Best Makeup and Hairstyling: Ranking Every Nominee of the 97th Academy Awards
Written by Andreas Babiolakis
And just like that, we have reached the last craft-based category of Oscar nominees for this year: Best Makeup and Hairstyling. Some years, this group can feel like a dumpster for bad films with heavy prosthetics, or a last-ditch-resort for Best Picture nominees to pick up a couple of extra nominations. However, even though it felt like a bad idea for the Academy to raise the amount of nominees in this category from three to five a number of years ago (when even just three nominations felt like the bottom of the barrel was being scraped some years), I’d argue that the Best Makeup and Hairstyling category has become far more consistent. This year, outside of maybe one questionable nomination and a major snub, feels like a fairly strong year for this group. We have a couple of films that boast prosthetic-based marvels, some motion pictures that boast sensational hairdos, and even creative uses of conventional makeup. It feels a bit odd for both makeup and hairstyling to be lumped together, considering not just how different both fields are but also how it makes ranking a bit tricky (especially since I feel like I’m almost always prioritizing the makeup over the hairstyling, and this year won’t be any different). Which films were the best dolled-up or had the most convincing special effects makeup?
Here are your nominees for Best Makeup/Hairstyling ranked from worst to best.
Biggest Snub: Dune: Part Two
In case you may have missed it, we have covered all four nominations Dune: Part Two received outside of Best Picture; it deserved far more than just five in total. One of those major snubs is for Best Makeup and Hairstyling, considering that the entire motion picture is an exhibition of all of the ways this film is exceptional regarding the matter. Not only is the makeup inventive and fascinating (see above), and the prosthetics as strong as they were when the first Dune was a mainstay in this category, but even the hairstyling (the less-focused-on portion of this category, frequently) is phenomenal given the limitations present (everyone has sand-filled, ratty hair, and yet the stylists made each character sport their own locks). Dune: Part Two didn’t make this category? Are we out of our minds?
5. Emilia Pérez-Julia Floch Carbonel, Emmanuel Janvier and Jean-Christophe Spadaccini
Even though I feel like I am one of the last fans of Emilia Pérez (I feel less and less inclined to outwardly support this film for many obvious reasons), I am realizing how many nominations the film has that just don’t really add up. This is one of them. Sure, the work done on the title character to make her a completely different person when she is a cartel overlord is nice, and there are nice hairstyles and cosmetic makeup jobs throughout the film, but this really doesn’t feel right ahead of many other films not even named Dune: Part Two, like Maria, Beetlejuice Beetlejuice, and Furiosa (I absolutely despise Sasquatch Sunset and think it’s one of the worst films of the decade thus far, and even that felt like it may have been nominated here). I don’t mean to harp on Emilia Pérez too much considering that the work here is quite good, but it’s clear that at least a number of the film’s nominations feel like they came from hype as opposed to strength.
4. Wicked-Frances Hannon, Laura Blount and Sarah Nuth
I know it looks bad to have Wicked ranked last and as though I am implying that this film’s nomination is unjustified, but I do think that Wicked fits in this category. Looking at Elphaba’s green skin alone — one garnished with believable, little freckles and blemishes — and you’ve got some strong work to admire already. Considering the many strong hair styles throughout the film as well, and Wicked’s inclusion in this category makes perfect sense (especially considering that each character dons multiple hairdos throughout the film, and each example is strong in its own right). No matter who the character is, Wicked has its cast looking sharp, including in the makeup and hair department. However, the other three films have a lot going on in the prosthetics department, and I know that this category isn’t just focused on prosthetics, but this year is kind of dominated by portfolios that are impossible to ignore, which pushes Wicked lower on the list (although its nomination is deserved).
3. Nosferatu-David White, Traci Loader and Suzanne Stokes-Munton
Despite all of the memes, I think the makeup work on Count Orlok is magnificent, Freddie-Mercury-mustache and all. The villain is mainly covered in shadows throughout the film, but the makeup team didn’t let that stop them from going all-out with their design and execution (when we finally get a full reveal, you’ll find that Orlok is nightmare material). Toss in the glorious hairdos of the Victorian-era characters, and you’ve got a well-rounded nominee in this category that had to be here. In ways, Nosferatu does more than the film I placed second, but allow me to justify…
2. A Different Man-Mike Marino, David Presto and Crystal Jurado
So the major thing A Different Man has going for it is the prosthetics work done on Sebastian Stan to give him the appearance of having eurofibromatosis: the condition that co-star Adam Pearson lives with. The hairdos and cosmetic makeup are decent in the film otherwise, but the standout is obviously the prosthetic job on Stan which is so good that I feel like ranking A Different Man highly makes sense. Consider how many people on social media commented on photos of Stan, saying that this image is not one of heavy makeup but is a photograph of actor Pearson instead. Within the film, the prosthetics move with hyper realism, making Stan’s already-strong performance even more believable, with organic jaw-movement physics, skin movement and dipping when touched, and so much more. There may be less to focus on regarding this film and this category, but even in this way alone, A Different Man was clearly a lock to be nominated. However, it won’t win this year, because…
1. The Substance-Pierre-Olivier Persin, Stéphanie Guillon and Marilyne Scarselli
Oh, yeah. Here’s The Substance. I don’t even need to explain myself. The gradual transformation of Elizabeth Sparkle throughout the film — alongside the initial cloning phase and the damage it does to her body — is reason enough to give The Substance this award right off the bat. Tossing in the various hair and cosmetic shifts of both Elizabeth and her other side of the balance (Sue, with her neon-pink makeup) just feels like an extra flex. Once we get to the climactic moments of the film and the introduction of a converged being and what feels like ten thousand hours of work in the makeup chair to get this creation done right, The Substance becomes a masterclass of some of the best prosthetics work in recent memory. Even in a year full of amazing special effects makeup, The Substance feels like a must-win selection.
Who I Want To Win: While I do love the makeup and hair in Nosferatu, A Different Man, and even Wicked, this has to go to The Substance. Without question.
Who I Think Will Win: I think The Substance has this award in the bag. Next.
The Academy Awards Project will continue on Monday with another category: Best Film Editing. 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.