Captured during her sold-out world tour, BILLIE EILISH – HIT ME HARD AND SOFT: THE TOUR (LIVE IN 3D) brings an innovative new concert experience to the big screen from one of the most celebrated and successful artists of her generation. Presented in immersive 3D, the film is directed by Academy Award® winners James Cameron and Billie Eilish, in-theatres May 8, 2026.
The St. Louis screening is on Monday, May 4th at 7pm at AMC Streets of St. Charles (Doors at 6pm).
You and up to 3 guests are invited to a special look event for the upcoming Lucasfilm Ltd., STAR WARS: THE MANDALORIAN AND GROGU. We have 5 Family Four packs to giveaway!
ST. LOUIS MONDAY, MAY THE 4TH 7:00PM MARCUS RONNIES CINE 5320 S LINDBERGH BLVD ST. LOUIS, MO 63126
If you are interested in attending, please RSVP by 12:00PM on Friday, May 1st with the total number in your party.
EMAIL michelle@wearemoviegeeks.com to enter.
The Mandalorian and Grogu embark on their most thrilling mission yet in Lucasfilm’s “Star Wars: The Mandalorian and Grogu,” an all-new Star Wars film opening exclusively in theaters May 22, 2026.
The evil Empire has fallen, and Imperial warlords remain scattered throughout the galaxy. As the fledgling New Republic works to protect everything the Rebellion fought for, they have enlisted the help of legendary Mandalorian bounty hunter Din Djarin (Pedro Pascal) and his young apprentice Grogu.
Directed by Jon Favreau, “Star Wars: The Mandalorian and Grogu” also stars Sigourney Weaver and Jeremy Allen White, is written by Jon Favreau & Dave Filoni & Noah Kloor, and is produced by Jon Favreau, p.g.a., Kathleen Kennedy, p.g.a., Dave Filoni, p.g.a., and Ian Bryce, p.g.a., with Karen Gilchrist, John Bartnicki, and Carrie Beck serving as executive producers. The music is composed by Ludwig Göransson.
In this witty, new breed of mystery, George (Hugh Jackman) is a shepherd who reads detective novels to his beloved sheep every night, assuming they can’t possibly understand. But when a mysterious incident disrupts life on the farm, the sheep realize they must become the detectives. As they follow the clues and investigate human suspects, they prove that even sheep can be brilliant crime-solvers.
Starring Hugh Jackman, Nicholas Braun, Nicholas Galitzine, Molly Gordon, with Hong Chau and Emma Thompson, Julia Louis-Dreyfus, Bryan Cranston, Chris O’Dowd, Regina Hall, Patrick Stewart, Bella Ramsey, Rhys Darby.
Only in theaters May 8.
The special screening is Saturday, May 2, 10am at Galleria 6 Cinemas – (30 Saint Louis Galleria, St. Louis, MO 63117).
Please arrive early as seating is not guaranteed.
Winners will each receive 4 passes to the screening.
Natasha Flynn’s ambition fuels her success in London real estate, but her lavish lifestyle relies on high‑risk lenders. When escalating debt pushes her into a coercive criminal arrangement, she turns to a volatile former associate for help. Navigating pressure from both her profession and her creditors, she descends into a shadow economy where survival demands compromise.
Odyssey was an official selection of SXSW, Edinburgh International Film Festival, Fright Fest, L’Etrange Festival and Strasbourg Film Festival, and received rave reviews during its festival run.
Odyssey stars Polly Maberly (Pride and Prejudice, Foyle’s War), Mikael Persbrandt (The Hobbit: The Desolation of Smaug, In a Better World), Guy Burnet (Oppenheimer, Ray Donovan), Jasmine Blackborow (The Gentlemen, Marie Antoinette), Daniel De Bourg (MobLand, Fountain of Youth), Peter Ferdinando (Ghost in the Shell, King Arthur: Legend of the Sword), Kellie Shirley (In the Long Run) and Sarah Beck Mather (Deep Cover, The Moment). The film is directed by Gerard Johnson (Hyena, Tony) and written by Austin Collings.
From Cineverse, Odyssey will debut on Digital and Video on Demand on April 28, 2026.
To celebrate the release, WAMG is giving away:
One (1)Apple TV digital code
EMAIL michelle@wearemoviegeeks.com to enter.
WINNER WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES. NO PURCHASE NECESSARY. MUST LIVE IN THE CONTINENTAL U.S
The music that inspired millions continues its journey in an uplifting new chapter of faith, friendship, and second chances. I CAN ONLY IMAGINE 2 arrives on Blu-Ray and DVD Tuesday May 5th!
