Netflix has acquired worldwide rights to Kitty Green’s documentary “Casting JonBenet,” which will have its world premiere later this month in the U.S. Documentary Competition at the Sundance Film Festival.

Netflix noted that the Sundance premiere will be the first time a non-fiction work from the company will compete at the festival. The film will launch on Netflix and in limited theatrical release in the spring of 2017.

“Casting JonBenet” is an exploration of the still-unsolved death of six-year-old American beauty queen JonBenet Ramsey in 1996 in Colorado. Over 15 months, the filmmakers traveled to the Ramseys’ Colorado hometown to elicit responses and reflections from the local community. The film examines how this crime and its resulting mythologies have shaped the attitudes and behavior of successive generations of parents and children.



JonBenet Ramsey’s Brother’s Defamation Lawsuit Against CBS May Hinge on Fact Vs. Opinion


Producers are Green, Scott Macauley, and former Focus Features topper James Schamus. The film was financed by Meridian Entertainment through its production deal with Schamus’ Symbolic Exchange, with additional support from Screen Australia, Film Victoria, the Sundance Institute Documentary Film Program, Cinereach, Rooftop Films, and Garbo NYC.

“Casting JonBenet” is a Forensic Films/Matricide Pictures/Symbolic Exchange production. Green’s credits include “Ukraine Is Not a Brothel” and “The Face of Ukraine: Casting Oksana Baiul,” which premiered at Sundance in 2015, where it was awarded the short film non-fiction jury prize.

Macaulay’s credits include “Raising Victor Vargas.” Schamus was a producer on “Brokeback Mountain” and “The Ice Storm.” “For Scott and me, working with Kitty, a visionary filmmaker whose originality is matched by her empathy, has been one of the great privileges of our careers,” Schamus said.

“Kitty boldly embraces the tradition of innovative risk-taking within the documentary filmmaking mode with her remarkable work on ‘Casting JonBenet,'” Netflix VP of Original Documentary Programming Lisa Nishimura added. “Netflix is the ideal home for showcasing Kitty’s sharply-rendered vision of a mythic American tragedy to a global audience, on the occasion of the 20th anniversary of the crime.”


The Academy of Motion Picture Arts and Sciences has selected 18 scientific and technical achievements to be honored at its Scientific and Technical Awards Presentation on Feb. 11 at the Beverly Wilshire.

The awards will be presented to 34 individual recipients, as well as five organizations.

“This year we are particularly pleased to be able to honor not only a wide range of new technologies, but also the pioneering digital cinema cameras that helped facilitate the widespread conversion to electronic image capture for motion picture production,” said Ray Feeney, chair of the Scientific and Technical Awards Committee. “With their outstanding, innovative work, these technologists, engineers and inventors have significantly expanded filmmakers’ creative choices for moving image storytelling.”

Those achievements selected must demonstrate a “proven record of contributing significant value to the process of making motion pictures.” The achievements are not required to have been developed in 2016.

The Technical Achievement Awards, which receive Academy certificates, are:

— Thomson Grass Valley for the design and engineering of the pioneering Viper FilmStream digital camera system.

— Larry Gritz for the design, implementation and dissemination of Open Shading Language (OSL).

— Carl Ludwig, Eugene Troubetzkoy, and Maurice van Swaaij for the pioneering development of the CGI Studio renderer at Blue Sky Studios.

— Brian Whited for the design and development of the Meander drawing system at Walt Disney Animation Studios.

— Mark Rappaport for the concept, design, and development, to Scott Oshita for the motion analysis and CAD design, to Jeff Cruts for the development of the faux-hair finish techniques, and to Todd Minobe for the character articulation and drive-train mechanisms, of the Creature Effects Animatronic Horse Puppet.

— Glenn Sanders and Howard Stark for the design and engineering of the Zaxcom Digital Wireless Microphone System.

— David Thomas, Lawrence E. Fisher, and David Bundy for the design, development, and engineering of the Lectrosonics Digital Hybrid Wireless Microphone System.

— Parag Havaldar for the development of expression-based facial performance-capture technology at Sony Pictures Imageworks.

— Nicholas Apostoloff and Geoff Wedig for the design and development of animation rig-based facial performance-capture systems at ImageMovers Digital and Digital Domain.

