Amidst picturesque snowfall and sub-zero temperatures, Timothée Chalamet braved the chill in Berlin’s Potsdamer Platz this past Friday, stopping to sign autographs for a polite group of fans and collectors. The actor was present to promote “A Complete Unknown,” his Bob Dylan biopic launching in Germany on February 27. However, let’s be honest—there’s another significant reason for this European detour: Oscar campaigning. While none of the eager autograph hunters will be checking his name on a ballot, multiple members of the Academy of Motion Picture Arts and Sciences (AMPAS) attended the film’s glittering Berlinale screening, making this yet another crucial pit stop on the road to the Dolby Theatre.
A short flight away, two weeks earlier, Demi Moore was making waves of her own at Armani Privé’s spring 2024 show during Paris Couture Week. Her body horror thriller “The Substance,” directed by the Parisian filmmaker Coralie Fargeat, has become a significant contender this award season, positioning Moore as a frontrunner for her first Oscar. A little fashion-forward reminder in front of France’s industry elite? Pourquoi pas!
Awards campaigning has taken a distinctly global turn this year, reaching far beyond the traditional London For Your Consideration (FYC) pit stops. Whether it’s the increasingly international nature of this year’s contenders or a deeper understanding of the impact of the global vote, studios and strategists have broadened their reach. This shift makes sense, considering that 22% of AMPAS voters reside outside the U.S. “So you’re definitely going to invest in that,” says one awards consultant. They suggest that Netflix first ignited this international drive, with other studios soon following suit.
“I think you could say it started with ‘Roma,’ which yielded such a popular Oscar outcome; even if it didn’t win Best Picture, it still garnered three awards,” the consultant added. “Then there was ‘Parasite’ winning.” They noted that this change has made competition considerably tougher on an international scale. For example, it has become significantly more difficult to book screening rooms in Berlin. The global vote has proven decisive in tight races, with Anthony Hopkins‘ Best Actor win for “The Father” in 2020 credited largely to international members over Chadwick Boseman’s posthumous nomination for “Ma Rainey’s Black Bottom.”
Last year, many believed Emma Stone’s fearless, Frankenstein-esque performance in “Poor Things” benefited from a similar dynamic against Lily Gladstone’s emotionally charged portrayal of a tortured Osage woman in “Killers of the Flower Moon.” Beyond “A Complete Unknown” and “The Substance,” international campaigning is in full swing for other contenders as well. Sean Baker’s Palme d’Or-winning dramedy “Anora” embarked on an extensive European tour in December.
Despite its standing as an American epic, Brady Corbet’s “The Brutalist” has racked up global air miles, with Corbet traveling to more than half a dozen countries for screenings and Q&As. “Because this year is such a wide-open race, studios are paying more attention to international factors as they could be pivotal in determining victory,” says another experienced awards advisor. They emphasized that London, followed closely by Paris and Berlin, constitutes the main focal points for these campaigns. Interestingly, they also identified Copenhagen as a smart choice for documentary screenings due to its engaged documentary community.
This global engagement could prove crucial in this year’s competitive documentary feature race, wherein “No Other Land,” a harrowing documentary chronicling the ongoing Israel-Palestine conflict, is considered a frontrunner. However, fresh off its Directors Guild of America (DGA) victory, “Porcelain War,” which tells the story of Ukrainian artists fighting against Russian occupation, could hold considerable appeal to international voters.
It’s notable that only two documentaries are nominated at both the BAFTA and Oscars: “No Other Land” and Shiori Itō’s “Black Box Diaries.” Gaining traction at the BAFTA, which presents its statues on Sunday, can create advantageous momentum. Leading the nominations are Edward Berger’s Vatican thriller “Conclave” and Jacques Audiard’s Spanish-language musical “Emilia Pérez.” As every studio vies for the coveted Best Picture prize, particularly in the current open race, every vote carries substantial weight with Academy voting ending on Tuesday, February 18.
Meanwhile, on Thursday night in London, Felicity Jones attended the Newport Beach Film Festival U.K. and Ireland Honors at the Raffles Hotel, where she accepted the Artist of Distinction Merit award. Although this particular accolade might not sway Oscar votes, the opportunity for extra stage time just days before the BAFTAs—while Academy voting is still open—provides invaluable exposure. “It’s nice to feel that all the work put into a campaign is actually paying off,” Jones remarked. The competition is keen, highlighting the potential for campaigns like Demi Moore’s at Paris Couture Week to significantly raise visibility and interest as the Oscars draw near.
With the clock ticking down to award season’s climax, the stakes are higher than ever. Candidates like Demi Moore are ready to seize every opportunity, and the world will be watching closely as the competition unfolds.