When hopeful newcomer Tim Timmons (Milo Ventimiglia, known for “This Is Us”) joins the band MercyMe on their largest tour to date, he brings a fresh sense of gratitude to Bart Millard’s (John Michael Finley) life through their unexpected friendship. Starring John Michael Finley, Milo Ventimiglia, Sophie Skelton, Arielle Kebbel, with Trace Adkins, and Dennis Quaid.
I CAN ONLY IMAGINE 2 is available now to rent via Premium Video on Demand and to buy via Premium Electronic Sell Thru on participating digital platforms where movies are purchased, including Amazon Prime Video, Apple TV, Fandango at Home, Google TV, YouTube, and more.
To celebrate the release of the movie on Blu-ray, WAMG is giving away copies of the film!
1 grand prize winner win receive: A signed poster
3 winners will receive: One (1) blu-ray copy
EMAIL michelle@wearemoviegeeks.com to enter.
WINNER WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES. NO PURCHASE NECESSARY. MUST LIVE IN THE CONTINENTAL U.S.
John Michael Finley as Bart, Trace Adkins as Brickell, and Milo Ventimiglia as Tim in I Can Only Imagine 2. Photo Credit: Jake Giles Netter
Rating: PG for thematic material and some language
Genre: Drama, Family, Faith, Music
Closed-Captioned: English CC
Subtitles: English, Spanish
Run Time: 110 min
Aspect Ratio: 16×9 (2.39:1)
Audio: English Dolby Atmos, English 5.1 Dolby Audio, Spanish 5.1 Dolby Audio, English Descriptive Audio
Special Features Only Available on iTunes and Fandango: Audio Commentary with Producer and Lead Singer of MercyMe Bart Millard and Singer/Songwriter Tim Timmons; Audio Commentary with Writer/Co-Director Brent McCorkle and Producer/Co-Director Andrew Erwin; Making I Can Only Imagine 2; Recording at Abbey Road; Joy in the Making; Finding the Song “Even If”; Early Access Bonus Content; Deleted Scenes; Theatrical Trailer
MICHAEL is the cinematic portrayal of the life and legacy of one of the most influential artists the world has ever known. The film tells the story of Michael Jackson’s life beyond the music, tracing his journey from the discovery of his extraordinary talent as the lead of the Jackson Five, to the visionary artist whose creative ambition fueled a relentless pursuit to become the biggest entertainer in the world. Highlighting both his life off-stage and some of the most iconic performances from his early solo career, the film gives audiences a front-row seat to Michael Jackson as never before.
This is where his story begins.
MICHAEL, starring Jaafar Jackson, Colman Domingo, & Nia Long is in theaters April 24th.
3-time BAFTA Award Winner, I SWEAR, opens in the US on April 24th.
Based on the life story of Tourette’s Syndrome campaigner John Davidson, MBE. Set within 1980s Britain, the story follows him throughout his troubled teens and early adulthood, and explores this little known and entirely misunderstood condition, along with his attempts to live a ‘normal’ life against the odds.
Stars Robert Aramayo (Best Actor and EE Rising Star Award), Maxine Peake, Shirley Henderson, Peter Mullan, and Scott Ellis Watson..
The St. Louis screening is on Wednesday, April 15 at 7pm at B&B Creve Coeur West Olive.
SHE CAME FOR THE PASTA AND GOT LOST IN THE SAUCE! FROM WILL PACKER, PRODUCER OF GIRLS TRIP… UNIVERSAL PICTURES PRESENTS … HALLE BAILEY AND REGÉ-JEAN PAGE IN YOU, ME & TUSCANY.
Sometimes the wrong place is right where you need to be.
From Will Packer, the blockbuster producer of Girls Trip, the Ride Along franchise, and ten movies that have opened No. 1 at the U.S. box office—including Night School, This Christmas and Think Like a Man—comes a delicious romantic comedy about one little lie, one large Italian villa, and two people getting lost in the sauce of love.
Halle Bailey (The Little Mermaid, The Color Purple) stars as Anna, a young woman who has abandoned her dreams of becoming a chef and is now drifting through her twenties with a series of bad choices. When Anna loses her house-sitting job (and housing) in one fell swoop, a chance encounter with Matteo—a handsome Italian who happens to have a villa sitting empty in Tuscany—will inspire her to jet off for Italy, against the advice of her always-honest bestie, Claire (Home Before Dark’s Aziza Scott).
But Anna’s plan to crash at Matteo’s villa, without permission, just for one night, falls apart when Matteo’s mother, Gabriella (Italian film icon Isabella Ferrari) shows up at the house unexpectedly. In a panic, Anna allows Gabriella to believe that she is Matteo’s fiancée.
That little lie becomes a big problem, though, when Matteo’s cousin, Michael (Regé-Jean Page; Bridgerton, Black Bag) shows up, and Anna discovers that the heat between them may ignite a fire that will transform her life.