Kiran Bhat, Michael Koperwas, Brian Cantwell, and Paige Warner for the design and development of the ILM facial performance-capture solving system.


Scientific and Engineering Awards, which are awarded plaques, are:

— ARRI for the pioneering design and engineering of the Super 35 format Alexa digital camera system.

RED Digital Cinema for the pioneering design and evolution of the RED Epic digital cinema cameras with upgradeable full-frame image sensors.

— Sony for the development of the F65 CineAlta camera with its pioneering high-resolution imaging sensor, excellent dynamic range, and full 4K output.

—  Panavision and Sony for the conception and development of the groundbreaking Genesis digital motion picture camera.

— Marcos Fajardo for the creative vision and original implementation of the Arnold Renderer, and to Chris Kulla, Alan King, Thiago Ize, and Clifford Stein for their highly optimized geometry engine and novel ray-tracing algorithms which unify the rendering of curves, surfaces, volumetrics, and subsurface scattering as developed at Sony Pictures Imageworks and Solid Angle SL.

—  Vladimir Koylazov for the original concept, design, and implementation of V-Ray from Chaos Group.

Luca Fascione, J.P. Lewis, and Iain Matthews for the design, engineering, and development of the FACETS facial performance capture and solving system at Weta Digital.

— Steven Rosenbluth, Joshua Barratt, Robert Nolty, and Archie Te for the engineering and development of the Concept Overdrive motion control system.


Maher Abi Samra’s disturbing documentary “A Maid for Each” takes a cool-headed look at a Beirut agency that traffics — a charged word but a pretty accurate one — in domestic help. Watching the film feels like viewing a chilling reality through a two-way mirror: Some may take comfort in thinking the situation of domestic servants in Lebanon isn’t “our” world, but in truth, the commodification of foreign home workers by type (“my Filipina,” “my Mexican”) is a near-universal problem. The situation is more charged in Lebanon than in many nations due to the way female workers are brought into the country. Yet the rigid caste system so baldly on display, with servants treated as nonentities, is merely less hypocritical than what exists in Occidental homes. Abi Samra’s artful, formalistic methodology succinctly exposes the dehumanization process, and his film has deservedly earned several awards, including Dubai’s best documentary prize.

For projecting a heightened level of discomfort, few openings can match the wordless establishing shot of an immaculate living room, into which arrives a well-dressed woman who sits down on the sofa and artfully arranges her legs while a maid follows, standing, hands held together, sheepishly looking out. The contrasts in body language, together with the fixed, voyeuristic viewpoint, brutally expose the nature of the social hierarchy: power versus subservience. In the following sequences, we hear people talk about the servants they grew up with, women whose most important quality was their ability to live alongside the family, but not within its fabric.

Most of the documentary is devoted to the Al Raed agency, its owner Zein El-Amin, and his assistant Amal Barakat. Located on the second floor of a shoddy corner building in downtown Beirut, Al Raed connects those in need of maids with some of the thousands of women in Sri Lanka, Bangladesh, Ethiopia, and the Philippines who want to come to Lebanon as domestic servants. The figures are astounding: Approximately 128,000 women from those four countries arrive annually in a nation of just 4.4 million.

Between scenes with clients discussing their need for “obedient and gentle” girls (why are cleaning ladies always “girls,” even when they’re mature women?), El-Amin makes a flow-chart on the office’s plate-glass window showing the process and costs by which recruiters in the four countries channel workers into Lebanon — legally for the Sri Lankans and Bangladeshi, illegally for the Ethiopians and Filipinas. Breaking the system down in this way reinforces a parallel with slavery, or at best indentured servitude; there’s no sense of the individual, just the commodity. Barakat helpfully tells clients, “You can always return her and get another,” and since the women are sponsored to come to Lebanon, their employers can beat them without fear that they’ll run away.

Tiny, sparse maids’ rooms, meant to be as inconspicuous as the inhabitants themselves, are shot obliquely, tucked in as an afterthought behind kitchens, or carved out of an enclosed balcony. For employers to tolerate the presence of an outsider in their homes, they have to make certain that presence takes up as little space as possible. Controlled pans across apartment windows at night, anonymous and innocuous, are more real than the people living inside (visuals are more polished than Abi Samra’s debut, “We Were Communists”). Within the dingy walls of Al Raed, however, the camera remains stationary, allowing signs of commerce outside to make their own silent commentary.

