Swords, Sandals — And Subversion? Brian McCray’s “Krania”


Admittedly, I’m not a close follower of the mainstream comics scene and so can’t speak with any authority on what may or may not be happening in it now, but unless there’s been some sort of below-the-radar (like, way below-the-radar) resurgence of which I’m entirely unaware, it’s safe to say that the “swords and sandals” genre reached its apex in this little medium we all love (most of the time) back in the 1970s, when a bevy of four-color “floppies” and full-sized black and white magazines regaled readers month in and month out with the exploits of Conan the Barbarian, Red Sonja, Kull the Conqueror, and too many also-ran imitators to count. As newsstand distribution gave way to the direct market, though, super-hero readers found their tastes increasingly catered to while fans of Robert E. Howard-esque fantasy were nudged further and further to the sidelines, ultimately being relegated to “afterthought” status.

I’ve heard that Conan is back at Marvel these days after a long hiatus that saw the character wandering through a series of smaller publishers, but his exploits appear to be confined to only standard-format comic books now, with the “mature readers” (as in, they can show boobs and butts) B&W mag apparently a thing of the past — and while that probably makes all kinds of sense from a financial and commercial perspective, it still leaves the grizzled nostalgist out in the cold, stuck poring over dusty back issue bins to find PG-13- and R-rated tales of the Hyperborean Age. Or does it?

Art abhors a vacuum every bit as much as nature does, so leave it to our always-intrepid friends at Strangers Fanzine to fill this particular one with the late-2021 release of cartoonist Brian McCray’s Krania, a magazine-formatted collection of short-form yarns centered around the exploits of a female barbarian warrior that hews a fine line between respectful homage and revisionist re-interpretation with just enough wink-and-nod pastiche thrown in to keep readers who find this sort of crap inherently ridiculous (I’ll take the fifth on whether or not that includes me) reasonably amused and enthralled, as well. It’s hardly revolutionary stuff by any means, but it’s not designed to be : McCray has set himself a fairly specific task with this project, and he proceeds to tackle it with energy and aplomb.

All of which is to say, don’t expect anything particularly taxing here, but do expect to be entertained. McCray’s cartooning is solid, stylish, and dynamic — his villainous creatures are imaginatively designed, his protagonist looks like a tough warrior woman should, and his fight scenes are fluidly paced with the appropriate emphasis given to impact in relation to action. He’s not overly concerned with details, relying on what appears to be the digital equivalent of zip-a-tone to do a lot of the heavy lifting in that regard, but he’s got all the basics of composition down pat and isn’t afraid to get creative with perspective and placement. Throw in a smattering of entirely unsubtle hat-tips to Jack Kirby’s Kamandi, and it’s awfully hard not to like what’s being served up here.

Okay, in fairness, this is about as self-aware a comic as you’re likely to find, but it doesn’t approach its subject matter with an eye toward narratively “cashing in” on easily-arrived-at irony — rather, as the title of this review suggests, there is some delicious (if obvious) subversion going on here with regards to traditional gender roles in so-called “heroic fantasy” that’s probably long (as in decades) overdue. I get the feeling McCray has plenty to say, but that he would rather say it through his stories than in his stories, and if that sounds like a distinction without a difference on its face, rest assured that if you decide to take the plunge and read this book — as well you should — you’ll understand what I’m (perhaps clumsily) getting at more or less immediately.

Count me in as a believer in what McCray is doing here, then, and also as someone who will almost certainly be on the lookout for more of his stuff. And if I were an actual fan of this genre, who knows? I’d have probably enjoyed this comic even more than I did — which, in case you hadn’t sussed it out already, was quite a bit indeed.