The film’s international cast includes Lorenzo de Moor (The Legend Hunters) as Matteo, Marco Calvani (The Four Seasons) as an Italian taxi driver who befriends Anna and Academy Award® nominee Nia Vardalos (My Big Fat Greek Wedding) as Anna’s house-sitting client, Mrs. Dunn.
You, Me & Tuscany is directed by acclaimed filmmaker Kat Coiro (Marry Me, Matlock), from a screenplay by Ryan Engle (Rampage, Beast), based on an original idea by Ryan Engle and Kristin Engle. The film is produced by Will Packer (Girls Trip, Ride Along films) and Johanna Byer (Point Blank, executive producer Praise This) for Will Packer Productions. The executive producers are Ryan Engle and Kristin Engle.
In Ridley Scott’s ALIEN, the audience isn’t introduced to the Xenomorph right off the bat, but to the glorious Nostromo travelling through space. Utilizing industrial scrap and military surplus to create a lived-in, “truckers in space”, the ship was filled with techy stuff like lighting built directly into the walls and ceilings using metal grates and practical fixtures, walls filled with “visual noise” created from banks of circuits and equipment salvaged from old automobiles, radios, and television sets. And best of all – the interior dressing came from scrapped Royal Air Force (RAF) stock. Designers famously used parts from a dismantled Handley Page Vulcan bomber to line the walls and corridors.
We still bow at the altar of ALIEN’s Production Designer Michael Seymour, Art Directors Les Dilley and Roger Christian (Christian is specifically credited with the “industrial” look of the Nostromo interiors, utilizing salvaged scrap metal and aircraft parts) and Set Decorator Ian Whittaker.
Bravo to the genius who really got their Nerd on and published a book titled ALIEN: THE BLUEPRINTS. Its utter rapture filled with all the technical drawings of all the major ships and vehicles from the Alien movies, presented in incredible detail. Includes iconic spacecraft like the Nostromo, the Sulaco and the Covenant.
NASA is now readying the launch of the SLS (Space Launch System) rocket and Orion spacecraft powering the Artemis II from the Kennedy Space Center in Florida to travel to the Moon. Nothing will ever surpass the mighty Saturn V Rocket and the Apollo Missions, but the excitement surrounding the countdown to the Artemis II launch and return to Earth’s closest neighbor is nothing short of fantastic!
In the new film PROJECT HAIL MARY, the filmmakers and production designers had to answer a fundamental question: If humanity truly built a ship to save itself, what would it look like? Production designer Charles Wood (Guardians of the Galaxy, Avengers: Endgame) began that exploration with viability. If the filmmakers would be asking the audience to believe that this is humanity’s last, best effort to save the planet, the Hail Mary itself had to feel engineered as if very intelligent people built it under extraordinary pressure. The default of space-movie environments is steel-and-gray hues with sometimes bland or unarticulated spaces. But directors Lord and Miller wanted to experiment with the palette and create something fresh.
“They wanted it not to feel acrid or too monochromatic,” Wood says. “They wanted to find the color in space.” In addition, instead of sleek metallic minimalism, Wood introduced fabric and insulation as structural elements. Soft materials were woven into walls and padded surfaces were shaped and layered.
Gravity itself became part of the language design. Different areas of the Hail Mary operate under different gravitational states – acceleration gravity, centrifugal gravity, zero gravity – requiring sets that could rotate or reorient.
In the new film from directors Phil Lord & Christopher Miller, Science teacher Ryland Grace (Ryan Gosling) wakes up on a spaceship light years from home with no recollection of who he is or how he got there. As his memory returns, he begins to uncover his mission: solve the riddle of the mysterious substance causing the sun to die out. He must call on his scientific knowledge and unorthodox ideas to save everything on Earth from extinction…but an unexpected friendship means he may not have to do it alone.
And this isn’t Gosling’s first time playing an astronaut. Nope! Check out this clip where he played Neil Armstrong who commanded Apollo 11 becoming the First Man to set foot on the Moon.
To mark the blast-off of PROJECT HAIL MARY, we’ve come up with a list of 14 of our favorite techy, spaceship and gadgets movies.
For the movie nerds out there (including us) technically focused space movies are our jam, where we groove on the hard sci-fi films that emphasize realism and scientific concepts – but, okay, mostly for the lights, buttons, knobs, switches and toggles.
A definitive “hard sci-fi” film that uses NASA-endorsed accuracy in botany, engineering, and orbital mechanics to show how a stranded astronaut can survive using existing or near-future tech.