Film Review: 'A Maid for Each'

Reviewed online in London, Dec. 26, 2016. (At Dubai, Rio, Berlin film festivals.) Running time: 67 MIN. (Original title: “Makhdoumin”)


(Documentary – Lebanon-France-Norway-UAE) An Orjouane Productions presentation of an Orjouane Productions, Les Films d’Ici, Medieoperatørene production. (International sales: Doc & Film Intl., Paris.) Producers: Jinane Dagher, Sabine Sidawi. Co-producers: Serge Lalou, Camille Laemle, Ida Ven Bruusgaard, Eirin O. Høgetveit.


Director/writer: Maher Abi Samra. Camera (color): Claire Mathon. Editor: Rana Sabbagha.


Zein El-Amin, Amal Barakat, Bernadette Hodeib, Rahel Zegeye.(Arabic, Amharic, Oromo dialogue)

Relativity Media’s fade out continued this week, as the bulk of the company’s employees were told that an unpaid furlough that began over the two-week winter holiday will continue indefinitely, according to two people familiar with the operation.

Only a handful of workers remain at the entertainment firm that had already pared its staff to less than 30, those sources said. Relativity once aspired to be a “360-degree global media platform” that could compete with Hollywood’s big studios.

The news comes in the wake of other signs of Relativity’s decline, eight months after its bankruptcy reorganization; CEO Ryan Kavanaugh and President Dana Brunetti signaled just before the holidays that they would step down from daily duties. And, this week, the company laid off roughly 40 workers who staffed its joint distribution operation with EuropaCorp.

There is wide speculation in Hollywood that Relativity will cease operating either by liquidating its assets under a Chapter 7 filing, or simply by shutting its doors.

“To me this is the true end of Relativity,” said one individual close to the company. “There is no more marketing function and no production to speak of. Ryan is gone. Dana is gone. It’s over.”



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Relativity COO Ken Halsband referred questions to the company’s outside spokesperson, who declined to comment. One person close to management, who declined to be identified, refuted the claim that less than a half-dozen employees remain.

Two insiders said that Halsband intends to keep the company afloat, though he has never publicly discussed how he would achieve that. The sources also noted that the operation is looking to cut costs by moving out of its Beverly Hills headquarters. Lawyers who handled the company’s bankruptcy are still owed millions of dollars. Relativity’s decline has also hit those on the low end of the economic spectrum — with a gardener complaining Wednesday that he is owed $2,600, according to an insider.

Kavanaugh, the 42-year-old entrepreneur who founded Relativity a dozen years ago, has never publicly acknowledged or refuted press reports that he was leaving his post as CEO. A statement from a company spokesperson suggested he would continue to work, in some capacity, with Brunetti and another Relativity executive.

That same statement, late last month, said that Brunetti had “transitioned to a production deal” with the company and added the he also remained a shareholder. “The company, Dana and Ryan agreed that Dana’s greatest value add to the company is to make the movies he wants to, giving him flexibility to make the films he enjoys,” the statement said.

Brunetti was hired last January by Kavanaugh to help lead the company’s resurgence, originally to team with his long-time producing partner, Academy Award-winner Kevin Spacey. But Spacey dropped out of the arrangement months ago and, on Tuesday, Brunetti was packing up his office, according to one insider.


Sony’s Screen Gems has tapped “Stomp the Yard” director Sylvain White for its “Slender Man” horror movie, based on the supernatural character who stalks, abducts and traumatizes people.

Screen Gems began negotiations last May to acquire feature film rights from Mythology Entertainment, Madhouse Entertainment and No Dream Entertainment. Producers are planning to start shooting by the spring.

Producers of the “Slender Man” movie are Bradley Fischer, James Vanderbilt and William Sherak for Mythology; Madhouse’s Robyn Meisinger; and No Dream’s Sarah Snow. Executive producers are Tracey Nyberg, Louis Sallerson, Adam Kolbrenner and Ryan Cunningham.

Slender Man is a tall, thin figure with unnaturally long arms and a featureless face. The figure first appeared on the Internet in 2009 as a submission in a photoshop contest in which users were challenged to edit everyday photographs to appear paranormal.