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Krania is available for $10.00 from Strangers Fanzine at https://strangerspublishing.com/products/krania

Also, this review is “brought to you” by my Patreon site, where I serve up exclusive thrice-weekly rants and ramblings on the worlds of comics, films, television, literature, and politics for as little as a dollar a month. Subscribing is the best way to support my continuing work, so I’d be very appreciative if you’d take a moment to give it a look by directing your kind attention to https://www.patreon.com/fourcolorapocalypse

Honor of the Range (1934, directed by Alan James)


In an old west town, Sheriff Ken Bellamy (Ken Maynard) is an honest and upright lawman who thinks that he is trusted and respected by all.  His brother, Clem (also played by Ken Maynard), is a storeowner who is less respected and very jealous of his brother.  When Ken is asked to store some money in a safe, Clem decides to help the local outlaw, Rawhide (Fred Kohler), steal the money.  Clem gives Rawhide the combination but Rawhide then betrays Clem and takes him hostage.  Meanwhile, the townspeople think that Ken must has stolen the money so they toss him in jail and appoint a man named Boots (Frank Hageny) as the new sheriff.  Now, Ken has to not only figure out how to escape from jail and the townspeople but also how to defeat Rawhide’s gang.

Ken Maynard and his white horse Tarzan were two of the biggest western stars of the pre-code era.  Most of them were routine programmers but Honor of the Range stands out because it allows Maynard to step out of his usual heroic role by having him also play Clem.  Maynard could be a stiff actor when he was playing a traditional hero but here he seems to be enjoying playing the untrustworthy Clem.  Maynard actually produced Honor of the Range himself and it’s much more serious than the typical Ken Maynard western.  The town’s betrayal of the sheriff is played straight, as is Clem’s resentment of his brother.  With higher production values than usual and Maynard looking credible whenever he was holding a gun or riding his horse, Honor of the Range is one of the better westerns to be distributed by Universal during the pre-code era.

Here Are The 2021 Nominations of the American Society of Cinematographers!


The American Society of Cinematographers have announced their nominees for the best cinematography of 2021!

I’d say that the big surprise here is the lack of a nomination for West Side Story as this seems like a place where you would normally expect to see a big Spielberg production nominated.  That could indicate a bit of weakness for West Side Story.  (Though, let’s face it — I think we all know that West Side Story isn’t going to be the big Oscar powerhouse that many initially assumed.)  That said, there’s now ten best picture nominees and I’d still be surprised if one of the slots didn’t go to West Side Story.

Anyway, here’s the nominees:

Feature Film
Bruno Delbonnel (ASC, AFC) for THE TRAGEDY OF MACBETH
Greig Fraser (ASC, ACS) for DUNE
Dan Laustsen (ASC, DFF) for NIGHTMARE ALLEY
Ari Wegner (ACS) for THE POWER OF THE DOG
Haris Zambarloukos (BSC, GSC) for BELFAST

Spotlight
Ruben Impens (SBC) for TITANE
Pat Scola for PIG
Adolpho Veloso (ABC) for JOCKEY

Documentary
Jessica Beshir for FAYA DAYI
Isabel Bethencourt and Parker Hill for CUSP
Daniel Schönauer for THE HIDDEN LIFE OF TREES

The Power of the Dog Wins in Nashville


Today, the Music City Film Critics Association (that’s Nashville) became the latest group to name The Power of the Dog as the best film of 2021!

Here are all the winners from Nashville!

BEST FILM
Belfast
C’mon C’mon
CODA
Dune
Licorice Pizza
The French Dispatch
The Harder They Fall
The Power of the Dog
Tick, Tick…Boom!
West Side Story

BEST DIRECTOR
Denis Villeneuve – Dune
Jane Campion – The Power of the Dog
Kenneth Branagh – Belfast
Paul Thomas Anderson – Licorice Pizza
Steven Spielberg – West Side Story

BEST ACTRESS
Alana Haim – Licorice Pizza
Jessica Chastain – The Eyes of Tammy Faye
Kristen Stewart – Spencer
Lady Gaga – House of Gucci
Olivia Colman – The Lost Daughter

BEST ACTOR
Andrew Garfield – Tick, Tick…Boom!
Benedict Cumberbatch – The Power of the Dog
Denzel Washington – The Tragedy Of Macbeth
Nicolas Cage – Pig
​Simon Rex – Red Rocket
Will Smith – King Richard

