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But the difference in nominations this year is refreshing and has meant that the conversations around awards in general are so much broader, and more films are being recognised for specific craft elements.

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Both academies have been trying to enable a more representative membership, and this is beginning to show. I believe that these conversations will be more conducive to change than unconscious bias training at the end of the day.

Another notable change was the expansion of the Outstanding British Film category, again enabling a wider but also rich and dynamic group of films to be celebrated and this in some ways makes up for the glaring omission of any recognition for Cosmo Jarvis, and his exceptional, stand out performance in Calm With Horses.

Only Collective by Alexander Nanau feels deserving of this level of attention for its integrity and craft.

Cartoons, Sketches

The rest of the films are subject-driven films — content over craft — which suggests a disturbing future for the form algorithm generated non-fiction is what this list tells me. But this is what happens when an industry is decimated. When creative documentary becomes conflated with reality TV. When celebrity-driven docs take precedence and usher in a Dating Woman Annecy game of pre-existing audience-driven filmmaking.

Where is the curiosity? Where is the dialogue with ethics, ideas, even simply with films of the past? Where is the meaning and care for what is being built in the future?

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I have flippantly suggested that anyone opting in to vote on docs Dating Woman Annecy to name a female documentary filmmaker working pre to be able to cast their vote.

Dating Woman Annecy have sold documentary short for years — there is limited funding, limited broadcast potential, limited interest from the wider industry.

Documentary is never celebrated in the Dating Woman Annecy categories and silo-ed in a way that neglects that some of the most inventive sound design and cinematography can be found in the creative documentary space.

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This list should be a stark warning to us all because documentary is a mirror onto the world. Yes, this list is also the result of a lot of campaigning, but it is also a reflection of the respect that documentary is afforded in the US — it is an eco-system, a space of craft, of peers, of new voices in dialogue with past and building towards the future.

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It really shows — perhaps more than anywhere else in the Oscar nominations. Finally, the biggest surprise of the Oscar nominations was that LaKeith Stanfield was nominated as a supporting actor and not lead actor for Judas And The Black Messiah — alongside Daniel Kaluuya in the same category.

I read this as both odd and strategic, yet at the same time somehow insulting. He deserved leading role recognition. I feel like five years ago that never happens. Not much else surprised me.

Maybe Riz for an Oscar, but more a surprise that he got the nomination, not because of his talent. I believe the Bafta jury system has resulted in better nominations.

Thrilled for the support for Sound Of Metal and Minari across both Bafta and Oscar nominations and the Bafta inclusion of Shannon Murphy for best director on Babyteeth — a wonderful film. The Bafta nominations mostly felt much more balanced and fair, with great representation across all categories.

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Oscars also better this year, but some odd inclusions and exclusions here and there. Generally, Bafta perhaps got the categories of actor, actress, film and director slightly more varied and interesting.

The nominations seemed to me to reflect better watching, engaging and debating from voters. Executive, male, Bafta and Ampas voter Four female directors nominated at Bafta — Flirt cu un coleg casatorit time.

Why was there such a big discrepancy this year at Bafta?

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Oscars were more in synch between director and film and quite rightly if Promising Young Woman is a best film, Emerald Fennell should be a best director. Smaller intimate and indie films felt better rewarded by Bafta in many categories. Overall the Bafta jury system feels simply far more equal and rewarding to the very best work of the year.

This space has turned out to be one of the most interesting, especially regarding new acting, directing and writing talent. Also good to see recognition for some international titles where, overall I feel the quality has been higher than for English language this year. It goes to show that conscious and proactive Dating Woman Annecy to broaden the voting membership, and changes to the voting process can result in a greater variety and diversity of nominees.

Having said that, it will be very interesting to see how this plays out in the post-Covid world. Is this year of diversity a one off driven by extraordinary circumstances?

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The Bafta list has a more British flavour with the strong showing for Rocks. Nomadland is the fave pic of the US bunch, which feels like the American film with the sensibility we would lean to. The breadth of representation of actors of colour across the board feels in no way like a result of positive discrimination but of a redressed bias and the best performances getting acknowledgment.