The novel was absolutely brilliant with its schematics and it translated so well to the big screen showing a sophisticated fleet of spacecraft designed for the Ares program to transport the crew and supplies between Earth and Mars. Filled with an Orion capsule, The Hermes (and its ion engines), Taiyang Shen, and the Martian Rover,
There were over 400 interactive screens and many weren’t just random code; they were a “patchwork” of real NASA data. For example, the weather screens used actual Martian atmosphere data, and the Hermes navigation screens used real motion vectors provided by NASA engineers. And the best? Instead of using green screens for monitors, the animations were played live on set. This allowed actors to actually interact with the buttons and data, making their reactions feel authentic. Glorious!
Based on a true story, it celebrates the ingenious problem-solving of NASA scientists who used “square pegs in round holes” and duct tape to bring astronauts home after a technical failure in deep space, never mind a slide rule. The lift off of the mighty Saturn V rocket, mission control in Houston and the crew in the command module made this Oscar nominated movie one filled with realistic physics, engineering, and survival.
Go see it at the Johnson Space Center in Houston TX – its a true marvel, with its original consoles and rotary dials.
Director Alfonso Cuaron’s entire film is a masterclass in the physics of microgravity. It focuses on the “Kessler Syndrome,” where a chain reaction of satellite debris traveling at orbital velocity destroys everything in its path. Technology – specifically Manned Maneuvering Units (MMUs) and various airlocks – is the only thing preventing the protagonist from “drifting” forever into the vacuum.
The mind-boggling tech of this film won 7 Oscars at the 86th Academy Awards including Best Score (Steven Price), Best Visual Effects (Tim Webber, Chris Lawrence, David Shirk, and Neil Corbould) and Best Film Editing (Alfonso Cuarón and Mark Sanger).
INTERSTELLAR
The technological realism is thru the roof. The movie features plausible near-future technologies, such as the Endurance spacecraft, which uses rotation to create artificial gravity, and advanced robotic assistants like TARS and CASE. The interior is compact and practical, with a focus on functionality, including transparent touch screens, crew chairs, and a large main viewscreen.
A seminal work exploring humanity’s relationship with technology – from the first bone tool to the sentient AI HAL 9000 – as a driver for the next stage of human evolution.
The ships were wonders to behold.
Discovery One (USSC Discovery) was the 540-foot-long nuclear-powered interplanetary ship sent to investigate the signal from the monolith at Jupiter. It is controlled by the HAL 9000 computer. The Orion III Spaceplane was a sleek, needle-nosed Pan Am orbital clipper used to transport Dr. Heywood Floyd from Earth to the orbiting space station. The Aries Ib Lunar Lander was a spherical, passenger-carrying moon shuttle that transports Dr. Floyd from the space station to the Clavius Base on the lunar surface and the Space Station V was a massive, rotating “wheel” station in Earth’s orbit that serves as a transit hub for travelers heading to the moon
MOON
Huge Nerd Alert!
Duncan Jones‘s movie uses a futuristic lunar mining operation to examine the ethical implications of cloning and the psychological toll of long-term isolation on a solo worker. It’s so rich to look at due to the lunar base, the space station (or lunar mining base) named Sarang Station located on the far side of the Moon to mine Helium-3, a clean alternative fuel for Earth. The movie stars Sam Rockwell as Sam Bell, the station’s sole human occupant, who is assisted by an artificial intelligence named GERTY.
With the Helium-3 Harvesters and lunar rovers, the miniature models used instead of CGI gave these vehicles their realistic, gritty look.
Okay so it ended up being jump to the “hell” dimension, which many at the time went… “HUH?!” But the awesome “industrial-gothic” design of the S.S. Event Horizon, divided into three primary modules, was connected by a 2-kilometer-long access corridor known as The Neck. The Bridge and the Gravity Drive had sci-fi fans intrigued by all it’s panels filled with monitors, lighted buttons and toggle-switches galore.
Read ASC’s interview visual effects supervisor Richard Yuricich, ASC and visual effects producer Stuart McAra here and cinematographer Adrian Biddle, BSC here — featuring director Paul W.S. Anderson.
Designed to look like a cathedral to evoke a sense of religious dread, the corridors are octagonal, and the lighting is kept low to make the ship feel “alive” and predatory.
Paul W.S. Anderson film has since become a cult movie and there’s even a Event Horizon: Dark Descent #1 – available now from IDW Dark.
Discover what happened to the original crew of the Event Horizon in this all-new cosmic horror graphic novel set in the universe of the terrifying cult-classic film!
This original comic series serves as an official prequel to the film! The Event Horizon was a revolutionary spaceship designed for one mission: faster-than-light travel with a top-secret, experimental gravity drive. But upon activating the device, the ship journeyed across the borders of Hell itself. In a nightmarish realm of torments beyond imagining, Captain Kilpack and the crew of the Event Horizon must resist all manner of demonic forces—including Paimon, the eyeless King of Hell, and their own descents into madness and bloodlust—if they’ve any chance of escaping back to their own world.