BEST SUPPORTING ACTRESS
Ann Dowd – Mass
Ariana DeBose – West Side Story
Caitriona Balfe – Belfast
Kathryn Hunter – The Tragedy Of Macbeth
Kirsten Dunst – The Power of the Dog

BEST SUPPORTING ACTOR
Bradley Cooper – Licorice Pizza
Colman Domingo – Zola
Jason Isaacs – Mass
Kodi Smit-McPhee – The Power of the Dog
Troy Kotsur – CODA

BEST YOUNG ACTRESS
Emilia Jones – CODA
McKenna Grace – Ghostbusters: Afterlife
Millicent Simmonds – A Quiet Place Part II
Rachel Zegler – West Side Story
Saniyya Sidney – King Richard

BEST YOUNG ACTOR
Cooper Hoffman – ​Licorice Pizza
Jude Hill – Belfast
Noah Jupe – A Quiet Place Part II
Reyn Doi – Barb & Star Go To Vista Del Mar
Woody Norman – C’mon C’mon

BEST ACTING ENSEMBLE
Belfast
CODA
Don’t Look Up
Mass
The Harder They Fall

BEST ANIMATED FEATURE
Encanto
Flee
Luca
The Mitchells vs. The Machines
Raya and the Last Dragon

BEST DOCUMENTARY
Flee
Summer Of Soul
The First Wave
The Rescue
Val

BEST FOREIGN LANGUAGE FILM
Drive My Car
Flee
The Hand Of God
Titane
The Worst Person In The World

BEST SCREENPLAY
Belfast
The French Dispatch
​Licorice Pizza
Mass
The Power of the Dog

BEST SONG
“Dos Oruguitas” – Encanto
“Guns Go Bang” – The Harder They Fall
“Just Look Up” – Don’t Look Up
“No Time to Die” – No Time To Die
​”So May We Start” – Annette

BEST SCORE
Germaine Franco – Encanto
Hans Zimmer – Dune
Jonny Greenwood – The Power of the Dog
Jonny Greenwood – Spencer
Nicholas Britell – Don’t Look Up

BEST SOUND
A Quiet Place Part II
Dune
No Time To Die
Spider-Man: No Way Home
The Power of the Dog

BEST CINEMATOGRAPHY
Belfast
Dune
The Power of the Dog
The Tragedy Of Macbeth
West Side Story

BEST PRODUCTION DESIGN
Dune
Last Night In Soho
Nightmare Alley
The French Dispatch
The Tragedy Of Macbeth

BEST EDITING
Belfast
Dune
Last Night In Soho
​Licorice Pizza
The Power of the Dog

BEST MUSIC FILM
In The Heights
Respect
Summer Of Soul
Tick, Tick…Boom!
West Side Story

BEST COMEDY FILM
Barb & Star Go To Vista Del Mar
Don’t Look Up
Free Guy
Licorice Pizza
Red Rocket

BEST HORROR FILM
A Quiet Place Part II
Lamb
Last Night In Soho
Malignant
The Night House

BEST ACTION FILM
Dune
No Time To Die
Nobody
Shang-Chi And The Legend Of The Ten Rings
Spider-Man: No Way Home

Jim Ridley Special Award
Old Henry

Here Are The 2021 Nominations of the Cinema Audio Society!


For all of your Oscar watchers who are currently trying to make your predictions for which films will be nominated for Best Sound, here are the 2021 nominations of the Cinema Audio Society!

(Also, judging from these nominations and the Golden Reel nominations, I would suggest going with Dune, West Side Story, No Time To Die, and two Marvel films.  If you only want to include on Marvel film, then maybe go with Power of the Dog, depending on whether or not you expect that the Academy membership is going to be as crazy about it as the critics.  Maybe Belfast, too, depending on how popular it is with the members of the Academy.  If you want to include at least one shot so you can at least brag if it picks up a nomination, I recommend Summer of Soul.  But definitely, include Dune.)

