Sony/Columbia will release an untitled film set during the 1960s space race starring Scarlett Johansson and Channing Tatum on July 12. The studio has also set “Wolfs,” a thriller starring George Clooney and Brad Pitt and directed by “Spider-Man: No Way Home” filmmaker Jon Watts for release on Sept. 20.

The pair of upcoming films continues a theatrical distribution partnership between Sony and Apple that began with last month’s Ridley Scott’s “Napoleon,” a $200 million-plus historical epic whose budget was footed entirely by Apple and grossed $189 million at the global box office.

By normal standards, that amounts to a box office flop, but Apple’s high-spending, partnership-filled strategy is looking for profits later down the line. Apple is hoping that a theatrical release for its films will increase awareness and interest among audiences to see those films later on Apple TV+, increasing its subscriber count.

Sony, meanwhile, gets new additions to its theatrical slate in exchange for a distribution fee rather than having to shoulder any production costs. Apple has also formed partnerships with other studios on films like Martin Scorsese’s “Killers of the Flower Moon,” released theatrically by Paramount, and Matthew Vaughn’s “Argylle,” which will be released by Universal early next year.

The Johansson/Tatum film, previously known by the working title “Project Artemis,” is filling a summer slot that was previously held by Sony’s “Venom 3” before it was delayed to November after the conclusion of the SAG-AFTRA strike.

“Wolfs” will fill an early autumn slot and will hit theaters alongside Universal/DreamWorks’ family animated film “The Wild Robot.” It will share theater space with other franchise releases hitting September like Warner Bros.’ “Beetlejuice 2,” Paramount’s “Transformers One” and Lionsgate’s “Saw XI.”

The post Sony Adds 2 Apple-Produced Films to 2024 Release Slate appeared first on TheWrap.

The decision states that Disney failed to properly license the MOVA Contour technology, owned by Rearden, despite knowing that its visual effects partner, DD3, may not have had rights to use or sublicense the software. Disney continued to benefit from using the proprietary MOVA system in “Beauty and the Beast” regardless, the jury ruled.

The jury awarded Rearden about $600,000, including $350,000 meant to represent Disney’s profits attributed to using the copyrighted MOVA technology. While Rearden had asked for over $100 million in damages related to the film’s success, the jury’s award indicates they did not see a strong connection between MOVA Contour and the film’s box office performance.

Other films like “Guardians of the Galaxy” and the “Avengers” franchise had also been under dispute, but the sole claim in this case focused on “Beauty and the Beast” and Disney’s liability for knowingly sublicensing software it did not own rights to.

A prior federal court decision already found that DD3’s licensure and ownership transfer of MOVA Contour was fraudulent. While Disney was not party to that ruling, a subsequent case may still be brought over the two “Avengers” films released following that initial judgment.

Pamela Chelin contributed to this report.

The post Disney Loses ‘Beauty and the Beast’ Case Over Visual Effects Technology appeared first on TheWrap.

At one point Michael Keaton shot a cameo scene for the movie, and then Ben Affleck shot a scene as well that even “Aquaman” headliner Jason Momoa posted on his social media back in July 2022.

“REUNITED bruce and arthur. love u and miss u Ben WB studio tours just explored the backlot alright. busted on set all great things coming AQUAMAN 2 all my aloha j”

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A post shared by Jason Momoa (@prideofgypsies)

Earlier this year, Momoa was asked at the TheWrap’s Sundance Studio what it was like filming scenes with Keaton’s Batman.

“I shot with a couple different Batmans, but you just don’t know what’s going on and we’ll see what the end product is,” Momoa said.

“Aquaman and the Lost Kingdom” director James Wan recently spoke out on whether the film would connect to other DCEU movies like “The Flash” or feature cameos from characters like Batman.

“The tricky thing early on was not knowing whether Aquaman would come out first or come out after [The Flash],” Wan told Entertainment Weekly. “So, we just had to be prepared. At the end of the day, the best thing I would say about this movie is that it is not connected in any way to any of those films. That’s the bottom line. [When asked if either Batman appears in the movie] That’s a ‘no comment,’ right now. You’re going to have to wait for the movie to come out.”