Abandon all hope and board the Event Horizon with multiple Eisner Award winner Christian Ward (writer of Batman: City of Madness, Two-Face) and powerhouse sci-fi artist Tristan Jones (Aliens: Defiance, Tales of the TMNT) in this unbelievable story of the true and final fate of the original Event Horizon crew.
WHICH BRINGS US TO ITS UNOFFICAL SEQUEL, ACCORDING TO FANS….
SUNSHINE
In Danny Boyle’s 2007 film Sunshine, the technology and spacecraft represent a blend of near-future industrial realism and high-concept scientific theory, developed with guidance from physicist Brian Cox.
The Icarus II is a massive vessel designed for a singular, suicide-mission-style objective: delivering a payload to reignite the dying Sun. Solar Shield: The most prominent feature is a one-mile wide refractory gold-leaf shield that protects the ship from intense solar radiation and heat. The Spine: A long, delicate central armature connects the shield to the living quarters and engines. In the film, this spine rotates slowly to provide a degree of stability. Living Quarters: Designed to feel claustrophobic and utilitarian, contrasting with the vastness of the exterior. The Payload: A massive stellar bomb roughly the size of Manhattan, constructed from dark matter and uranium.
The techy part is the Computer on The Icarus, an AI with a natural-language interface that communicates verbally with the crew. Its mainframe is kept in a coolant bath to prevent overheating and the Observation Deck, a room that allows the crew to view the Sun directly through attenuation filters.
EUROPA REPORT
This “found footage” style film focuses on plausible mission design and the scientific process involved in a private mission to find life on Jupiter’s moon, Europa.
The user interfaces (UIs) in the film are minimalist and data-heavy. Transparent displays and helmet Heads-Up Displays (HUDs). Instead of flashy animations, the screens show telemetry data, oxygen levels, and orbital mechanics. This “functional” design makes the technology feel like it was built by engineers, not graphic designers.
THE BLACK HOLE
We love this film! It saw two Oscar nominations for Best Cinematography and Best Visual Effects and still one of our favorite sci-fi films ever.
The Black Hole combines gothic horror with sci-fi, centering on a massive spacecraft (the USS Cygnus) perched at the edge of a black hole, exploring the technological hubris of a scientist obsessed with entering it. The ship utilized powerful anti-gravity projectors (powered by a fictional element called Signium) that allow it to hover motionless on the edge of the black hole’s event horizon. Due to its immense size, the crew used a manually controlled, one-way tram system to travel between major sections like the docking bays and the control tower – a magnificent room filled with computer monitors.
The interior of the tower features one of the most elaborate sets in 1970s science fiction, designed to emphasize both the ship’s massive scale and its gothic atmosphere.
A dominant feature is a massive star map and holographic display used for mapping and studying the black hole, the former crew turned into mindless cyborgs. The tower is designed with multiple levels and catwalks, allowing Reinhardt and his primary sentry, Maximilian, to oversee operations from elevated positions.
We also loved V.I.N.CENT voiced by an uncredited Roddy McDowall. He was a robot aboard the U.S.S. Palomino. Great score too by composer John Barry.
AD ASTRA
Where do we start with this futuristic film that explores the vastness and silence of the solar system through a journey to Neptune, using realistic depictions of lunar bases and commercial space travel to reflect on a son’s search for his father.
This was a dream for space enthusiasts – A space elevator, an International Space Antenna, Mars underground base, Vesta IX and Lima Station and the Cepheus – the SpaceCom transport vessel travelling to outer space. It made us believe Space exploration and tourism was a common event.
SILENT RUNNING
Director Douglas Trumbull’s amazing film focuses on environmental tech in space, where a botanist maintains the last of Earth’s plant life in geodesic domes attached to a spacecraft after all plant life on Earth has gone extinct. Named the Valley Forge, Berkshire, and Sequoia, these several massive American Airlines Space Freighters were tasked with carrying Earth’s last botanical samples. They were great to look at and were based the geodesic design on the Climatron dome at the Missouri Botanical Garden. These freighters are approximately 2,500 feet long (nearly half a mile) while the filming miniature for the Valley Forge was a 26-foot-long masterpiece built over six months using parts from over 80 different model kits.
But it’s the three little robots – originally designated as Drones 1, 2, and 3—that are the heart of the film’s emotional journey. Freeman Lowell (played by Bruce Dern), re-programs the clunky, box-shaped service drones to give them distinct personalities and nicknames them after Donald Duck’s nephews, Dewey, Huey and Louie.
THE CLOVERFIELD PARADOX
To start, this has to be the greatest example of pure marketing genius. To have kept it a secret, revealing it during the Superbowl eight years ago, followed by the surprise debut on Netflix immediately afterwards that Sunday night was unbelievable! We bow low on that drop!