A forum poster with the user name “Victor Surge” contributed two black and white images of groups of children and added a spectral figure wearing a black suit. He wrote under one of the photographs: “He is thought to be responsible for the haunting, stalking, and disappearance of countless children and teens.”

White directed dance drama “Stomp the Yard” in 2007 for Screen Gems. The film was a solid performer with $75 million in worldwide grosses on a $13 million budget.

White’s credits include the 2013 French film “The Mark of Angels — Miserere” and the 2010 film “The Losers.” He’s repped by UTA and Principato-Young. The news was first reported by Deadline Hollywood.



In an expansion move, sales-financing company Bloom has hired veteran Weinstein Company executive Dan Guando to the newly created post of president of production.

Guando will report to company co-founder Alex Walton and will oversee and grow Bloom’s film slate, along with broaden its business in content creation and ownership. Guando will relocate from New York City to Los Angeles.

Guando worked at the Weinstein Co. for 12 years, most recently serving as the U.S. head of acquisitions, production, and development. During his tenure, he oversaw the acquisition and release of “The Imitation Game,” “The Artist,” “Fruitvale Station,” “Philomena,” “Snowpiercer,” “Blue Valentine,” and “The Founder.”

Bloom was founded by Walton and producer/financier Ken Kao in 2014 and has specialized in backing adult dramas. It announced in September at the Toronto Film Festival that it was launching international sales on the South American drama “Bel Canto,” starring Julianne Moore and Ken Watanabe with Paul Weitz directing.

The Bloom slate includes: Scott Cooper’s “Hostiles,” starring Christian Bale and Rosamund Pike; Martin Zandvliet’s “The Outsider,” starring Jared Leto; Federico D’Alessandro’s “Tau,” starring Maika Monroe and Ed Skrein; Danny Strong’s “Rebel in the Rye,” starring Nicholas Hoult; George Clooney’s “Suburbicon,” starring Matt Damon and Julianne Moore; and Kate and Laura Mulleavy’s “Woodshock,” starring Kirsten Dunst.

Guando said, “I have admired from afar what Alex, Ken, and the Bloom team have been building, and am excited to start producing a slate of commercial, filmmaker-driven material and help Bloom continue to grow.”


A heartwarming story found on Tumblr brought “Rogue One” star Diego Luna down to earth on Tuesday night. The post, which Luna tweeted with the note “I got emotional reading this!,’ tells of Tumblr user Perls, a “Star Wars” fan who brought her father along to see the new film. The fan, whose father, like Luna, is Mexican, wanted her father to see himself represented onscreen. While Luna was touched by the post, his onscreen presence did even more for the girl’s father.

“My dad was so happy,” the fan wrote of her father’s response to the film and Luna’s large role in it.

In the franchise’s most recent film, Luna plays Captain Andor, who retains Luna’s Mexican accent. While the character’s origins go unexplained in the film, the very presence of an actor who looks different from Han Solo, Luke Skywalker or Anakin Skywalker can make a difference. For this fan’s father, it meant the world. The fan even filmed her father’s response to hearing about Luna’s tweet, a response filled with immense joy. “Representation matters,” she wrote.

Luna has spoken in the past on the importance of diversity in mainstream films. He told Variety in an interview that the audience has the power to move the industry in the right direction.

“I think it’s time for audiences to shape the industry we need and it’s always asking for the stories we want to see portrayed in cinema.”

When fans like this Tumblr user and her father attend and praise films with a diverse set of actors like Rogue One, Luna thinks the demand for more will be too loud to ignore.

See the tweet below.




ROME – Box office in Italy dropped 6% in 2016 to 618 million euros ($648 million) despite a slew of strong local titles, especially smash hit “Quo Vado?”, which single-handedly accounted for more than 10% of the year’s total haul.

Ticket sales were down 3% to 99.4 million,  just under the 100 million admissions benchmark below which the year is considered a negative one. The figures were released Thursday by comScore.

Homegrown films, and not just “Quo Vado” (pictured), proved crucial to luring Italians into movie theaters. But U.S. movies still nabbed 17 out of the top 20 spots on Italy’s 2016 box office chart.

