Guillermo del Toro’s Pinocchio
This tour de force of crafts features stop-motion puppets and tons of practical effects done in camera, as well as visual effects. A Museum of Modern Art exhibit called “Guillermo del Toro: Crafting Pinocchio” will begin press previews Dec. 7 and open Dec. 11.
Top Gun: Maverick
Thirty-six years after Top Gun was nominated in this category, it’s hard to imagine that its sequel won’t be. Cut by Eddie Hamilton, who also edited Tom Cruise’s Mission: Impossible — Fallout, the movie features aerial action sequences that alone are as thrilling as anything onscreen in 2022.
Bardo, False Chronicle of a Handful of Truths
Eugenio Caballero, who previously worked on Alfonso Cuarón’s Roma, teams up with Alejandro G. Iñárritu for the first time. On this project, he helps bring everything from a circular apartment to a flooded subway system from Iñárritu’s imagination to the screen.
Catherine Martin, who has won this award for her work on husband Baz Luhrmann’s films Moulin Rouge! and The Great Gatsby, could pick up a third statuette for re-creating some of the King’s iconic outfits and making new ones. Austin Butler wears a total of 90 in the film!
Brendan Fraser was made to look like a 600-pound man using digitally created prosthetics — some weighing 300 pounds and taking up to four hours to apply — thanks to innovations created by director Darren Aronofsky’s frequent Oscar-nominated collaborator Adrien Morot.
Everything Everywhere All at Once
The directors Daniel Kwan and Daniel Scheinert (aka Daniels) wanted a small VFX team after working with a big one on their previous film, Swiss Army Man. The off-the-wall effects in this effort were achieved by a core team of just five working under first-time effects supervisor Zak Stoltz.
This story first appeared in a December stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.