Best Production Design: Ranking Every 96th Academy Award Nominee
Written by Andreas Babiolakis
This article is a part of the Academy Awards Project, where Andreas Babiolakis from Films Fatale ranks every Oscar nominee from worst to best, and goes through every category once a day five days a week.
We’re halfway through the week, and so we will kick off the three design-based categories that create the worlds that we see. Before we get to how characters are dressed or how they present themselves via their makeup and their hair, we’re going to establish where these characters are situated. What makes for good production design? I feel like the construction of complicated buildings is always a plus, but settings have to feel believable first and foremost. Do these locations feel like they have been lived in? Created by the societies present in the motion picture? As though they have been erected for decades as opposed to just days before the start of a shoot? I also like creative structures as well: ones that introduce architecture that is new or refreshing to me. I’ll say this: this is another category full of winners. I’m sad about the omission of one nominee (seen below), but otherwise, the Academy chose quite wisely here.
Here are your nominees for Best Production Design ranked from worst to best.
Biggest Snub: The Zone of Interest
I’d think that a film that is so heavily based on a domicile would have been recognized here, especially because the house central to The Zone of Interest is so well-made and prominent that it feels like its own character within the film. From the looming wall that separates a family’s paradise from the torture of millions (although I’d figure that the actual Auschwitz structure in the distance is CGI, but I don’t know for certain), to the interiors and exteriors of this house that feels lived in, The Zone of Interest is all about settings, and I feel like it’s a pretty glaring omission from this category (despite how strong the nominees are).
5. Killers of the Flower Moon-Production Design: Jack Fisk, Set Decoration: Adam Willis
I hate having Killers of the Flower Moon so low again, especially since the setting built specifically for this film feels convincing and period-appropriate. However, I think there are elements of this film that are stronger in this way (like its costume, more on that tomorrow), and I think the structures aren’t quite as memorable or prominent as they are in the other nominated films (outside of the little details that do help these houses and workplaces come to life). Still, Killers of the Flower Moon is a strong nominee perhaps because of how little I can recall the sets; they feel believable and not like structures built for a film. I may feel differently about having this film so low tomorrow or in the near future, but one film has to be last.
4. Oppenheimer-Production Design: Ruth de Jong, Set Decoration: Claire Kaufman
I’d argue that Killers of the Flower Moon has more going on regarding its production than Oppenheimer, but I’m giving this film the extra edge for one primary reason: the Los Alamos Laboratory. The little village built to house the Manhattan Project participants and their families is something to behold in Oppenheimer, and you know, understand, and believe that this is a “real” village built in no time for the support of this project. There’s a lot going on with Oppenheimer’s structures in general, but the specificities of Los Alamos is something I haven’t forgotten regarding the production design nominees.
3. Napoleon-Production Design: Arthur Max, Set Decoration: Elli Griff
I have to give credit where credit is due, and Napoleon has some strong sets. Not only do we go further back in time than the other nominees (those rooted in reality, as well; let’s ignore the historical inaccuracies of Napoleon), but the detailing and artistry of these structures give this film an extra edge. Considering how juvenile much of the film feels, there is a stark contrast with how professional these sets feel: with artistry and scale to match an egotistical figure. I can’t say that I liked everything regarding this film, but I for sure believe that the way that the production is designed in Napoleon is super strong.
2. Barbie-Production Design- Sarah Greenwood, Set Decoration: Katie Spencer
It goes without saying, but seeing the dream houses being brought to life in Barbie is quite something. Every house has its own identity (even amidst all the pink) that makes you want to check out all of the internal and external inaccuracies, as you wonder how each doll lives. Something we cannot dismiss either are the real-world locations that mirror the creative hyperboles of Barbieland, including — and especially — the Mattel headquarters. All in all, the structures in Barbie possess their own personalities through and through. A major reason why Barbie is so adored is because of how well it brings our childhoods to the big screen, and I’d argue a critical element of this success stems from the jaw-dropping sets.
1. Poor Things-Production Design: James Price and Shona Heath, Set Decoration: Zsuzsa Mihalek
As twisted as Poor Things is, there’s something that leaves your jaw on the floor regarding its imagination and scope of brilliance. I’d argue that the film’s production is one of the key reasons why. Every place — from God’s house to the phallic-windowed brothel — has such character and creativity put into it. There is extensive world-building in Poor Things that takes sci-fi-fantasy concepts and make them a reality that I was dying to explore throughout the film (let’s not forget the infrastructure of the cruise ship as well). In a tough year with strong candidates, I still feel like Poor Things runs away with this category; if Barbie makes our childhood creativity come to life, then Poor Things takes us to a place that feels impossible to conjure up. That has to get the edge, in my opinion.
Who I Want To Win: I’m going to stick with the two films that felt otherworldly to me, so I’m rooting for Poor Things (the underdog) and Barbie (the favourite to win).
Who I Think Will Win: Unless something changes, this seems to be one of two awards that Barbie has locked in its favour (that and Best Original Song). The only possible upset I could see happening at this point in time is Poor Things gaining enough momentum in this category (that, or Killers of the Flower Moon, if the Academy is trying to get the Martin Scorsese film to win something and it doesn’t do well in the Best Costume Design category). I’m sticking with Barbie for this category, though.
The Academy Awards Project will continue tomorrow with another category. We’re going to rank every single nominee in every single category, Monday through Friday. You don’t want to miss it!
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.