Does Michael Keaton or Ben Affleck’s Batman Appear in “Aquaman 2?”

Unfortunately, the answer is no. Neither Michael Keaton or Ben Affleck’s Batman appear in “Aquaman and the Lost Kingdom.” Neither does any other member of the DCEU – no Flash, no Wonder Woman – appear in the film. So if you were looking for a final “Justice League” reunion in the film, it doesn’t happen. Goodbye DCEU, enter the DCU.

How is the film? In his review of “Aquaman and the Lost Kingdom,” TheWrap’s William Bibbani wrote: “Aquaman and the Lost Kingdom” is a hacked up mess, and that’s not just the editing, but boy is it also the editing. The film tediously recycles the plot of the original, with two characters switching places and another one cut out so haphazardly that it’s genuinely embarrassing and hurts the whole film. 

The post Does Batman Appear in ‘Aquaman and the Lost Kingdom?’ appeared first on TheWrap.

Action-oriented series continues to be a winning genre when it comes to the biggest screen in the home. “Reacher” is back on Amazon’s Prime Video, making a strong viewership debut in its second season.

The sophomore season premiere scored 1.3 million U.S. households viewing within the first three days available to stream, according to the Samba TV Weekly Wrap Report for the week of Dec. 11 to Dec. 17.

The second season’s premiere saw more than a 20% increase compared to the prior season opener. Viewership of the series tended to resonate most with older adults, as Baby Boomers (adults aged 65-74) over-indexed by 10% based on the initial three-day viewing window.

Then there was a jolt from “Barbie” which catapulted Max to No. 3 this week. The much-anticipated streaming release of “Barbie” garnered 1.2 million U.S. households in the first four days it was available to stream. That’s more than five times the number of households who watched Greta Gerwig’s blockbuster film live on demand when it first arrived, signaling a strong preference to stream the movie via subscription service rather than rent or buy the film at home.

Of all income earners, higher-income households making over $200,000 over-indexed by 16% in the initial four-day viewing window compared to the average household.

Coming-of-age drama “My Life with the Walter Boys” starring Suits actress Sarah Rafferty took fourth. In fifth this week was “The Super Mario Bros. Movie” streaming on Netflix and VOD.

The second half of “The Crown’s” final season soared into sixth place, as nearly 700,000 U.S. households tuned in to get their final fix of the Royal Family drama within the first four days available on Netflix. While that’s down double digits from the first part of this season (the fifth season premiere saw 778,000 households tuning in within its same four-day initial viewing window), the fascination around another royal scandal may keep the series on the leaderboard for weeks to come. “Lawmen: Bass Reeves” on Paramount+ followed at No. 7.

With families gearing up for the holidays, Christmas programming had another strong week. Amazon Prime Video’s “Candy Cane Lane” and Netflix’s “Family Switch” both topped the charts at No. 8 and No 9, respectively. Rounding out the final spot is “World War II: From the Frontlines” a docu-series unlike any other, with archival stories and footage with accounts on both sides of the conflict.

On broadcast television, NBC’s “The Voice” earned yet another week atop the leaderboard as the remaining contestants battled it out in the semifinals. Two additional telecasts earned spots among the Top 10.

This week’s linear charts also saw several country music specials make the list. At No. 2 was “Willie Nelson’s 90th Birthday Celebration” airing on CBS, while “CMA Country Christmas” on ABC earned No. 5. 

ABC, meanwhile, has aired the beloved “The Sound of Music” musical this time of year for decades, making it a TV event that is highly anticipated around the holidays. The Rodgers & Hammerstein film came in at No. 3 this week. Game show program “Wheel of Fortune” nabbed three telecasts in the Top 10, followed by CBS’ “Survivor.”

Cole Strain is VP and Head of R&D at Samba TV, a WrapPRO partner. Click here for more data and analysis  from Samba TV. 