Now to the tech stuff. The Cloverfield Station is a massive space station orbiting Earth in the year 2028. It is a modular, high-tech habitat designed to house the massive particle accelerator at its core. The Bridge/Cockpit features a mix of traditional physical controls and modern multi-functional displays.
GDP-07952.raf
The Shepard is the station’s primary experimental device, a particle accelerator described as being “one thousand times more powerful” than any on Earth.Its goal is to provide a sustainable, infinite energy source to save humanity. When finally successfully activated, the Shepard overloads and creates a “power curve” that rips the fabric of space-time. The device doesn’t just generate power; it causes the station to jump into a parallel universe and move to the opposite side of the sun. The firing of the Shepard shattered reality across multiple dimensions and timelines.
SATURN 3
The film is set at a remote base in the asteroid belt of Saturn, and crewed by 2 scientists, and was filled with futuristic gadgets featuring detailed props and computer consoles that serve as the “tech parts” of the station’s life support and research systems. The base was equipped with numerous wall-mounted consoles and interactive displays used for monitoring life support, research data, and internal security.
For we geeks living in the early 80’s this was the perfect movie – the evil robot Hector, spaceships and a space station… this was the ultimate Nerdvana
Paul Thomas Anderson, Sarah Murphy, Anthony Carlino, Will Weiske, Andy Jurgensen, Teyana Taylor, Michael Bauman, Cassandra Kulukundis, Regina Hall, Shayna McHale aka Junglepussy, Leonardo DiCaprio, Chase Infiniti and Benicio del Toro accept the Oscar® for Best Picture, presented by Ewan McGregor and Nicole Kidman during the 98th Oscars® at the Dolby® Theatre at Ovation Hollywood on Sunday, March 15, 2026.
Three Warner Bros. films took home 11 golden statues at the 98th Academy Awards, including 6 for ONE BATTLE AFTER ANOTHER, 4 for SINNERS and one for WEAPONS.
ONE BATTLE AFTER ANOTHER won Best Picture, Best Director, Paul Thomas Anderson, Best Adapted Screenplay, Paul Thomas Anderson – Based on the novel Vineland by Thomas Pynchon, Best Supporting Actor, Sean Penn, and Best Film Editing, Andy Jurgensen. It also included the first-time Casting Oscar for Cassandra Kulukundis.
Ryan Coogler, Ludwig Goransson, Autumn Durald Arkapaw, Michael B. Jordan pose backstage with their respective Oscars® during the 98th Oscars® at Dolby® Theatre at Ovation Hollywood on Sunday, March 15, 2026.
SINNERS took home 4 Academy Awards after being nominated for a record 16 Oscar nominations. THIS was the TRUE win of Sunday night!
Ryan Coogler won for Best Original Screenplay, Best Actor went to Michael B. Jordan, Autumn Durald Arkapaw became the first woman in history to win Best Cinematography, and Ludwig Göransson won his third Oscar for the film’s score.
And Amy Madigan won Best Supporting Actress for her role as Aunt Gladys in WEAPONS.
Guillermo del Toro’s FRANKENSTEIN won 3 for Best Production Design, Best Costume Design and Best Makeup and Hairstyling,
It was remarkable night for these three horror films.
Michael B. Jordan with his Oscar® for Actor in a Leading Role during the 98th Oscars® at Dolby® Theatre at Ovation Hollywood on Sunday, March 15, 2026.
Actor in a Leading Role
Timothée Chalamet Marty Supreme
Leonardo DiCaprio One Battle after Another
Ethan Hawke Blue Moon
Michael B. Jordan Sinners – WINNER
Wagner Moura The Secret Agent
Listen to the cheering in the pressroom!
Actor in a Supporting Role
Benicio Del Toro One Battle after Another
Jacob Elordi Frankenstein
Delroy Lindo Sinners
Sean Penn One Battle after Another – WINNER
Stellan Skarsgård Sentimental Value
Jessie Buckley with her Oscar® for Actress in a Leading Role during the 98th Oscars® at Dolby® Theatre at Ovation Hollywood on Sunday, March 15, 2026.
