2022 Gotham Awards Nominations Full List
Best Feature Nominations go to Aftersun, The Cathedral, Dos Estaciones, Everything Everywhere All At Once, and Tár.
New York, NY (October 25, 2022) – The Gotham Film & Media Institute announced today the nominations for the 32nd Annual Gotham Awards, singling out 23 feature films, 15 series, and 35 performances in twelve award categories. The nominations were announced live from Cipriani Wall Street by Emmy-nominated star of Pose and American Horror Story on FX and now as Roxie Hart in Chicago on Broadway, Angelica Ross. Ross was joined by Jeffrey Sharp, award-winning film producer and the Executive Director of The Gotham.
“We are thrilled to announce this year’s Gotham Award nominees and look forward to celebrating together live and in person in a few weeks. Over 500 films and TV shows were submitted for consideration this year. These filmmakers demonstrated tremendous courage and invention in the production of their work during these months, and we’d like to congratulate them all.” said Sharp.
As the first major awards ceremony of the fall season, the Gotham Awards provide critical early recognition and media attention to worthy independent films and series and their writers, directors, producers, and actors. The awards are also unique for their ability to assist in catapulting award recipients prominently into national awards season attention. The 2022 Gotham Awards Ceremony will be held live and in person at 7 pm on Monday, November 28, 2022 at Cipriani Wall Street in New York City.
Nominees are selected by committees of film and television critics, journalists, festival programmers, and film curators. Separate juries of writers, directors, actors, producers, editors, and others directly involved in making films will determine the final Gotham Award recipients.
The 2022 Gotham Award nominations are:
Best Feature
Aftersun
Charlotte Wells, director; Adele Romanski, Amy Jackson, Barry Jenkins, Mark Ceryak, producers (A24)
The Cathedral
Ricky D’Ambrose, director; Graham Swon, producer (MUBI)
Dos Estaciones
Juan Pablo González, director; Ilana Coleman, Jamie Gonçalves, Bruna Haddad, Makena Buchanan, producers (Cinema Guild)
Everything Everywhere All At Once
Daniel Kwan, Daniel Scheinert, directors; Joe Russo, Anthony Russo, Mike Larocca, Daniel Kwan, Daniel Scheinert, Jonathan Wang, producers (A24)
Tár
Todd Field, director; Alexandra Milchan, Scott Lambert, Todd Field, producers (Focus Features)
Best Documentary Feature
What We Leave Behind
Iliana Sosa, director; Emma D. Miller, Isidore Bethel, producers (ARRAY)
All That Breathes
Shaunak Sen, director; Aman Mann, Shaunak Sen, Teddy Leifer producers (A Sideshow & Submarine Deluxe Release in Association with HBO Documentary Films)
All the Beauty and the Bloodshed
Laura Poitras, director; Howard Gertler, John Lyons, Nan Goldin, Yoni Golijov, Laura Poitras, producers (NEON)
I Didn’t See You There
Reid Davenport, director; Keith Wilson, producer (RePort Media)
The Territory
Alex Pritz, director; Alex Pritz, Darren Aronofsky, Sigrid Dyekjær, Will N. Miller, Gabriel Uchida, Lizzie Gillett, producers (National Geographic Documentary Films)
Best International Feature
Corsage
Marie Kreutzer, director; Alexander Glehr, Johanna Scherz, Bernard Michaux, Jonas Dornbach, Janine Jackowski, Maren Ade, Jean-Christophe Reymond, producers (IFC Films)
Athena
Romain Gavras, director; Romain Gavras, Charles-Marie Anthonioz, Mourad Belkeddar, Jean Duhamel, Nicolas Lhermitte, Ladj Ly, producers (Netflix)
The Banshees of Inisherin
Martin McDonagh, director; Graham Broadbent, Pete Czernin, Martin McDonagh, producers (Searchlight Pictures)
Decision to Leave
Park Chan-wook, director and producer (MUBI)
Happening
Audrey Diwan, director; Edouard Weil, Alice Girard producers (IFC Films)
Saint Omer
Alice Diop, director; Toufik Ayadi, Christophe Barral, producers (Super LTD)
Bingham Ray Breakthrough Director Award
Charlotte Wells for Aftersun (A24)
Owen Kline for Funny Pages (A24)
Elegance Bratton for The Inspection (A24)
Antoneta Alamat Kusijanovic for Murina (Kino Lorber)
Beth de Araújo for Soft & Quiet (Momentum Pictures / eOne)
Jane Schoenbrun for We’re All Going to the World’s Fair (Utopia)
Best Screenplay
Armageddon Time, James Gray (Focus Features)
After Yang, Kogonada (A24)
Catherine Called Birdy, Lena Dunham (Amazon Studios)
Tár, Todd Field (Focus Features)
Women Talking, Sarah Polley, based upon the book by Miriam Toews (United Artists Releasing / Orion Pictures)
Outstanding Lead Performance
Cate Blanchett in Tár (Focus Features)
Danielle Deadwyler in Till (United Artists Releasing / Orion Pictures)
Dale Dickey in A Love Song (Bleecker Street)
Colin Farrell in After Yang (A24)
Brendan Fraser in The Whale (A24)
