‘Conclave’ Leads All Film Nominations for the 2024 AWFJ EDA Awards

‘Conclave’ Leads All Film Nominations for the 2024 AWFJ EDA Awards

Emilia Perez, The Brutalist and Anora are among those nominated for Best Film, Best Director and Best Screenplay

(New York, NY, December 12, 2024) – Since 2006, the Alliance of Women Film Journalists (AWFJ) has presented annual EDA Awards, representing professional women critics’ collective perspectives on movies and cinema culture in the movie awards arena, where female critics and critical opinion are still greatly underrepresented. AWFJ honors female creatives in non-gender specific awards categories and in unique Female Focus categories designated for women only.  

This year, Edward Berger’s papal thriller CONCLAVE led all films with 9 nominations, including Best Film, Best Director, Best Screenplay (Adapted), Best Supporting Actress (Isabella Rossellini), Best Actor (Ralph Fiennes), Best Supporting Actor (Stanley Tucci), Best Ensemble Cast and Casting Director, Best Cinematography and Best Editing. Jacques Audiard’s EMILIA PEREZ grabbed 8 nods with Sean Baker’s ANORA and Brady Corbet’s THE BRUTALIST garnering 7; all were nominated for Best Film, Best Director and Best Screenplay (Original or Adapted). In the Female Focus Section, THE SUBSTANCE filmmaker Coralie Fargeat squares off with ALL WE IMAGINE AS LIGHT’S Payal Kapadia for both Best Woman Director and Best Female Screenwriter, with Nykiya Adams (BIRD), Karla Sofia Gascon (EMILIA PEREZ) and Mikey Madison (ANORA) all among those vying for the award for Best Women’s Breakthrough Performance.

“We are proud that this year’s member-determined roster of nominees includes female contenders in non-gender specific categories, including Coralie Fargeat in the Best Film, Best Director and Best Original Screenplay categories, along with Payal Kapadia, who is nominated for Best Director, Best Original Screenplay and Best International Film,” said Jennifer Merin, President of the 90-member AWFJ. “We hope to see similar recognition of women filmmakers at this year’s Oscars and various guild awards, as well as with other critic’s awards groups.” 

In preparation for the awards season, AWFJ tracks femme-helmed and femme-centric films released throughout the year. The 2024 list of EDA Award-eligible femme-helmed and/or femme-centric films includes more than 500 titles. Many of these female-made movies are small budget productions that receive neither wide distribution nor critical consideration. This impressive number of independently produced films indicates the high level of female filmmaker proactivity in contradiction to the grim statistics consistently reported in major studies about female film production. AWFJ advocates for acknowledgment of these films and recognition for their filmmakers, not only during awards season, but throughout the year with the Movie of the Week feature published every Monday on AWFJ.org, and other regular features. 

The EDAs are named in honor of AWFJ founder Merin’s mother, Eda Reiss Merin, a stage, film and television actress whose career spanned more than 60 years. A dedicated foot soldier in the industry, Eda was one of the founders of AFTRA and a long-standing member of AMPAS. EDA is also an acronym for Excellent Dynamic Activism, qualities shared by Eda Reiss Merin, AWFJ members and those honored with EDA Awards.

Here is the list of nominees:

Nickel Boys

OFFICIAL 2024 EDA AWARDS NOMINATIONS 

BEST OF AWARDS
BEST FILM 

  • ANORA
  • CONCLAVE
  • EMILIA PEREZ
  • NICKEL BOYS
  • SING SING
  • THE BRUTALIST
  • THE SUBSTANCE
  • WICKED

BEST DIRECTOR

  • JACQUES AUDIARD – EMILIA PEREZ
  • SEAN BAKER – ANORA
  • EDWARD BERGER – CONCLAVE
  • BRADY CORBET – THE BRUTALIST
  • CORALIE FARGEAT – THE SUBSTANCE
  • PAYAL KAPADIA – ALL WE IMAGINE AS LIGHT
The Substance

BEST SCREENPLAY, ORIGINAL

  • ALL WE IMAGINE AS LIGHT – PAYAL KAPADIA
  • ANORA – SEAN BAKER
  • A REAL PAIN – JESSE EISENBERG
  • HARD TRUTHS – MIKE LEIGH
  • THE SUBSTANCE – CORALIE FARGEAT
  • THE BRUTALIST – BRADY CORBET AND MONA FASTVOLD