Actress in a Leading Role
Jessie Buckley Hamnet – WINNER
Rose Byrne If I Had Legs I’d Kick You
Kate Hudson Song Sung Blue
Renate Reinsve Sentimental Value
Emma Stone Bugonia
Actress in a Supporting Role
Elle Fanning Sentimental Value
Inga Ibsdotter Lilleaas Sentimental Value
Amy Madigan Weapons – WINNER
Wunmi Mosaku Sinners
Teyana Taylor One Battle after Another
Animated Feature Film
Arco Ugo Bienvenu, Félix de Givry, Sophie Mas and Natalie Portman
Elio Madeline Sharafian, Domee Shi, Adrian Molina and Mary Alice Drumm
KPop Demon Hunters Maggie Kang, Chris Appelhans and Michelle L.M. Wong – WINNER
Little Amélie or the Character of Rain Maïlys Vallade, Liane-Cho Han, Nidia Santiago and Henri Magalon
Zootopia 2 Jared Bush, Byron Howard and Yvett Merino
Animated Short Film
Butterfly Florence Miailhe and Ron Dyens
Forevergreen Nathan Engelhardt and Jeremy Spears
The Girl Who Cried Pearls Chris Lavis and Maciek Szczerbowski – WINNER
Retirement Plan John Kelly and Andrew Freedman
The Three Sisters Konstantin Bronzit
Casting
Hamnet Nina Gold
Marty Supreme Jennifer Venditti
One Battle after Another Cassandra Kulukundis – WINNER
The Secret Agent Gabriel Domingues
Sinners Francine Maisler
Cinematography
Frankenstein Dan Laustsen
Marty Supreme Darius Khondji
One Battle after Another Michael Bauman
Sinners Autumn Durald Arkapaw – WINNER
Train Dreams Adolpho Veloso
Costume Design
Avatar: Fire and Ash Deborah L. Scott
Frankenstein Kate Hawley – WINNER
Hamnet Malgosia Turzanska
Marty Supreme Miyako Bellizzi
Sinners Ruth E. Carter
Directing
Hamnet Chloé Zhao
Marty Supreme Josh Safdie
One Battle after Another Paul Thomas Anderson – WINNER
Sentimental Value Joachim Trier
Sinners Ryan Coogler
Paul Thomas Anderson accepts the Oscar® for Best Picture during the 98th Oscars® at the Dolby® Theatre at Ovation Hollywood on Sunday, March 15, 2026.
Documentary Feature Film
The Alabama Solution Andrew Jarecki and Charlotte Kaufman
Come See Me in the Good Light Ryan White, Jessica Hargrave, Tig Notaro and Stef Willen
Cutting through Rocks Sara Khaki and Mohammadreza Eyni
Mr. Nobody against Putin David Borenstein, Pavel Talankin, Helle Faber and Alžběta Karásková – WINNER
The Perfect Neighbor Geeta Gandbhir, Alisa Payne, Nikon Kwantu and Sam Bisbee
Documentary Short Film
All the Empty Rooms Joshua Seftel and Conall Jones – WINNER
WAMG asked the filmmakers about their film…
Q: Congratulations on your win. As a human being and a parent, this film was beautiful and devastating. So how did you navigate making it just that, and not a pity party, or making it seem like exploitive of what these parents went through?
A: [Joshua Seftel] Yeah, that was a big thing. Do you want to start that one? [Conall Jones] You can. [Joshua Seftel] One of the things that helped us was that all the parents that participated in our film, which were four families, they all very much wanted to tell the stories of their children. And so we were working together as collaborators in a sense, in that we wanted to tell their stories and they wanted to, the parents wanted to share their stories because they do not want their children to be forgotten. That’s the most important thing in their lives. And so by focusing on the kids and on the empty bedrooms, and on the absence of these children, we felt that that could be a powerful way to talk about gun violence. We don’t mention the word gun in this film, not once, but we didn’t think we needed to because you learn about these children, and you feel how wrong this is, what’s happening in our society. And ideally, people will do things to try to create change, and we’ve already seen that as a result of the film.
Armed Only with a Camera: The Life and Death of Brent Renaud Craig Renaud and Juan Arredondo
Children No More: “Were and Are Gone” Hilla Medalia and Sheila Nevins
The Devil Is Busy Christalyn Hampton and Geeta Gandbhir
Perfectly a Strangeness Alison McAlpine
Andy Jurgensen accepts the Oscar® for Film Editing during the 98th Oscars® at the Dolby® Theatre at Ovation Hollywood on Sunday, March 15, 2026.