The Wrap Report provides an exclusive first look at the most watched movies and TV series from the past week across both streaming and linear television sourced from viewership trends collected from Samba TV’s panel of more than 3 million households drawn from over 25 million connected TVs, balanced to the U.S. Census.

The post ‘Leave the World Behind’ Holds Off ‘Barbie’ and ‘Reacher’ to Win Streaming Top 10 | Charts appeared first on TheWrap.

And yet, largely thanks to Zack Snyder, there’s an overarching story that’s been told, and one you can follow if you watch the films in a specific order. Below, we run down how to watch the DC movies in chronological order.

DC Movies in Chronological Order

The DC Extended Universe

When trying to watch the DC movies in chronological order, most people are talking about the interconnected universe of films that kicked off with Zack Snyder’s Superman reboot “Man of Steel.” From then on, a universe was constructed in which characters crossed over from one film to the next, only to be somewhat abandoned after the release of “Justice League.”

The theatrical cut of “Justice League” was finished off by Joss Whedon after Snyder left during post-production and after hefty reshoots that largely abandon teases for future DC films. “Zack Snyder’s Justice League,” meanwhile, is Snyder’s epic four-hour version of the story that teases grand DCEU plans that will not be coming to fruition following his departure.

After either version of “Justice League,” you’ll find DC connectivity is more sparse.

“Black Adam” takes place after the events of “The Suicide Squad,” “Shazam! Fury of the Gods” takes place after “Black Adam” and the multiverse-traversing “The Flash” takes place all over the place — but is chronologically set around the same time as “Shazam! Fury of the Gods.”

“Aquaman and the Lost Kingdom,” the final film in the DCEU, ostensibly takes place furthest in the timeline but includes few connections to the overall continuity.

Without further ado, here’s how to watch all the DCEU movies in chronological order:

• Wonder Woman
• Wonder Woman 1984
• Man of Steel
• Batman v Superman: Dawn of Justice
• Suicide Squad
• Justice League // Zack Snyder’s Justice League
• Aquaman
• Shazam!
• Birds of Prey
• The Suicide Squad
• Black Adam
• Shazam! Fury of the Gods
• The Flash
• Aquaman and the Lost Kingdom

DC Movies in Release Order

The DC Extended Universe

If you simply want to watch the DC movies in the order in which they were released — which, frankly, makes a bit more sense connectivity-wise — here’s a complete rundown of the DCEU movies in release order:

• Man of Steel (2013)
• Batman v. Superman: Dawn of Justice (2016)
• Suicide Squad (2016)
• Wonder Woman (2017)
• Justice League – (2017)
• Aquaman – (2018)
• Shazam! (2019)
• Birds of Prey (2020)
• Wonder Woman 1984 (2020)
• Zack Snyder’s Justice League (2021)
• The Suicide Squad (2021)
• Black Adam (2022)
• Shazam! Fury of the Gods (2023)
• The Flash (2023)
• Aquaman and the Lost Kingdom (2023)

Is “The Batman” Part of the DCU?

If you’re wondering why the new Robert Pattinson-led reboot “The Batman” isn’t on this list, it’s because it’s not part of the DCEU. Which means you could watch it at any time without worrying about where it fits on the timeline.

The Matt Reeves-directed box office hit takes place on “Earth-2,” meaning it’s in an entirely different universe than the one populated by Ben Affleck’s Batman and Henry Cavill’s Superman. It’s completely disconnected from any of these aforementioned movies, just like the Joaquin Phoenix-led “Joker.”

Upcoming New DC Movies

Now that James Gunn and Peter Safran are building out a new slate of DC movies, the interconnected DCEU is about to get even more complicated, with a handful of films that were greenlit under the previous regime still rolling out in 2023 and Gunn and Safran launching their new vision for the DCU — titled “Chapter 1: Gods and Monsters.”