MOTION PICTURE – LIVE ACTION
Dune
Production Mixer: Mac Ruth CAS
Re-Recording Mixer: Ron Bartlett CAS
Re-Recording Mixer: Douglas Hemphill CAS
Scoring Mixer: Alan Meyerson CAS
ADR Mixer: Tommy O’Connell
Foley Mixer: Don White
No Time To Die
Production Mixer: Simon Hayes CAS
Re-Recording Mixer: Paul Massey CAS
Re-Recording Mixer: Mark Taylor
Scoring Mixer: Stephen Lipson
ADR Mixer: Mark Appleby
Foley Mixer: Adam Mendez CAS
Spider-Man: No Way Home
Production Mixer: Willie Burton CAS
Re-Recording Mixer: Kevin O’Connell CAS
Re-Recording Mixer: Tony Lamberti CAS
Scoring Mixer: Warren Brown
ADR Mixer: Howard London CAS
Foley Mixer: Randy K. Singer CAS
The Power of the Dog 
Production Mixer: Richard Flynn
Re-Recording Mixer: Robert Mackenzie
Re-Recording Mixer: Tara Webb
Scoring Mixer: Graeme Stewart
Foley Mixer: Steve Burgess
West Side Story
Production Mixer: Tod Maitland CAS
Re-Recording Mixer: Andy Nelson CAS
Re-Recording Mixer: Gary Rydstrom CAS
Scoring Mixer: Shawn Murphy
ADR Mixer: Doc Kane CAS
Foley Mixer: Frank Rinella

MOTION PICTURE—ANIMATED
Encanto
Original Dialogue Mixer: Paul McGrath CAS
Re-Recording Mixer: David E. Fluhr CAS
Re-Recording Mixer: Gabriel Guy CAS
Re-Recording Mixer: David Boucher CAS
Scoring Mixer: Alvin Wee
ADR Mixer: Doc Kane CAS
Foley Mixer: Scott Curtis
Luca
Original Dialogue Mixer: Vince Caro CAS
Re-Recording Mixer: Christopher Scarabosio CAS
Re-Recording Mixer: Tony Villaflor
Scoring Mixer: Greg Hayes
Foley Mixer: Jason Butler
Foley Mixer: Richard Duarte
Raya and the Last Dragon
Original Dialogue Mixer: Paul McGrath CAS
Re-Recording Mixer: David E. Fluhr CAS
Re-Recording Mixer: Gabriel Guy CAS
Scoring Mixer: Alan Meyerson CAS
ADR Mixer: Doc Kane CAS
Foley Mixer: Scott Curtis
Sing 2
Original Dialogue Mixer: Edward Sutton
Re-Recording Mixer: Gary A. Rizzo CAS
Re-Recording Mixer: Juan Peralta
Scoring Mixer: Alan Meyerson CAS
ADR Mixer: Robert Edwards
Foley Mixer: Frank Rinella
The Mitchells vs. The Machines
Original Dialogue Mixer: Howard London CAS
Original Dialogue Mixer: Aaron Hasson
Re-Recording Mixer: Tony Lamberti CAS
Re-Recording Mixer: Michael Semanick CAS
Foley Mixer: Sanacore CAS

MOTION PICTURE—DOCUMENTARY
Becoming Cousteau
Re-Recording Mixer: Tony Volante CAS
Summer of Soul (…Or, When the Revolution Could Not Be Televised)
Re-Recording Mixer: Paul Hsu
Re-Recording Mixer: Roberto Fernandez CAS
Re-Recording Mixer: Paul Massey CAS
The Velvet Underground
Production Mixer:  Juliana Henao Mesa
Re-Recording Mixer: Leslie Shatz
Tina
Production Mixer: Caleb A. Mose
Re-Recording Mixer: Lawrence Everson CAS
Scoring Mixer: Phil McGowan CAS
Val
Production Mixer: Michael Haldin
Re-Recording Mixer: John Bolen
Scoring Mixer: Garth Stevenson
ADR Mixer: Mitch Dorf

The Online Film Critics Society Honors The Power of the Dog!