“Vado,” which stars local sensation Checco Zalone as a Southern Italian slacker hellbent on holding on to his parasitic government job, hit a national nerve amid rising unemployment. The timely comedy pulverized all records for an Italian movie at local turnstiles, making 65 million euros ($68 million),

The No. 2 title of 2016 was also locally produced: “Perfect Strangers” (“Perfetti Sconosciuti”), a high-concept dramedy in which friends at a dinner party decide to place their cell phones on the table and make all their texts and calls public. It pulled in $19.5 million. “Vado” and “Strangers” were both released by Medusa, the film arm of TV company Mediaset, in which the family of former Prime Minister Silvio Berlusconi holds a roughly 40% stake.

“2016 is an extraordinary year for Italian cinema,” said Giovanni Cova, head of Milan-based entertainment marketing company QMI. He noted that “the top two films are Italian, whereas in 2015 the Italian film that performed best weighed in at No. 8.”

But Cova pointed out that the country’s scarcity of movie releases during summer months, a historic sore spot, continues to prevent Hollywood titles from realizing their full box-office potential in Italy.

As in other international territories, Hollywood pics that clicked best in Italy targeted family audiences. Disney’s “Finding Dory” came in at No. 3, scoring $17.3 million, followed by Warner Bros.’ “Fantastic Beasts and Where to Find Them” with $15.4 million. Fox’s drama “The Revenant,” toplining Leonardo DiCaprio, came in at No. 5 with $14.4 million.

But these numbers are below par for a top European territory with a population of nearly 60 million.

“Dory,” for example, earned $18.6 million in Spain, significantly more than in Italy. Spain, with a population of 46 million, had slightly lower total grosses ($634 million) than Italy this year, but it broke the 100 million admissions barrier.

“In Italy you can still basically release movies only eight months out of the year, whereas distributors in other European territories work on an 11- or 12-month calendar,” said Cova. “This creates a glut which remains the country’s biggest structural problem.”

The low number of summer releases was attributed in the past to the fact that many Italians hit the beach in summer, and also to a lack of air-conditioned venues.  But now that Italians have less holiday time and venues have improved local exhibitors are increasingly blaming distributors, including the U.S. majors, for being unwilling to take the risk needed to gradually get more Italians into the habit of going to see more movies in summer, as audiences do elsewhere in Europe.

In May last year, 20th Century Fox came under fire from Italian exhibitors for moving the release of “Independence Day: Resurgence” from its announced July 6 bow to a Sept. 8 slot.

Piracy is also a major plague. Italy has long been on the U.S. government’s watch list of overseas countries where film piracy is worst.


1. “Quo Vado,” Medusa, €65.3 million ($68.4 million), cumulative figure includes 2015

2. “Perfect Strangers,” Medusa €17.3 million ($18.1 million)

3. “Finding Dory,” Disney €15.1 million ($15.8 million)

4. “Fantastic Beasts and Where To Find Them,” Warner Bros. €14.7 million ($15.4 million)

5. “The Revenant,” Fox €13.8 million ($14.4 million)

6. “The Secret Life of Pets,” Universal €13.2 million ($13.8 million)

7. “Inferno,” Warner Bros. € 12.3 million ($ 12.9 million)

8. “Suicide Squad,” Warner Bros. €12.09 million ($12.6 million)

9. “Zootopia,” Disney €11.27 million ($11.82 million)

10. “Captain America: Civil War,” Disney  €11.26 ($11.81 million)

Source: comScore, Cinetel


After sweeping several categories, director Kenneth Lonergan received top honors at the National Board of Review dinner on Wednesday night for the drama “Manchester by the Sea.” But as he took the stage at Cipriani 42nd Street to accept the award for best film of 2016, he opened the scope of his speech beyond the typical thank-yous.

“We are living in very troubled times,” Lonergan said, alluding to the election of Donald Trump as president of the United States. “How troubled, we don’t know yet.” Then Lonergan offered a remedy in the form of inclusiveness. “We have to stop marginalizing each other,” he said.

It was a theme that resonated throughout the night. In the two months since the election, many have wondered how the mood in Hollywood would shift under a Trump administration. As that question is still being answered, a shadow has been cast over the typically jubilant awards season packed with free meals and cheerful Q&A’s.