BEST SCREENPLAY, ADAPTED

  • CONCLAVE – PETER STRAUGHAN, ROBERT HARRIS
  • EMILIA PEREZ – JACQUES AUDIARD, THOMAS BIDEGAIN, LEA MYSIUS
  • NICKEL BOYS – RaMell ROSS, JOSLYN BARNES, COLSON WHITEHEAD
  • NOSFERATU – ROBERT EGGERS
  • SING SING – JOHN H. RICHARDSON, BRENT BUELL, CLINT BENTLEY
  • THE WILD ROBOT – CHRIS SANDERS, PETER BROWN
Black Box Diaries

BEST DOCUMENTARY

  • BLACK BOX DIARIES – SHIDORI ITO
  • DAHOMEY – MATI DIOP
  • DAUGHTERS – ANGELA PATTON, NATALIE RAE
  • THE LAST OF THE SEA WOMEN – SUE KIM
  • SUGARCANE – EMILY KASSIE, JASON BRAVE NOISECAT
  • WILL & HARPER – JOSH GREENBAUM

BEST ANIMATED FILM

  • FLOW
  • HUNDREDS OF BEAVERS
  • INSIDE OUT 2
  • MEMOIR OF A SNAIL
  • THE WILD ROBOT
  • WALLACE & GROMIT: VENGEANCE MOST FOWL
Wicked

BEST ACTRESS 

  • CYNTHIA ERIVO – WICKED
  • KARLA SOFIA GASCON – EMILIA PEREZ
  • MARIANNE JEAN-BAPTISTE – HARD TRUTHS
  • MIKEY MADISON – ANORA
  • DEMI MOORE – THE SUBSTANCE
  • JUNE SQUIBB – THEMA

BEST ACTRESS, SUPPORTING 

  • JOAN CHEN – DIDI
  • DANIELLE DEADWYLER – THE PIANO LESSON
  • AUNJANUE ELLIS-TAYLOR – NICKEL BOYS
  • MARGARET QUALLEY – THE SUBSTANCE
  • ISABELLA ROSSELLINI – CONCLAVE
  • ZOE SALDANA – EMILIA PEREZ

BEST ACTOR 

  • ADRIEN BRODY – THE BRUTALIST
  • DANIEL CRAIG – QUEER
  • COLMAN DOMINGO – SING SING
  • RALPH FIENNES – CONCLAVE
  • HUGH GRANT – HERETIC
  • SEBASTIAN STAN – THE APPRENTICE

BEST ACTOR, SUPPORTING 

  • YURA BORISOV – ANORA
  • KIERAN CULKIN – A REAL PAIN
  • CLARENCE MACLIN – SING SING
  • GUY PEARCE – THE BRUTALIST
  • STANLEY TUCCI – CONCLAVE
  • DENZEL WASHNGTON – GLADIATOR II
Saturday Night

BEST ENSEMBLE CAST AND CASTING DIRECTOR

  • ANORA
  • CHALLENGERS
  • CONCLAVE
  • EMILIA PEREZ
  • SATURDAY NIGHT
  • WICKED

BEST CINEMATOGRAPHY 

  • CONCLAVE
  • DUNE II
  • NICKEL BOYS
  • NOSFERATU
  • THE BRUTALIST
  • WICKED

BEST EDITING

  • ANORA
  • CONCLAVE
  • EMILIA PEREZ
  • FURIOSA: A MAD MAX SAGA
  • THE BRUTALIST
  • THE SUBSTANCE
All We Imagine As Light

BEST INTERNATIONAL FILM

  • ALL WE IMAGINE AS LIGHT
  • DAHOMEY
  • EMILIA PEREZ
  • FLOW
  • LA CHIMERA
  • THE SEED OF THE SACRED FIG

EDA FEMALE FOCUS AWARDS

EDA FEMALE FOCUS: BEST WOMAN DIRECTOR 

  • ANDREA ARNOLD – BIRD
  • GIA COPPOLA – THE LAST SHOWGIRL
  • CORALIE FARGEAT – THE SUBSTANCE
  • PAYAL KAPADIA – ALL WE IMAGINE AS LIGHT
  • MEGAN PARK – MY OLD ASS
  • ALICE ROHRWACHER – LA CHIMERA
My Old Ass

EDA FEMALE FOCUS: BEST FEMALE SCREENWRITER 

  • ANDREA ARNOLD – BIRD
  • CORALIE FARGEAT – THE SUBSTANCE
  • PAYAL KAPADIA – ALL WE IMAGINE AS LIGHT
  • MEGAN PARK – MY OLD ASS
  • ALICE ROHRWACHER – LA CHIMERA
  • ERICA TREMBLAY, MICIANA ALISE – FANCY DANCE