Yesterday, the Online Film Critics Society announced their picks for the best of 2021!  And here they are:

BEST PICTURE
1. The Power of the Dog
2. Drive My Car
3. Licorice Pizza
4. Dune
5. The Green Knight
6. Pig
7. The Worst Person in the World
8. Titane
9. West Side Story
10. Belfast

BEST ANIMATED FEATURE
Encanto
Flee
Luca
The Mitchells vs. the Machines
Raya and the Last Dragon

BEST DIRECTOR
Paul Thomas Anderson – Licorice Pizza
Jane Campion – The Power of the Dog
Ryusuke Hamaguchi – Drive My Car
Steven Spielberg – West Side Story
Denis Villeneuve – Dune

BEST LEAD ACTOR
Nicolas Cage – Pig
Benedict Cumberbatch – The Power of the Dog
Andrew Garfield – tick, tick…BOOM!
Oscar Isaac – The Card Counter
Hidetoshi Nishijima – Drive My Car

BEST LEAD ACTRESS
Olivia Colman – The Lost Daughter
Alana Haim – Licorice Pizza
Renate Reinsve – The Worst Person in the World
Agathe Rousselle – Titane
Kristen Stewart – Spencer

BEST SUPPORTING ACTOR
Mike Faist – West Side Story
Ciaran Hinds – Belfast
Troy Kotsur – CODA
Kodi Smit-McPhee – The Power of the Dog
Jeffrey Wright – The French Dispatch

BEST SUPPORTING ACTRESS
Ariana DeBose – West Side Story
Ann Dowd – Mass
Kirsten Dunst – The Power of the Dog
Aunjanue Ellis – King Richard
Ruth Negga – Passing

BEST ORIGINAL SCREENPLAY
Belfast
A Hero
Licorice Pizza
Mass
Pig

BEST ADAPTED SCREENPLAY
Drive My Car
Dune
The Lost Daughter
Passing
The Power of the Dog

BEST EDITING
Belfast
Dune
Licorice Pizza
The Power of the Dog
West Side Story

BEST CINEMATOGRAPHY
Dune
The Green Knight
The Power of the Dog
The Tragedy of Macbeth
West Side Story

BEST ORIGINAL SCORE
Dune
Encanto
The French Dispatch
The Power of the Dog
Spencer

BEST PRODUCTION DESIGN
Dune
The French Dispatch
The Green Knight
Nightmare Alley
West Side Story

BEST COSTUME DESIGN
Cruella
Dune
The French Dispatch
Spencer
West Side Story

BEST VISUAL EFFECTS
Dune
The Green Knight
The Matrix Resurrections
Shang-Chi and the Legend of the Ten Rings
Spider-Man: No Way Home

BEST DEBUT FEATURE
Maggie Gyllenhaal – The Lost Daughter
Rebecca Hall – Passing
Fran Kranz – Mass
Michael Sarnoski – Pig
Emma Seligman – Shiva Baby

BEST FILM NOT IN THE ENGLISH LANGUAGE
Drive My Car
Flee
A Hero
Titane
The Worst Person in the World

BEST DOCUMENTARY
Flee
Procession
The Rescue
Summer of Soul (…Or, When the Revolution Could Not Be Televised)
The Velvet Underground

TECHNICAL ACHIEVEMENT AWARDS:
“Dune” for Sound Design
“In the Heights for Choreography
“Memoria” for Sound Design
“No Time to Die”  for Stunt Coordination
“West Side Story” for Choreography

BEST NON-US RELEASE:
“1970” – Poland
“Bank Job” – United Kingdom
“Benediction” – United Kingdom
“The Girl and the Spider” – Switzerland
“The Medium” – Thailand
“Ninjababy” – Norway
“Petite Maman” – France
“Pleasure” – Sweden
“The Tsugua Diaries” – Portugal
“Vengeance Is Mine, All Others Pay Cash” – Indonesia

LIFETIME ACHIEVEMENT AWARDS:
John Carpenter
Tony Leung Chiu-Wai
Sheila Nevins
Paul Schrader
John Williams

SPECIAL ACHIEVEMENT AWARDS:
IATSE Workers, for bringing attention to labor issues in the film industry and fighting for better standards.
Turner Classic Movies (TCM) for providing worldwide access to classic films, including silent movies.
The Association of Moving Image Archivists (AMIA) is an important non-profit organization devoted to the preservation of film.