But in an intimate setting among peers, the National Board of Review dinner offered an early glimpse of how Hollywood might resist a President Trump. And it also foreshadowed how this year’s Oscar ceremony, scheduled for next month, may reflect this unrest. The conversations at the tables weren’t confined to which movies people loved the most. Instead, A-list actors loudly chatted away about the hazards that a Trump presidency would bring.

Held one night after the New York Film Critics Circle, which saw many of the same winners, the audience of actors and industry members enthusiastically applauded at every win for “Manchester by the Sea” (which also picked up best actor for Casey Affleck and best script) and “Moonlight,” two of this year’s underdog favorites on the awards circuit. Another Oscar frontrunner, “La La Land,” didn’t receive any recognition from the enigmatic group of self-proclaimed film fans.

Early in the night, Barry Jenkins (“Moonlight”) said that he didn’t plan on revealing that he was the first black person to win the NBR’s directing prize, but it felt necessary. Jenkins, who was introduced by celebrated culture writer Ta-Nehisi Coates, said he went through the list of previous winners dating back to 1939.

“There were certain people who just weren’t considered for so long,” Jenkins said. “The country is changing. The world is changing. We are trying to ‘Make American Great Again.'” The Trump slogan drew nervous laughs. “As we ‘Make America Great Again,’ let us remember some inconsiderable things in our legacy, because there was a time when someone like me was just not considered.”

In presenting Jeff Bridges for best supporting actor for “Hell or High Water,” Maggie Gyllenhaal reminisced about the time he portrayed a president in 2000’s “The Contender.” “What would you give,” Gyllenhaal asked, “to have that fantasy be a reality now? I know he doesn’t have any political experience, but that doesn’t seem to be a prerequisite anymore.”

Bridges, for his part, kept the running political commentary going. He ended his speech by thanking the protestors at Standing Rock. “They are looking out for not only their own interests, but all our interests,” Bridges said. “I support them and I applaud them and I accept this award in honor of their behalf. We’re all in this together.”

Later, “OJ: Made in America” director Ezra Edelman, singled out for best documentary, made a pointed remark about journalistic filmmaking. “People want the truth,” he said. Seth Meyers, who introduced him, joked about how relieved he was that the NBR winners had been announced prior to the dinner. “It’s very traumatic to learn who won a thing the night of,” he said, with a nod to Hillary Clinton’s supporters.

Not every moment of the night, emceed by NBC’s Willie Geist, was so serious. Amy Adams, the best actress recipient for “Arrival,” apologized to her cinematographer. “I hit the camera a lot,” Adams said. She talked about her restless dreams as a young woman. “I would wake and wonder how I was going to get to my Colorado home to New York City,” Adams said.

Naomie Harris, the best supporting actress winner for “Moonlight,” said that Jenkins asked her if she had any experiences with addiction to play a crack-abusing mom. She said her worst vices were “dark chocolate and really bad reality TV.” She added: “I would like to dedicate this award to all the single parents out there, like my mother, who are struggling to raise their children under very difficult circumstances.”

The breakthrough-acting awards were handed out to Royalty Hightower (‘The Fits”) and Lucas Hedges (“Manchester by the Sea”). “I just wish that somebody would give Kenneth Lonergan $150 million to make whatever movies he wants to make,” said Hedges, 20. “It would be the greatest movie ever made.”

In an unscripted introduction for Affleck, Edie Falco said that being able to escape these dark times with a film like “Manchester by the Sea” offered her hope. “We’re going to be ok,” Falco said. “Movies like this are being made — it’s what’s going to save us.”


The British Academy of Film and Television Arts has unveiled its Rising Star Award nominees. These include Tom Holland, who plays Spider-Man in “Captain America: Civil War,” and the upcoming “Spider-Man: Homecoming.”

The nominees also include Lucas Hedges, who appears in Kenneth Lonergan’s “Manchester by the Sea,” and will be seen next in Martin McDonagh’s “Three Billboards Outside Ebbing, Missouri,” and Greta Gerwig’s “Lady Bird.”

Also nominated are Ruth Negga, who stars in Jeff Nichols’ “Loving,” Laia Costa, star of Sebastian Schipper’s crime drama “Victoria,” and Anya Taylor-Joy, who broke through with her role in Robert Egger’s “The Witch,” and will be seen next in M. Night Shyamalan’s thriller “Split.”