EDA FEMALE FOCUS: BEST ANIMATED/VOICED PERFORMANCE

  • AYO EDEBIRI – INSIDE OUT 2
  • MAYA HAWKE – INSIDE OUT 2
  • LUPITA NYONG’O – THE WILD ROBOT
  • AMY POEHLER – INSIDE OUT 2
  • SARAH SNOOK – MEMOIR OF A SNAIL
  • JACKI WEAVER – MEMOIR OF A SNAIL
Emilia Perez

EDA FEMALE FOCUS: BEST WOMEN’S BREAKTHROUGH PERFORMANCE

  • NYKIYA ADAMS – BIRD
  • KARLA SOFIA GASCON – EMILIA PEREZ
  • MIKEY MADISON – ANORA
  • KATY O’BRIAN – LOVE LIES BLEEDING
  • JUNE SQUIBB – THELMA
  • MAISY STELLA – MY OLD ASS

EDA FEMALE FOCUS: BEST STUNT PERFORMANCE 

  • NIKKI BERWICK – STUNT COORDINATOR, GLADIATOR II
  • ALEX JAY (for ZENDAYA) – DUNE II
  • HAYLEY WRIGHT (for ANYA TAYLOR-JOY) – FURIOSA
  • KATY O’BRIAN – LOVE LIES BLEEDING
  • CAILEE SPAENY – ALIEN ROMULUS
  • JUNE SQUIBB – THELMA
June Squibb as “Thelma.”

ABOUT THE ALLIANCE OF WOMEN FILM JOURNALISTS

The Alliance of Women Film Journalists, Inc. (AWFJ) is a not-for-profit professional association of highly qualified female movie critics, reporters and feature writers working in print, broadcast and online media, dedicated to supporting work by and about women – both in front of and behind the cameras – through intra-group promotional activities, outreach programs and by presenting awards in recognition of outstanding accomplishments (the best and worst) by and about women in the movies. AWFJ was founded in 2006 by Jennifer Merin, Maitland McDonagh, Joanna Langfield and Jenny Halper. In addition to the year end awards, AWFJ presents EDA Awards at partner festivals, keeps an active and interactive record of fiction feature and documentary films by and/or about women, and/or are of particular interest to women because they focus on women’s issues. We welcome information that will allow us to keep our lists updated. Lists are made available to members and the general public on our Web site at AWFJ.org. For further information, contact AWFJ President Jennifer Merin at awfjinc@gmail.com.

‘Gladiator II’ Is An Underwhelming Sequel Stuck in the Past

‘Gladiator II’ Is An Underwhelming Sequel Stuck in the Past

By Alex McPherson

Lacking the focus and heart of its predecessor, director Ridley Scott’s “Gladiator II” undercuts its splatter-filled action sequences and on-point performance from Denzel Washington with a jumbled narrative that’s content to live in the shadow of greatness.

Scott’s sequel takes place takes place 16 years after the events of “Gladiator,” which concluded with the deaths of Maximus (Russell Crowe — the Roman general-turned-revenge-fueled-gladiator-turned potential “savior” of Rome — and the beady-eyed Emperor Commodus (Joaquin Phoenix), a tyrant who assumed power after killing his father and former emperor, the wise Marcus Aurelius (Richard Harris). 

The “Dream of Rome” to establish a true republic, which motivated Maximus and his supporters, has seemingly been extinguished, and chaos reigns once again among the populace. Rome is controlled by two pasty, unhinged brothers — co-emperors Geta (Joseph Quinn) and Caracalla (Fred Hechinger), with a monkey on his shoulder — who seek wealth and violent conquest above all else.

They order the Roman army, led by the increasingly disillusioned General Marcus Acacius (Pedro Pascal), who is married to Marcus Aurelius’s daughter Lucilla (Connie Nielsen), to conquer as much new territory as possible, as violently as possible.

Pedro Pascal.

Lucius (Paul Mescal), Lucilla’s son, is living humbly as a farmer in the North African colony of Numidia with his wife, Arishat (Yuval Gonen). They were forced to flee Rome after Maximus’s death. But Lucius, all grown up and using the nickname “Hanno,” cannot escape his Roman past.

Acacius and his troops show up and ransack the city — killing Arishat and taking Lucius back to Rome as a prisoner. The stage is set, like Maximus before him, for a tale of revenge, and Lucius (fittingly angry) is bloodthirsty to avenge his wife.

Also like Maximus before him, Lucius is quite a capable fighter. He impresses the conniving, calculating slave trader Macrinus (Washington), who takes Lucius under his wing as a gladiator and promises to grant him an opportunity to kill Acacius if he wins enough fights. 