Here Are The 2021 Golden Reel Nominations!


For those of your making out your Oscar predictions, here’s some help for predicting the Best Sound nominees.  The Motion Picture Sound Editors have announced their 2021 Golden Reel nominations!

And here they are:

Outstanding Achievement in Sound Editing – Feature Effects / Foley
Belfast
Focus Features
Sound Designer: James Mather
Sound Editor: Tomas Blazukas
Foley Editor: Arthur Grayley
Foley Artists: Sue Harding, Oliver Ferris
Dune
Warner Bros.
Supervising Sound Editors: Theo Green, Mark Mangini MPSE
Sound Designer: Dave Whitehead
Sound Effects Editors: Phil Barrie, Lee Gilmore MPSE, Greg Ten Bosch MPSE, Robert Kellough MPSE, Piero Mura
Foley Editor: Christopher Bonis
Foley Artists: Andy Malcolm, Goro Koyama, Sandra Fox
The Matrix Resurrections
Warner Bros.
Supervising Sound Editors: Dane A. Davis MPSE, Stephanie Flack
Sound Effects Editors: Bryan O. Watkins, Jeremy Peirson, Markus Stemler, Michael Schapiro, Eric Lindemann, Albert Gasser MPSE, Laurent Kossayan MPSE, Caron Weidner
Foley Editors: Frank Kruse, Kuen Il Song
Foley Artist: Daniel Weiss
Nightmare Alley
Searchlight Pictures
Supervising Sound Editor: Nathan Robitaille MPSE
Sound Effects Editor: Dashen Naidoo
Foley Editor: Chelsea Body
Foley Artists: Goro Koyama, Andy Malcolm
No Time to Die
Universal Pictures
Supervising Sound Editors: Oliver Tarney MPSE, James Harrison
Sound Designers: Bryan Bowen, Eilam Hoffman
Sound Effects Editor: Dawn Gough
Foley Editor: Hugo Adams
Foley Artists: Sue Harding, Andrea King
A Quiet Place Part II
Paramount
Supervising Sound Editors: Ethan Van der Ryn, Erik Aadahl MPSE
Sound Designers: Malte Bieler, Brandon Jones
Sound Effects Editors: Chris Diebold, Matt Cavanaugh MPSE
Foley Editor: Jonathan Klein
Foley Artists: Steve Baine, Peter Persaud
Spider-Man: No Way Home
Sony Pictures
Supervising Sound Editor: Steven Ticknor MPSE
Sound Designer: Anthony Lamberti

​Outstanding Achievement in Sound Editing – Feature Dialogue / ADR
Dune
Warner Bros.
Dialogue Editor: David Bach
Last Night in Soho
Universal Pictures
Supervising Sound Editors: Dan Morgan, Julian Slater MPSE
Supervising ADR Editor: Dan Morgan
The Matrix Resurrections
Warner Bros.
Supervising Sound Editors: Stephanie Flack, Dane A Davis MPSE
Dialogue Editors: Marek Forreiter, Benjamin Hörbe, Dominik Schleier, Immo Trümpelmann
Nightmare Alley
Searchlight Pictures
Supervising Sound Editor: Jill Purdy MPSE
Supervising Dialogue Editor: Jill Purdy MPSE
Supervising ADR Editor: Jill Purdy MPSE
Dialogue Editor: Nelson Ferreira MPSE
No Time to Die
Universal Pictures
Supervising Dialogue & ADR Editors: Becki Ponting, Michael Maroussas
Dialogue Editors: Rachael Tate MPSE, Adele Fletcher
Supervising Sound Editor: Oliver Tarney MPSE
The Power of the Dog
Netflix
Supervising Dialogue & ADR Editor: Leah Katz
A Quiet Place Part II
Paramount Pictures
Supervising Sound Editor: Ethan Van der Ryn
Supervising Dialogue & ADR Editors: Vanessa Lapato, Nancy Nugent
Dialogue Editor: Matt Cavanaugh MPSE
The Tragedy of Macbeth
Apple TV+
Supervising Sound Editor: Skip Lievsay
Supervising Dialogue Editor: Michael Feuser