All of this to say, here’s a list of the DC movies currently in the works that are set for release:

• Joker: Folie a Deux – Oct. 4, 2024
• Superman: Legacy – July 11, 2025
• The Batman II – Oct. 3, 2025

The post Here’s How to Watch the DC Movies in Chronological Order appeared first on TheWrap.

The first is “Rebel Moon – Part One: A Child of Fire,” followed by “Rebel Moon – Part Two: The Scargiver” in 2024, then extended, R-rated director’s cuts of both films.

But when can you watch “Rebel Moon” on Netflix? Here’s everything you need to know.

When Is “Rebel Moon” Released?

“Rebel Moon – Part One: A Child of Fire” will be streaming on Netflix at exactly 7pm PT on December 21.

Is “Rebel Moon” in Theaters?

Unlike Snyder’s previous Netflix movie “Army of the Dead,” which got a wide theatrical release before it streamed on Netflix, “Rebel Moon” is only playing in very few select theaters. Check your local listings, especially for 70mm showings, but the majority of people will only be able to watch “Rebel Moon” on Netflix.

Find “Rebel Moon” tickets online.

What Is “Rebel Moon” About?

Per the official synopsis, when a peaceful colony on the edge of a galaxy finds itself threatened by the armies of a tyrannical ruling force, Kora (Sofia Boutella), a mysterious stranger living among the villagers, becomes their best hope for survival. Tasked with finding trained fighters who will unite with her in making an impossible stand against the Mother World, Kora assembles a small band of warriors — outsiders, insurgents, peasants and orphans of war from different worlds who share a common need for redemption and revenge. As the shadow of an entire Realm bears down on the unlikeliest of moons, a battle over the fate of a galaxy is waged, and in the process, a new army of heroes is formed.

Who’s in the “Rebel Moon” Cast?

The ensemble cast of “Rebel Moon” includes the following:

• Sofia Boutella
• Djimon Hounsou
• Ed Skrein
• Michiel Huisman
• Doona Bae
• Ray Fisher
• Charlie Hunnam
• Anthony Hopkins
• Staz Nair
• Fra Fee
• Cleopatra Coleman
• Stuart Martin
• Ingvar Eggert Sigurðsson
• Alfonso Herrera
• Cary Elwes
• Rhian Rees
• E. Duffy
• Jena Malone
• Sky Yang
• Charlotte Maggi
• Corey Stoll

Is “Rebel Moon” a “Star Wars” Movie?

No, but it nearly was. Snyder originally pitched the “Seven Samurai” riff to Kathleen Kennedy at Lucasfilm over a decade ago, but after Disney bought Lucasfilm the pitch went away. Snyder then reworked the “Rebel Moon” story as an original not set in the “Star Wars” universe.

When Does “Rebel Moon 2” Come Out?

“Rebel Moon – Part Two: The Scargiver” will be released on Netflix on April 19, 2024.

When Does the “Rebel Moon” Director’s Cut Come Out?

We don’t know yet, but Snyder promises the “Rebel Moon – Part 1” director’s cut will be R-rated and is an hour longer.

Watch the Trailer

The post What Time Is ‘Rebel Moon’ on Netflix? appeared first on TheWrap.

The civil action, filed Thursday in Los Angeles, alleges the “Fast & Furious” star forcibly groped and molested former staffer and plaintiff Asta Jonasson during production on “Fast Five” in the fall of 2010.

Jonasson was hired by Diesel’s production company, One Race, to assist the actor on location in Atlanta during the action film’s shooting, with the suit describing her responsibilities as organizing parties and attending events with Diesel.

Diesel’s attorney, Bryan Freedman, said in a statement the allegations were untrue.

“Let me be very clear: Vin Diesel categorically denies this claim in its entirety,” the statement said. “This is the first he has ever heard about this more than 13-year-old claim made by a purportedly 9-day employee. There is clear evidence which completely refutes these outlandish allegations.”

