best Picture. The branch usually opts for a balanced list mixing together films which focus on story and performance alongside big-budget Hollywood projects. They appreciate well-executed comedic pieces as well as dramatic, and recently they’ve really embraced prize-winning international titles on the circuit.
Ground rules to keep in mind. For the best possible accuracy, we’ll be considering not just every film that’s opened theatrically to date, but also every film SCREENED thus far that has both secured distribution and is already dated for release. These screenings may include any of the big festivals from the first half of the year or earlier. Films exclusively screened privately for the industry or press will not count. *
Film Editing
1 – Sinners (Warner Bros.)
2 – Sentimental Value (Neon)
3 – Black Bag (Focus Features)
4 – F1 (Apple/Warner Bros.)
5 – Nouvelle Vague (Netflix)
A long-time collaborator of Coogler’s, editor Michael P. Shawver will likely find himself shortlisted for the editing Oscar for the first time. Outside of his work on Coogler’s debut “Fruitvale Station,” Shawver has probably been the victim of working on Hollywood fare that branch members didn’t feel was singular enough – considering the projects were born out of other industry IP, like “Black Panther.” “Sinners” is that rare original, Hollywood spectacle that should see him finally cross the finish line.
The editor of “Sentimental Value,” Olivier Bugge Coutté, is another strong bet to be nominated this year. Aside from the fact that the film represents the sort of intimate, character-driven work branch members find a slot or two for every year, Coutté also benefits from having worked on a number of titles of international repute outside of his native Denmark – for instance, “Beginners” and last year’s “The Apprentice.” Although he’s had a longstanding collaboration with Joachim Trier, he’s even managed to dip his foot in big Hollywood fare like “Independence Day: Resurgence.”
Those two nominations feel in the offing. The rest of the field will have to fight off new fall contenders for their spots.
If Focus Features mounts a significant comeback for its critics’ darling “Black Bag,” then it’s exactly the sort of intricate, detailed thriller that could invite director Steven Soderbergh to the race for the first time. He manages all the moving pieces of the film with great fluidity, never allowing the audience to lose focus on the story.
Speaking of Soderbergh, he would likely be joined by his Oscar-winning editor on “Traffic,” Stephen Mirrione, for his work on the racing blockbuster “F1.” Mirrione and co-editor Patrick J. Smith will be campaigned by Apple as they look to repeat coups that “Top Gun: Maverick” gained a few years back after its billion-dollar rollout from Paramount. Unfortunately, “F1” won’t be making the billion-dollar club, which will severely damage its chances of broad Oscar appeal. Nonetheless, its half-billion global earnings and significant post-production work would likely have it landing here if the Oscars were tomorrow. They too will need a substantial campaign to finish in the top 5 by the end of the year.
“Weapons” is structured upon layered perspective storytelling, which requires the type of editorial work that the branch has embraced in the past – consider “Crash,” “Babel,” or even “Pulp Fiction.” However, this branch has been especially resistant to horror entries, so it’s a steep climb for that film. A24’s “Warfare” would be an excellent addition here, especially considering that Alex Garland’s “Civil War” carved out a surprise ACE Eddie nomination last year. With a bit more attention, A24 may have actually snuck “Civil War” into a few technical categories at the Oscars. But with its limited box-office success and A24’s waning interest, it may be tough to see “Warfare” in the final spot.
A better bet would probably be Netflix’s “Nouvelle Vague.” Although editor Catherine Schwartz has a robust filmography, few of her titles crossed over internationally in any significant way. Nonetheless, the branch is familiar with Linklater’s work and will probably admire that the film manages to evoke the era and style of filmmaking it seeks to commemorate. The film’s own editorial aesthetic – hard, pointed jump cuts – plays a significant role in emulating that singular rhythm of the French New Wave.