The ever-manipulative Macrinus, who was also once a gladiator himself, plots his own ascendancy through Roman royalty, as Lucius fights his way through the coliseum, and Acacius prepares to rebel against the parasitic rascals in command. The stage is set for plenty of drama and political intrigue, complete with hyperviolent set-pieces galore and numerous hunks in kilts. 

It’s a continuation of “Gladiator,” all right, and Scott delivers the basics of what fans of swords-and-sandals epics expect. What’s lacking this time around, though, is a clear emotional throughline — a focused narrative of one man’s quest for vengeance and eventual unity of a fractured society. 

Denzel Washington

By awkwardly stitching its subplots together, “Gladiator II” has neither the pacing nor strong characterization of Maximus’s story, sapping momentum while hitting familiar plot beats and offering only glimmers of greatness amid its nostalgia-laden framework.

Most of these involve Washington, who embodies Scott’s commentary on “playing the system” with a mixture of camp and fearsome excitement that’s sorely lacking elsewhere.

Lucius isn’t as compelling a hero as Maximus, and Mescal’s characteristic talent for subtlety is poorly realized here. David Scarpa’s uneven screenplay gives Mescal plenty of chances for impassioned speechifying and opportunities to look angry, but Mescal lacks Crowe’s charisma and gravitas, worsened by the all-too-familiar setup for Lucius’s story that “Gladiator” fans (or anyone familiar with the revenge genre) have seen done before, and done better. A questionable accent certainly doesn’t help. 

Still, Mescal certainly has a “Movie Star” look, if not the screen presence of Crowe, who conveyed an enduring compassion despite Maximus’s burning desire for revenge. Mescal is muted and bland by comparison, a talented actor playing against his strengths as a performer.

Mescal and Pascal fight

Pascal doesn’t leave much of an impression either, essentially filling in the aspects of Maximus’s character that Lucius lacks. He’s a victim of the film’s narrative structure that jarringly cuts between several subplots, seemingly unsure of what’s worth focusing on narratively and tonally. 

Acacius is relegated to sequences laden with exposition that carry little impact, weighing his love for Lucilla (Nielsen is typically radiant but saddled with much of the screenplay’s blunt dialogue) and the Dream of Rome with his official responsibilities.

These sequences feel workmanlike via Scott’s scattered direction that, more generally, abandons the classical feel of the first film and undercuts its typically excellent period detail (with strong production and costume design) with the goal of moving the plot along, rather than immersing viewers in the drama itself.

What “Gladiator II” does have, at least sporadically, are crowd-pleasing scenes of brutal violence and backstabbing politics, elevated by the always-excellent Washington.

Indeed, Macrinus — fiendish, verbose, and menacing (possessing viciousness beneath smiles and “playful” banter) — gives Scott’s film a much needed burst of energy. Washington is clearly enjoying himself, taking big swings in an ensemble that otherwise plays it safe.

Macrinus is always thinking three steps ahead — playing the system from the inside, casting aside any and all compassion for those caught in the crossfire. 

Connie Nielsen is Lucilla

It’s alternately funny and shocking to watch what he and Washington have up their sleeves — Washington brings a sense of volatility that commands his every scene, and Macrinus’s backstory is layered enough to shoulder the entire movie on his own (but that would have meant relinquishing the “nostalgia factor” that this sequel depends on).

The action set-pieces, too — with savage swordplay and CGI animals galore, including baboons, rhinos, and sharks (?!) — are always fun to watch: loud and chaotic in the best ways. There’s still something lost in the film’s visual effects, an immediacy that the scrappy battles from the first “Gladiator” had in spades. 

These sequences, and those of Macrinus’s machinations (with Quinn and Hechinger being suitably repugnant beside him), are where “Gladiator II” ascends beyond mediocrity — leaning into enjoyable craziness rather than humorless moralizing. 

Like Scott’s tonally erratic “House of Gucci” before it, “Gladiator II” can’t balance its more satirical flourishes (mostly involving Macrinus) with the earnest drama of Lucius’s quest for revenge and eventual redemption of Rome.

It comes across as confused and scattered, reliant on blatant callbacks and rehashed emotions, ultimately swapping its relevant political commentary with shrug-worthy simplifying.

There’s still enough pure spectacle in “Gladiator II” to engage on the surface level. Am I fully “entertained,” however? Not quite.

Fred Hechinger plays Emperor Caracalla in Gladiator II from Paramount Pictures.

“Gladiator II” is a 2024 action period drama directed by Ridley Scott and starring Paul Mescal, Denzel Washington, Pedro Pascal, Joseph Quinn, Fred Hechinger and Connie Nielsen. It is rated R for strong bloody violence and its runtime is 2 hours, 28 minutes. It opened in theaters Nov. 22. Alex’s Grade: C+