According to the suit, Jonasson was instructed to wait in Diesel’s St. Regis hotel suite one night in Sept. 2010 as Diesel entertained hostesses from a club. Upon their exit, Diesel grabbed Jonasson’s wrists and “pulled her onto the bed” and Jonasson asked him to stop and freed herself to the door of the suite, per the suit, hoping to maintain her “personal safety” and “job security” by getting him to exit the room.

Instead of leaving, Diesel approached her again and groped her breasts despite Jonasson’s request to stop. He then “dropped to his knees, pushed Ms. Jonasson’s dress up toward her waist, and molested her body, running his hands over Ms. Jonasson’s upper legs, including her inner thighs,” according to the suit. Jonasson screamed and ran down the hallway before Diesel pinned her against a wall and forced her to touch his genitals. 

Just hours later, the suit alleges Jonasson was fired from her job less than two weeks after starting. Samantha Vincent, Diesel’s sister and One Race president, called Jonasson to deliver the news.

“It was clear to her that she was being fired because she was no longer useful — Vin Diesel had used her to fulfill his sexual desires and she had resisted his sexual assaults,” the suit reads, noting that following the incident, Jonasson’s “esteem was demolished, and she questioned her own skills and whether a successful career would require her to trade her body for advancement.”

In addition to sexual battery, the suit, which lists its defendants as Diesel, Vincent as well as One Race Productions, contains allegations of discrimination on the bases of sex/gender, intentional infliction of emotional distress, hostile work environment, wrongful termination and retaliation, among others. It also reveals an additional incident of sexual harassment from a One Race supervisor and alleges the defendants of covering up the events.

Jonasson’s silence until now was guaranteed by a nondisclosure agreement she signed when agreeing to her employment by One Race. The suit notes her claims were made possible by the Speak Out Act, which protects victims of sexual assault and harassment against enforcement of nondisclosure agreements, as well as a California stature that waives statutes of limitations on sexual abuse allegations that occured in 2009 or later.

The lawsuit was first reported by Vanity Fair.

Pamela Chelin contributed to this report.

The post Vin Diesel Accused of Sexual Battery in Lawsuit From Former Assistant appeared first on TheWrap.

Films that landed on two out of three of the shortlists included “Killers of the Flower Moon,” “Poor Things,” “Oppenheimer,” “Maestro,” “Mission: Impossible – Dead Reckoning Part One,” “Society of the Snow,” and “Ferrari.”

The Makeup and Hairstyling category includes biopic like “Maestro,” “Golda,” “Ferrari” and “Napoleon,” as per usual with the lineup. But the list also made room for pure genre enterprises such as the bloody Dracula saga “The Last Voyage of the Demeter” and Ari Aster’s ambitious, polarizing “Beau Is Afraid” (which, like “Napoleon,” starred Joaquin Phoenix).

Best Sound’s shortlist, now in its third year of early release, is dominated by action films such as “The Creator,” “Ferrari” and “Mission: Impossible – Dead Reckoning Part One,” in addition to quieter entries such as David Fincher’s moody “The Killer” and Jonathan Glazer’s dread-filled “The Zone of Interest.”

For the category of Best Visual Effects, blockbusters appear in the lineup, including the current hit “Godzilla Minus One” (and current art house hit “Poor Things”), plus summer sequels “Indiana Jones and the Dial of Destiny” and “Guardians of the Galaxy Vol. 3,” in addition to more realistic historical recreations “Napoleon” and “Society of the Snow.” Notably absent was “Killers of the Flower Moon,” which staged much of the 1920s-era Osage Nation via VFX.

“Oppenheimer,” another large-scale film and one which used largely practical effects, was not eligible to make the VFX shortlist because it had been surprisingly left off the longer list of 20 films from which the shortlist was chosen.

The nominations voting period will run from Jan. 11-16, 2024, with the official nominations announcement on Jan. 23.

Check out the complete shortlists in these three Oscars categories below.

