The BAFTA nominations are in – who's going to win?

It's 'that' time of the year, when the BAFTA nominations are unveiled – and in spite of the best efforts of the pandemic, I seem to have better knowledge of the main contenders than in any previous year.

So here are my provisional thoughts and predictions.

I can't comment on All Quiet on the Western Front, as I haven't seen this new version yet, but I am aware that the critical response has uniformly been one of acclaim. Of course, in a perverse twist of fate, to be released in a year when Europe saw conventional warfare within it again probably hightened awareness – though the horrors of war should never be forgotten.
In terms of the best film, I think that it will be between All Quiet and The Banshees of Inisherin (pictured above).
I doubt that bookies will take bets on British film of the year, which is almost certain to go to Aftersun, given that is gained far more acclaim than anything else on the list.

On leading female actor, I'd love Viola Davis to get it (left– and I said she should be in the running for awards), but I wouldn't object remotely if Michelle Yeoh won for what was a wonderful performance in the exhilarating Everything Everywhere All at Once.

On leading male actor, I want Bill Nighy to win for Living, because his performance is simply gorgeous, but I think it will also be considered 'too' Bill Nighy and Colin Farrell will get it for Banshees. And that will not remotely be a bad thing. Odd, though, that the lead in All Quiet isn't here.

On supporting female actor, either Kerry Condon (Banshees) or Jamie Lee-Curtis (Everything Everywhere) are, I think, the leading contenders, though Dolly de Leon in Triangle of Sadness could be a deserved surprise.

Supporting male actor – it's such a shame to pit Banshees actors Brendan Gleeson and Barry Keoghan against each other: the former's role is a joint lead, and he gives a superb performance, while the latter's is a 'conventional' supporting role and the performance he gives is also superb.

Director? I suspect that Gina Prince-Bythewood is in with a good chance for The Woman King.

Outstanding British debut by a writer, producer or director – Aftersun.

Film not in English – All Quiet.

Documentary – no idea.

Animated film – has to be Guillermo del Toro's Pinocchio (left). Nothing else on that list comes close.
Cinematography – what? No Banshees here? No idea then.

Original screenplay – I suspect that this will go to Martin McDonagh for Banshees, possibly leaving All Quiet for best film.

Adapted screenplay – All Quiet.

Original score – Banshees. I love the work of Alexandre Desplat, who is nominated for del Toro's Pinocchio, but Carter Burwell's score for the former is better, in my opinion.

Casting – no idea. Possibly Everything Everywhere all at Once?

Costume design – Mrs Harris Goes to Paris (left), but then again, perhaps Amsterdam, which The Other Half and I really enjoyed.

Editing – no idea and don't have the knowledge to make a judgment.

Production design – del Toro's Pinocchio.

Rising star – Sheila Atim for Woman King – a very good performance.

I'm afraid I have no idea on last few, which are technical beyond my even really having an opinion.

I think that All Quiet will bag a number, but nowhere near the 14 nominations it's received, and that Banshees will bag some of the bigger ones, split with Everything Everywhere (left).

I could end up with metaphorical egg on face, of course ... only time will tell!

Viloa Davis is momentous in The Woman King

It’s 1823 in Dahomey (now Benin), Africa. Having just usurped his brother, King Ghezo is king. He is protected by the Agojie – a regiment of ‘amazon’ women – but all is not well, as the neighbouring Oyo empire threatens everything.

Both rely on the slave trade with Europeans to gain arms and wealth, which sees the Oyo raiding villages in Dahomey to capture people in order to trade them with white slavers.

In the patriarchal society of Dahomey, Nawi (Thuso Mbedu) refuses to be abused by the prospective husband her father wants for her, and the marriage plans fail. As a result, she is taken to the palace and handed as a ‘gift’ to the king, for the Agojie.

In such a context, the Agojie offers a life where, though members are supposed to remain as virgins, they have many freedoms that other women in the kingdom do not.

Nawi accepts this, but also rebels against the strict discipline required of the regiment – and finds herself rubbing up against its general, Nanisca (Viola Davis) and her immediate commander, Izogie (Lashana Lynch).

However, the situation facing Dahomey from the larger and stronger Oyo becomes worse and the women warriors need to work together.

Director Gina Prince-Bythwood’s film is based on fact. Some of the characters here (the king, for instance) are real, as are the Agojie.

Some commentators are comparing this film to Gladiator. In my opinion, this film is vastly superior.

The script by Maria Bello and Dana Stevens is acutely aware of African involvement in slavery and doesn’t avoid it. Indeed, it’s a central part of the story.

Polly Morgan’s cinematography is beautiful without ever getting in the way of the story.

The performances are universally better than ‘good’. It is a superbly acted film. But, oh my … Viola Davis …

If she doesn’t have, at the very least, an Oscar nom come next year, I’ll be raging. It is an astonishing performance of massive depth, massive emotion and massive intellectual heft.

And frankly, if that isn’t enough of a recommendation, then I’m sorry, you’re lost to me!