The nominees were selected by a panel of jurors that included actor Will Poulter, casting director Lucy Bevan and producer Marc Samuelson. The winner, who is decided through a public vote, will be announced at the British Academy Film Awards on Feb. 12. Past winners include James McAvoy, Eva Green, Shia LaBeouf, Tom Hardy, Juno Temple, Poulter, Jack O’Connell and John Boyega.


The Art Directors Guild has nominated Doug Chiang and Neil Lamont of “Rogue One: A Star Wars Story” for an excellence in production design award in the fantasy film category. Also nominated in the category are “Arrival,” “Doctor Strange,” “Fantastic Beasts and Where to Find Them” and “Passengers.”

The winners will be announced at the guild’s 21st annual awards show, which will take place at the Ray Dolby Ballroom in Hollywood on Feb. 11.

Voting in the period film category resulted an in a tie, meaning that there are six films nominated rather than five. Those movies are “Cafe Society,” “Fences,” “Hacksaw Ridge,” “Hail, Caesar!,” “Hidden Figures” and “Jackie.”

In the contemporary category, the ADG nominated “Hell or High Water,” “La La Land,” “Lion,” “Manchester by the Sea” and “Nocturnal Animals.”

Most of the winners of the ADG awards are also nominated for Academy Awards for best production design. “Mad Max: Fury Road” won the ADG’s fantasy category last year and went on to win the Oscar.

“Game of Thrones” received a nomination in the one-hour television series category for period or fantasy along with  “Stranger Things,” “The Crown,” “The Man and the High Castle” and “Westworld.” “Better Call Saul,” “Bloodline,” “House of Cards,” “Mr. Robot” and “Preacher” took nods in the contemporary series contest.

Half-hour series nominations went to “Mozart in the Jungle,” “Silicon Valley,” “The Last Man on Earth,” “2 Broke Girls,” “Baby Daddy” and “The Great Indoors.” TV movie or limited series nods were given to “American Horror Story: Roanoke,” “Black Mirror” and “The People v. O.J. Simpson.”

View the full list of nominees below:

Period Film:

“Cafe Society” — Production Designer: Santo Loquasto

“Fences” — Production Designer: David Gropman

“Hacksaw Ridge” — Production Designer: Barry Robison

“Hail, Caesar!” — Production Designer: Jess Gonchor

“Hidden Figures” — Production Designer: Wynn Thomas

“Jackie” — Production Designer: Jean Rabasse

Fantasy Film:

“Arrival” — Production Designer: Patrice Vermette

“Doctor Strange” — Production Designer: Charles Wood

“Fantastic Beasts and Where to Find Them” — Production Designer: Stuart Craig

“Passengers” — Production Designer: Guy Hendrix Dyas

“Rogue One: A Star Wars Story” — Production Designers: Doug Chiang, Neil Lamont

Contemporary Film:

“Hell or High Water” — Production Designer: Tom Duffield

“La La Land” — Production Designer: David Wasco

“Lion” — Production Designer: Chris Kennedy

“Manchester by the Sea” — Production Designer: Ruth De Jong

“Nocturnal Animals” — Production Designer: Shane Valentino

One-Hour Period or Fantasy Single-Camera Series:

“Game of Thrones”: “”Blood of My Blood,”” ““The Broken Man,”” “”No One”” — Production Designer: Deborah Riley

“Stranger Things”: “”The Vanishing of Will Byers,”” ““Holly, Jolly,”” ““The Upside Down”” — Production Designer: Chris Trujillo

“The Crown”: “”Wolferton Splash,”” ““Hyde Park Corner,”” ““Smoke and Mirrors”” — Production Designer: Martin Childs

“The Man in the High Castle”: ““The Tiger’s Cave,”” ““Land O’ Smiles,”” ““Fallout”” — Production Designer: Drew Boughton

“Westworld”: “”Pilot”” — Production Designer: Nathan Crowley

One-Hour Contemporary Single-Camera Series:

“Better Call Saul”: ‘“Inflatable,”” ““Fifi,”” ““Klick”” — Production Designer: Tony Fanning

“Bloodline”: ““Part 16,”” ““Part 21″” — Production Designer: Tim Galvin

“House of Cards”: “Chapter 41,”” “”Chapter 47,”” ““Chapter 48″” — Production Designer: Steve Arnold