MAKEUP AND HAIRSTYLING:

“Beau Is Afraid”
“Ferrari”
“Golda”
“Killers of the Flower Moon”
“The Last Voyage of the Demeter”
“Maestro”
“Napoleon”
“Oppenheimer”
“Poor Things”
“Society of the Snow”

SOUND:

“Barbie”
“The Creator”
“Ferrari”
“The Killer”
“Killers of the Flower Moon”
“Maestro”
“Mission: Impossible – Dead Reckoning Part One”
“Napoleon”
“Oppenheimer”
“The Zone of Interest”

VISUAL EFFECTS:

“The Creator”
“Godzilla Minus One”
“Guardians of the Galaxy Vol. 3”
“Indiana Jones and the Dial of Destiny”
“Mission: Impossible – Dead Reckoning Part One”
“Napoleon”
“Poor Things”
“Rebel Moon – Part One: A Child of Fire”
“Society of the Snow”
“Spider-Man: Across the Spider-Verse”

The final Oscar nominations will be announced on Tuesday, Jan. 23, 2024, with the 96th Academy Awards airing on ABC on March 10, 2023.

See the other shortlists here:

Best Documentary Feature, Best Documentary Short

Best International Feature Film

Best Original Score, Best Original Song

Best Animated Short, Best Live Action Short

The post ‘Napoleon’ Lands on Oscars Shortlists for Makeup, Visual Effects and Sound appeared first on TheWrap.

Two other films landed a pair of songs on the shortlist, with “Flora and Son” making the list with “High Life” and “Meet in the Middle” (the latter song co-written by actors Eve Hewson and Joseph Gordon-Levitt) and “The Color Purple” making it with “Keep It Movin'” and “Superpower (I).”

Honorary Oscar-winner Diane Warren remains in the running for her 15th nomination as a songwriter, making the shortlist with “The Fire Inside,” her contribution to the film “Flamin’ Hot.” She was also eligible for her song “Gonna Be You” from “80 for Brady,” but it was not shortlisted.

John Williams received a nomination for scoring “Indiana Jones and the Dial of Destiny,” which if nominated, would give the veteran composer his 54th Oscar nod. He is already the most-nominated living person.

Netflix’s “American Symphony” is the only documentary to end up in both score and song shortlist categories, in a rare showing for a nonfiction film (though several have earned Best Original Song nods and even wins, notably Melissa Etheridge’s “I Need to Wake Up” from “An Inconvenient Truth”.)

The films that ended up slotted in both music categories include “Barbie,” “The Color Purple,” “Spider-Man: Across the Spider-Verse,” and most surprisingly, “Killers of the Flower Moon,” which not only recognized the late Robbie Robertson but also the original song “Wahzhazhe (A Song For My People)”, the moving, hopeful rallying cry heard in the conclusion of the picture.

Some notable omissions in the duo categories included Disney’s “The Little Mermaid” and “Wish” (recognized in neither category), and “Peaches,” from the “The Super Mario Bros. Movie.” Oscar-winner Bruce Springsteen was eligible for a new song from “She Came to Me,” but that film received little attention and the song didn’t make the shortlist.

Below are the final score/song shortlists under consideration:

MUSIC (ORIGINAL SCORE)
Fifteen scores will advance in the Original Score category for the 96th Academy Awards.  One hundred forty-eight scores were eligible in the category.  Members of the Music Branch vote to determine the shortlist and the nominees.

The scores, listed in alphabetical order by film title, are:

“American Fiction”
“American Symphony”
“Barbie”
“The Boy and the Heron”
“The Color Purple”
“Elemental”
“The Holdovers”
“Indiana Jones and the Dial of Destiny”
“Killers of the Flower Moon”
“Oppenheimer”
“Poor Things”
“Saltburn”
“Society of the Snow”
“Spider-Man: Across the Spider-Verse”
“The Zone of Interest”

MUSIC (ORIGINAL SONG)
Fifteen songs will advance in the Original Song category for the 96th Academy Awards.  Ninety-four songs were eligible in the category.  Members of the Music Branch vote to determine the shortlist and the nominees.