Film Editing
F1 Stephen Mirrione
Marty Supreme Ronald Bronstein and Josh Safdie
One Battle after Another Andy Jurgensen – WINNER
Sentimental Value Olivier Bugge Coutté
Sinners Michael P. Shawver
International Feature Film
Brazil The Secret Agent
France It Was Just an Accident
Norway Sentimental Value – WINNER
Spain Sirāt
Tunisia The Voice of Hind Rajab
Live Action Short Film
Butcher’s Stain Meyer Levinson-Blount and Oron Caspi
A Friend of Dorothy Lee Knight and James Dean
Jane Austen’s Period Drama Julia Aks and Steve Pinder
The Singers Sam A. Davis and Jack Piatt – WINNER
Two People Exchanging Saliva Alexandre Singh and Natalie Musteata – WINNER
Makeup and Hairstyling
Frankenstein Mike Hill, Jordan Samuel and Cliona Furey – WINNER
Kokuho Kyoko Toyokawa, Naomi Hibino and Tadashi Nishimatsu
Sinners Ken Diaz, Mike Fontaine and Shunika Terry
The Smashing Machine Kazu Hiro, Glen Griffin and Bjoern Rehbein
The Ugly Stepsister Thomas Foldberg and Anne Cathrine Sauerberg
Dear Me from Diane Warren: Relentless; Music and Lyric by Diane Warren
Golden from KPop Demon Hunters; Music and Lyric by EJAE, Mark Sonnenblick, Joong Gyu Kwak, Yu Han Lee, Hee Dong Nam, Jeong Hoon Seo and Teddy Park – WINNER
I Lied To You from Sinners; Music and Lyric by Raphael Saadiq and Ludwig Goransson
Sweet Dreams Of Joy from Viva Verdi!; Music and Lyric by Nicholas Pike
Train Dreams from Train Dreams; Music by Nick Cave and Bryce Dessner; Lyric by Nick Cave
Best Picture
Bugonia Ed Guiney & Andrew Lowe, Yorgos Lanthimos, Emma Stone and Lars Knudsen, Producers
F1 Chad Oman, Brad Pitt, Dede Gardner, Jeremy Kleiner, Joseph Kosinski and Jerry Bruckheimer, Producers
Frankenstein Guillermo del Toro, J. Miles Dale and Scott Stuber, Producers
Hamnet Liza Marshall, Pippa Harris, Nicolas Gonda, Steven Spielberg and Sam Mendes, Producers
Marty Supreme Eli Bush, Ronald Bronstein, Josh Safdie, Anthony Katagas and Timothée Chalamet, Producers
One Battle after Another Adam Somner, Sara Murphy and Paul Thomas Anderson, Producers – WINNER
The Secret Agent Emilie Lesclaux, Producer
Sentimental Value Maria Ekerhovd and Andrea Berentsen Ottmar, Producers
Sinners Zinzi Coogler, Sev Ohanian and Ryan Coogler, Producers
Train Dreams Marissa McMahon, Teddy Schwarzman, Will Janowitz, Ashley Schlaifer and Michael Heimler, Producers
Production Design
Frankenstein Production Design: Tamara Deverell; Set Decoration: Shane Vieau – WINNER
Hamnet Production Design: Fiona Crombie; Set Decoration: Alice Felton
Marty Supreme Production Design: Jack Fisk; Set Decoration: Adam Willis
One Battle after Another Production Design: Florencia Martin; Set Decoration: Anthony Carlino
Sinners Production Design: Hannah Beachler; Set Decoration: Monique Champagne
Sound
F1 Gareth John, Al Nelson, Gwendolyn Yates Whittle, Gary A. Rizzo and Juan Peralta – WINNER
Frankenstein Greg Chapman, Nathan Robitaille, Nelson Ferreira, Christian Cooke and Brad Zoern
One Battle after Another José Antonio García, Christopher Scarabosio and Tony Villaflor
Sinners Chris Welcker, Benjamin A. Burtt, Felipe Pacheco, Brandon Proctor and Steve Boeddeker
Sirāt Amanda Villavieja, Laia Casanovas and Yasmina Praderas
Visual Effects
Avatar: Fire and Ash Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett – WINNER
F1 Ryan Tudhope, Nicolas Chevallier, Robert Harrington and Keith Dawson
Jurassic World Rebirth David Vickery, Stephen Aplin, Charmaine Chan and Neil Corbould
The Lost Bus Charlie Noble, David Zaretti, Russell Bowen and Brandon K. McLaughlin
Sinners Michael Ralla, Espen Nordahl, Guido Wolter and Donnie Dean
Writing (Adapted Screenplay)
Bugonia Screenplay by Will Tracy
Frankenstein Written for the Screen by Guillermo del Toro
Hamnet Screenplay by Chloé Zhao & Maggie O’Farrell
One Battle after Another Written by Paul Thomas Anderson – WINNER
Train Dreams Screenplay by Clint Bentley & Greg Kwedar
Ryan Coogler poses backstage with the Oscar® for Original Screenplay during the 98th Oscars® at Dolby® Theatre at Ovation Hollywood on Sunday, March 15, 2026.
Writing (Original Screenplay)
Blue Moon Written by Robert Kaplow
It Was Just an Accident Written by Jafar Panahi; Script collaborators – Nader Saïvar, Shadmehr Rastin, Mehdi Mahmoudian
Marty Supreme Written by Ronald Bronstein & Josh Safdie
Sentimental Value Written by Eskil Vogt, Joachim Trier
Sinners Written by Ryan Coogler – WINNER
Contributed by Michelle McCue and Melissa Thompson