Outstanding Achievement in Sound Editing – Feature Music
Dune
Warner Bros.
Supervising Music Editors: Clint Bennett, Ryan Rubin
Music Editor: Peter Myles
Ghostbusters: Afterlife
Sony Pictures
Supervising Music Editor: Curt Sobel
In the Heights
Warner Bros.
Music Editors: Jim Bruening, Jennifer Dunnington, Ben Holiday
The Matrix Resurrections
Warner Bros.
Supervising Music Editor: Gabriel Isaac Mounsey
Music Editors: Hans Hafner, Jonathan Levi Shanes
Nightmare Alley
Searchlight Pictures
Music Editors: Clint Bennett, Kevin Banks MPSE
Scoring Editor: Cecile Tournesac
A Quiet Place Part II
Paramount
Music Editors: Jim Schultz, Nancy Allen MPSE, Del Spiva MPSE, Ramiro Belgardt
tick tick…BOOM!
Netflix
Music Editors: Nancy Allen MPSE, John Davis, Bri Holland
West Side Story
20th Century Studios
Music Editors: Joe E. Rand, Ramiro Belgardt
Scoring Editor: David Channing

Outstanding Achievement in Sound Editing – Feature Animation
Encanto
Walt Disney Animation Studios
Supervising Sound Editor: Shannon Mills
Supervising Dialogue Editor: Brad Semenoff MPSE
Sound Designer: Nia Hansen
Sound Effects Editors: Samson Neslund, Justin Doyle, Cameron Barker, Qianbaihui Yang MPSE
Dialogue Editor: Richard Quinn
Foley Editor: Alyssa Nevarez
Foley Artists: John Roesch MPSE, Shelley Roden MPSE
Supervising Music Editor: Earl Ghaffari
Music Editors: Angie Rubin, Kendall Demarest MPSE
Luca
Pixar Animation Studios
Supervising Sound Editors: Chris Scarabosio, André Fenley
Supervising Dialogue Editor: Rich Quinn
Supervising Foley Editor: Ronni Brown
Sound Effects Editors: Justin Doyle, Pascal Garneau
Foley Editor: E. Larry Oatfield
Foley Artists: Jana Vance, Ronni Brown
Music Editor: Lodge Worster
The Mitchells vs. the Machines
Sony Pictures Animation
Supervising Sound Editor: Geoffrey G. Rubay
Supervising ADR Editor: James Morioka
Sound Designer: John Pospisil
Sound Effects Editors: Kip Smedley, Andy Sisul MPSE, Alec G. Rubay, Dan Kenyon, Greg Ten Bosch MPSE
ADR Editor: Curt Schulkey
Foley Artist: Gregg Barbanell MPSE
Foley Artist: Rick Owens MPSE
Music Editors: Dominick Certo MPSE, Barbara McDermott
Raya and the Last Dragon
Walt Disney Animation Studios
Supervising Sound Editor: Shannon Mills
Supervising Dialogue Editor: Brad Semenoff MPSE
Sound Designer: Nia Hansen
Sound Effects Editors: Samson Neslund, David C. Hughes, Cameron Barker
Foley Editors: Chris Frazier, Steve Orlando
Foley Artists: John Roesch MPSE, Shelley Roden MPSE
Supervising Music Editor: Jim Weidman
Music Editor: David Olson
Sing 2
Illumination / Universal Pictures
Supervising Sound Editor: Dennis Leonard
Supervising Dialogue Editor: Jonathan Greber
Supervising ADR Editor: Daniel Laurie
Sound Designer: Josh Gold
Sound Effects Editors: Lucas Miller, Benjamin A. Burtt
Foley Editors: Shaun Farley MPSE, Jonathon Stevens
Music Editors: Michael Connell, Charles Inouye