“Mr. Robot”: “”,”” ““Eps2.4_m4ster-slave.aes,”” ““Eps2.9_pyth0n-pt1.p7z”” — Production Designer: Anastasia White

“Preacher”: ““See,”” ““South Will Rise Again,”” ““Finish The Song”” — Production Designer: Dave Blass

Television Movie or Limited Series:

“American Horror Story: Roanoke”: ““Chapter 4”” — Production Designer: Andrew Murdock

“Black Mirror”: “”Nosedive,”” ““Playtest,”” ““San Junipero”” — Production Designers: Joel Collins, James Foster, Nicholas Palmer

“Sherlock”: “”The Abominable Bride”” — Production Designer: Arwel W. Jones

“The Night Of”: “”Pilot”” — Production Designer: Patrizia von Brandenstein

“The People v. O.J. Simpson: American Crime Story”: ““100% Not Guilty,”” ““Marcia, Marcia, Marcia,”” “”Manna From Heaven”” — Production Designer: Jeffrey Mossa

Half Hour Single-Camera Series:

“Mozart in the Jungle”: “”Now I Will Sing”” — Production Designer: Tommaso Ortino

“Silicon Valley”: “”Two In The Box,”” ““Vachmanity Insanity,”” ““Daily Active Users”” — Production Designer: Richard Toyon

“Transparent”: ““If I Were A Bell”” — Production Designer: Cat Smith

“The Last Man on Earth”: “”Pitch Black,”” ““The Power of Power,”” “”Mama’s Hideaway”” — Production Designer: Bruce Robert Hill

“Veep”: “Kissing Your Sister” — Production Designer: Jim Gloster

Multi-Camera Series:

“2 Broke Girls”: “”And The 80’s Movie,”” ““And The Godmama Drama,”” ““And The Two Openings: Part Two”” — Production Designer: Glenda Rovello

“Baby Daddy”: “”Love & Carriage,”” ““Room-Mating,”” ““Stupid Cupid”” — Production Designer: Greg Grande

“The Big Bang Theory”: ““The Positive Negative Reaction,”” ““The Big Bear Precipitation,”” ““The Fermentation Bifurcation”” — Production Designer: John Shaffner

“The Great Indoors”: “”Pilot”” — Production Designer: Glenda Rovello

“The Ranch”: “”Leavin’s Been Comin’ (For A Long, Long Time)”” — Production Designer: John Shaffner

Awards or Event Special:

“Beyonce: Lemonade” — Production Designer: Hannah Beachler

“Grease Live!” — Production Designer: David Korins

“Hairspray Live!” — Production Designer: Derek McLane

“The 68th Primetime Emmy Awards” — Production Designers: Tamlyn Wright, Baz Halpin

“The Oscars” — Production Designer: Derek McLane

Short Format: Web Series, Music Video or Commercial:

“Adidas: Basketball Needs Creators” — Production Designer: Ruth De Jong

“Beyonce: Lemonade”: ““6 Inch”” — Production Designer: JC Molina

“Beyonce: Lemonade”: “”Denial”” — Production Designer: Jason Hougaard

“Beyonce: Lemonade”: ““Hold Up”” — Production Designer: Jason Hougaard

“iPhone 7: Balloons” — Production Designer: James Chinlund

Variety, Reality or Competition Series:

“American Grit”: “”Ruck Up”” — Production Designer: Mercedes Younger

“Portlandia”: ““Weirdo Beach”” — Production Designer: Schuyler Telleen

“Saturday Night Live”: ““Larry David/The 1975,”” ““Peter Dinklage/Gwen Stefani,”” ““Tom Hanks/Lady Gaga”” — Production Designers: Keith Ian Raywood, Eugene Lee, Akira Yoshimura, N. Josheph DeTullio

“The Ellen Degeneres Show”: “”Ellen’s Halloween Show”” — Production Designer: Karen Weber

“The Tonight Show Starring Jimmy Fallon”: “”Ep. 0417,”” ““Ep. 0461,”” ““Ep. 0493″” — Production Designers: Eugene Lee, Peter Baran

“The Voice”: “”The Blind Auditions, Part 3,”” ““The Battles Premiere, Part 2″” — Production Designers: Anton Goss, James Pearse Connelly