The original songs, along with the motion picture in which each song is featured, are listed below in alphabetical order by film title:

“It Never Went Away” from “American Symphony”
“Dear Alien (Who Art In Heaven)” from “Asteroid City”
“Dance The Night” from “Barbie”
“I’m Just Ken” from “Barbie”
“What Was I Made For?” from “Barbie”
“Keep It Movin’” from “The Color Purple”
“Superpower (I)” from “The Color Purple”
“The Fire Inside” from “Flamin’ Hot”
“High Life” from “Flora and Son”
“Meet in The Middle” from “Flora and Son”
“Can’t Catch Me Now” from “The Hunger Games: The Ballad of Songbirds & Snakes”
“Wahzhazhe (A Song For My People)” from “Killers of the Flower Moon”
“Quiet Eyes” from “Past Lives”
“Road To Freedom” from “Rustin”
“Am I Dreaming” from “Spider-Man: Across the Spider-Verse”

Steve Pond contributed to this report.

See the other shortlists here:

Best Documentary Feature, Best Documentary Short

Best International Feature Film

Best Makeup and Hairstyling, Best Visual Effects, Best Sound

Best Animated Short, Best Live Action Short

The post ‘Barbie’, ‘The Color Purple,’ and ‘Flora and Son’ Lead Shortlists for Best Original Song and Score Oscars appeared first on TheWrap.

“20 Days in Mariupol,” from Ukraine, is one of two docs that also made the International Feature List. The other was Kaouther Ben Hania’s “Four Daughters,” from Tunisia.

The shortlist includes most of the most acclaimed nonfiction films of 2023, though it does contain some notable omissions. “Kokomo City,” a nominee for the Cinema Eye Honors and Critics Choice Documentary Awards, did not make the shortlist, and neither did “The Mother of All Lies” (which did make the international shortlist), “The Deepest Breath,” “The Mission,” “Silver Dollar Road” or two marathon-length films from renowned filmmakers, Steve McQueen’s “Occupied City” and Frederick Wiseman’s “Menus-Plaisirs – Les Troisgros.”

In the documentary-short category, the 15-film shortlist included films from Ben Proudfoot, whose “The Last Repair Shop” focuses on a Los Angeles-based shop that repairs and restores musical instruments for children. Proudfoot won the Oscar in this category last year for “The Queen of Basketball” and was nominated in 2021 for “A Concerto Is a Conversation.” His co-director on “The Last Repair Shop” is Kris Bowers, who was also shortlisted writing the original score to “The Color Purple.”

Also shortlisted was “Nǎi Nai & Wài Pó,” one of the shorts in TheWrap’s ShortList Film Festival this year.

The complete shortlists for documentaries are below.

FEATURES

“American Symphony”
“Apolonia, Apolonia”
“Beyond Utopia“
“Bobi Wine: The People’s President”
“Desperate Souls, Dark City and the Legend of Midnight Cowboy”
“The Eternal Memory”
“Four Daughters”
“Going to Mars: The Nikki Giovanni Project”
“In the Rearview”
“Stamped from the Beginning”
“Still: A Michael J. Fox Movie“
“A Still Small Voice”
“32 Sounds”
“To Kill a Tiger”
“20 Days in Mariupol”

SHORTS

“The ABCs of Book Banning”
“The Barber of Little Rock”
“Bear”
“Between Earth & Sky”
“Black Girls Play: The Story of Hand Games”
“Camp Courage”
“Deciding Vote”
“How We Get Free”
“If Dreams Were Lightning: Rural Healthcare Crisis”
“Island in Between”“Nǎi Nai & Wài Pó”“Nǎi Nai & Wài Pó”
“The Last Repair Shop”
“Last Song from Kabul”
“Nǎi Nai & Wài Pó”
“Oasis”
“Wings of Dust”

Steve Pond contributed to this report.

The post ‘American Symphony,’ ’20 Days in Mariupol’ Make Oscars Documentary Shortlist appeared first on TheWrap.