Best Production Design: Ranking Every Oscar Nominee
Written by Andreas Babiolakis
In the days of cinema where CGI has replaced so many calls for locations and architectural design, we still can appreciate those in the production design and set decoration fields, especially when you have a category that is this stacked. Easily the most well rounded batch of five nominees I’ve covered thus far (yet there is still a clear winner in my eyes), the Academy’s nominees for Best Production Design are unquestionably strong this year, all for different reasons. I’ll be looking at the circumstances of each film and how they are built, as well as how intricate their designs are. Keep in mind that these rankings are separated by molecules, because any of these films would actually win in other years. Here are your nominees.
Biggest Snub: The French Dispatch-Production Design: Adam Stockhausen, Set Decoration: Rena DeAngelo
While I think the category is perfect as it is, I can’t help but shout out The French Dispatch with its mind boggling production design: one of the only things about the film I absolutely adored. While Wes Anderson’s obsession with symmetry is maintained, there are also so many little details and hidden flourishes that reward you for looking around at these unusual worlds held within these anthological tales. The French Dispatch is a typical Wes Anderson diorama, which automatically means its production is fantastic.
5. The Power of the Dog-Production Design: Grant Major, Set Decoration: Amber Richards
When The Power of the Dog is last, you know the competition is fierce. I’m happy that the film is here, because the few buildings feel authentic, and the transportation to one hundred years ago is fully believable. I have to place this last only because of the film’s focus on minimalism, meaning that the empty spaces are just as important as the inhabitable domiciles and farming structures (especially compared to the other nominees which actually prioritize their production), but what we see in terms of production here is still fascinating.
4. West Side Story-Production Design: Adam Stockhausen, Set Decoration: Rena DeAngelo
Steven Spielberg’s West Side Story upholds the promise of feeling like both a stage production and real life, and how it is built is no exception. At all times, I feel like this is a brilliantly assembled Broadway show and that I am in the middle of the city at the wee hours of the morning. It’s the kind of production that not only rivals the great work of its predecessor: it’s actually better, and I feel confident in saying so.
3. Nightmare Alley-Production Design: Tamara Deverell, Set Decoration: Shane Vieau
Nightmare Alley could have just been filled with some cold places and exteriors, but the team here went the extra mile by giving a certain sense of deteriorated otherworldliness (almost like a Tim Burton film but not as exaggerated). The fully-realized carnival environments, the finer details of the damp living quarters, and so many other elements make the film a real treat to look at and almost feel. It is arguably one of the biggest strengths of the feature.
2. The Tragedy of Macbeth-Production Design: Stefan Dechant, Set Decoration: Nancy Haigh
Firstly, the minimalist structures in The Tragedy of Macbeth make the iconic story feel like it’s taking place in the darkest depths of our mind (pretty much), and it is nearly abstract in nature. This alone is worthy of praise and acclaim. Considering that the entire film was built on a sound stage — outside of the tiniest of instances — The Tragedy of Macbeth really is one of the most mind boggling films from a production standpoint: it almost feels unreal, and that’s exactly what Joel Coen and company were going for with this incredible adaptation.
1. Dune-Production Design: Patrice Vermette, Set Decoration: Zsuzsanna Sipos
As great as any other nominee here is, there is always Dune to take first place. All of its technical and production achievements are already exemplary, but considering that its production is perhaps its greatest achievement speaks volumes. The scope of Dune, as well as the intricacies of what is presented in this post-apocalyptic future are all rewarding: no matter where you look, how far or close you are, or if you are indoors or outside, the production of Dune is always jaw dropping. If anything, the production here is one of my favourite cases in recent memory. There’s no way I can’t place anything above it here.
Who I want to win: It seems like a copout, but I’ll say that I am happy with any of these nominees winning. To not be safe (because I can’t think of anything I like less), I’ll say Dune is my top choice, with my fingers crossed for The Tragedy of Macbeth (I want it to pick up at least something).
Who I think will win: Dune. At this point in time, it’s virtually impossible for anything else to win over it. I really doubt this will change, too.
Tune in tomorrow for our next Academy Award category! We’re reviewing every single nominee on every weekday.
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.