Outstanding Achievement in Sound Editing – Feature Documentary
Billie Eilish: The World’s a Little Blurry
Apple TV+
Supervising Sound Editor: Richard Yawn MPSE
Music Editor: Michael Brake MPSE
Dialogue Editor: Rob Getty MPSE
Sound Effects Editor: Steven Avila MPSE
Foley Editor: Shawn Kennelly
Foley Artists: Melissa Kennelly, Vince Nicastro
Flee
NEON
Supervising Sound Editor: Edward Björner
Dialogue Editor: Jens Johansson
Sound Designer: Fredrik Jonsäter
Foley Artists: Rune Van Deurs, Bengt Öberg
The Rescue
Disney+
Supervising Sound Editor: Deborah Wallach
Sound Effects Editor: Roland Vajs
Foley Artist: Nuno Bentro
Music Editor: Ben Smithers
Summer of Soul (or, when the Revolution Could Not Be Televised)
Searchlight Pictures
Supervising Sound Editor: Joshua L. Pearson
Supervising Music Editor: Jimmy Douglass
VAL
Amazon Prime
Supervising Sound Editor: John Bolen
Dialogue Editor: John Bolen
Sound Effects Editor: John Bolen
Foley Editor: John Bolen
The Velvet Underground
Apple TV+
Supervising Sound Editor: Leslie Shatz
Music Editor: Jahn Sood

Outstanding Achievement in Sound Editing – Foreign Language Feature
Cliff Walkers
Viki
Supervising Sound Editors: Yang Jiang MPSE, Zhao Nan MPSE
ADR Editor: Li Xinghui
Foley Artist: Han Junsheng
Sound Editors: Ann Scibelli, Xiao’ou Olivia Zhang MPSE, Iain Pattison
The Hand of God
Netflix
Supervising Sound Editor: Silvia Moraes
A Hero
Amazon Prime
Supervising Sound Editor: Mohammadreza Delpak
Dialogue Editor: Mohammadreza Delpak
Sound Effects Editor: Mohammadreza Delpak
Titane
Amazon Prime
Sound Editor: Séverin Favriau
Foley Artist: Céline Bernard
A Writer’s Oddyssey
Netflix
Supervising Sound Editor: Xiao Sha Liu
Supervising ADR Editor: Xiao Sha Liu
Sound Designer: Gang Wang
Sound Effects Editors: Shuang Shuang Wang, Hong Rui Ji, Gang Wang, Ruo Qi Mo, Tobias Poppe, Zi Jian Jiang
Dialogue Editor: Zi Jin
Foley Editor: Pei Ya Zhang
Foley Artists: Zi Wei Wang, Yin Miao
Music Editor: Fei Yu

Here Are The 2021 Nominations of the Art Directors Guild


The Art Directors Guild, yesterday, announced their nominations for the best of 2021! The winners will be announced on March 5th!

PERIOD FEATURE FILM  
“The French Dispatch”
Production Designer: Adam Stockhausen
“Licorice Pizza”
Production Designer: Florencia Martin
“Nightmare Alley”
Production Designer: Tamara Deverell
“The Tragedy of Macbeth”
Production Designer: Stefan Dechant
“West Side Story”
Production Designer: Adam Stockhausen

FANTASY FEATURE FILM
“Cruella”
Production Designer: Fiona Crombie
“Dune”
Production Designer: Patrice Vermette
“Ghostbusters: Afterlife”
Production Designer: François Audouy
“The Green Knight”
Production Designer: Jade Healy
“Shang-Chi and the Legend of the Ten Rings”
Production Designer: Sue Chan

CONTEMPORARY FEATURE FILM
“Candyman”
Production Designer: Cara Brower
“Don’t Look Up”
Production Designer: Clayton Hartley
“In the Heights”
Production Designer: Nelson Coates
“The Lost Daughter”
Production Designer: Inbal Weinberg
“No Time to Die”
Production Designer: Mark Tildesley

ANIMATED FEATURE FILM
“Encanto”
Production Designers: Ian Gooding, Lorelay Bové
“Luca”
Production Designer: Daniela Strijleva
“The Mitchells vs. the Machines”
Production Designer: Lindsey Olivares
“Raya and the Last Dragon”
Production Designers: Paul Felix, Mingjue Helen Chen, Cory Loftis
“Sing 2”
Art Director: Olivier Adam