Paul Mescal in Aftersun (A24)
Thandiwe Newton in God’s Country (IFC Films)
Aubrey Plaza in Emily the Criminal (Roadside Attractions and Vertical Entertainment)
Taylor Russell in Bones and All (United Artists Releasing / Metro Goldwyn Mayer Pictures)
Michelle Yeoh in Everything Everywhere All At Once (A24)
Outstanding Supporting Performance
Jessie Buckley in Women Talking (United Artists Releasing / Orion Pictures)
Raúl Castillo in The Inspection (A24)
Hong Chau in The Whale (A24)
Brian Tyree Henry in Causeway (Apple TV+)
Nina Hoss in Tár (Focus Features)
Noémie Merlant in Tár (Focus Features)
Ke Huy Quan in Everything Everywhere All At Once (A24)
Mark Rylance in Bones and All (United Artists Releasing / Metro Goldwyn Mayer Pictures)
Gabrielle Union in The Inspection (A24)
Ben Whishaw in Women Talking (United Artists Releasing / Orion Pictures)
Breakthrough Performer
Anna Cobb in We’re All Going to the World’s Fair (Utopia)
Frankie Corio in Aftersun (A24)
Anna Diop in Nanny (Amazon Studios and Blumhouse)
Gracija Filipovic in Murina (Kino Lorber)
Kali Reis in Catch the Fair One (IFC Films)
Breakthrough Series – Short Format (under 40 minutes)
Abbott Elementary, Quinta Brunson, creator; Quinta Brunson, Justin Halpern, Patrick Schumaker, Randall Einhorn, executive producers (ABC)
As We See It, Jason Katims, creator; Jason Katims, Jeni Mulein, Dana Idisis, Yuval Shafferman, Udi Segal, Amit Gitelzon, Shlomit Arvis, Danna Stern, executive producers (Prime Video)
Mo, Mohammed Amer, Ramy Youssef, creators; Mohammed Amer, Ramy Youssef, Ravi Nandan, Hallie Sekoff, Solvan “Slick” Naim, Harris Danow, Luvh Rakhe, executive producers (Netflix)
Rap Sh!t, Issa Rae, creator; Issa Rae, Syreeta Singleton, Montrel McKay, Deniese Davis, Dave Becky, Jonathan Berry, executive producers (HBO/HBO Max)
Somebody Somewhere, Hannah Bos, Paul Thureen, creators; Bridget Everett, Carolyn Strauss, Mark Duplass, Jay Duplass, Mel Eslyn, Hannah Bos, Paul Thureen, Patricia Breen, Tyler Romary, executive producers (HBO Max)
Breakthrough Series – Long Format (over 40 minutes)
Pachinko, Soo Hugh, creator; Soo Hugh, Michael Ellenberg, Lindsey Springer, Theresa Kang-Lowe, Richard Middleton, Kogonada, Justin Cho, executive producers (Apple TV+)
Severance, Dan Erickson, creator; Ben Stiller, Nicholas Weinstock, Jackie Cohn, Mark Friedman, Dan Erickson, Andrew Colville, Chris Black, John Cameron, executive producers (Apple TV+)
Station Eleven, Patrick Somerville, creator; Patrick Somerville, Jessica Rhoades, Scott Steindorff, Dylan Russell, Scott Delman, Jeremy Podeswa, Hiro Murai, Nate Matteson, executive producers (HBO/HBO Max)
This is Going to Hurt, Adam Kay, creator; Naomi De Pear, James Farrell, Jane Featherstone, Adam Kay, Ben Whishaw, executive producers (AMC+ in association with BBC)
Yellowjackets, Ashley Lyle, Bart Nickerson, creators; Jonathan Lisco, Ashley Lyle, Bart Nickerson, Drew Comins, Karyn Kusama, executive producers (SHOWTIME)
Outstanding Performance in a New Series
Bilal Baig in Sort Of (HBO Max/HBO)
Ayo Edebiri in The Bear (FX)
Janelle James in Abbott Elementary (ABC)
Minha Kim in Pachinko (Apple TV+)
Matilda Lawler in Station Eleven (HBO/HBO Max)
Britt Lower in Severance (Apple TV+)
Melanie Lynskey in Yellowjackets (SHOWTIME)
Zahn McClarnon in Dark Winds (AMC & AMC+)
Sue Ann Pien in As We See It (Prime Video)
Ben Whishaw in This is Going to Hurt (AMC+ in association with BBC)
Breakthrough Nonfiction Series
The Andy Warhol Diaries, Alexis Martin Woodall, Scott Robertson, Andrew Rossi, Stanley Buchthal, Josh Braun, Ryan Murphy, executive producers; Maya E. Rudolph, producer; Andrew Rossi, director (Netflix)
The Last Movie Stars, Martin Scorsese, Amy Entelis, Courtney Sexton, executive producers; Adam Gibbs, Ryan Hawke, Emily Wachtel, Lisa Long Adler, producers; Ethan Hawke, director (HBO Max)
Mind over Murder, Nanfu Wang, creator and director; Marc Smerling, Nanfu Wang, Max Heckman, Chad Mumm, Mark W. Olsen, Nancy Abraham, Lisa Heller, Sara Rodriguez, executive producers (HBO/HBO Max)
The Rehearsal, Nathan Fielder, creator and director; Nathan Fielder, Dave Paige, Dan McManus, Christie Smith, executive producers (HBO Max)
We Need To Talk About Cosby, W. Kamau Bell, creator and director; W. Kamau Bell, Andrew Fried, Katie A. King, Vinnie Malhotra, Dane Lillegard, Sarina Roma, Jordan Wynn, executive producers (SHOWTIME)
Thirty-four critics, curators, programmers, and writers participated in the nomination process.
Nominating Committees for the 2022 Gotham Awards were:
Nominating Committee for Best Feature and Best Screenplay:
Justin Chang, Film Critic, Los Angeles Times, NPR’s “Fresh Air”
K. Austin Collins, Film Critic, Rolling Stone
David Ehrlich, Chief Film Critic, IndieWire
Jessica Kiang, Freelance Film Critic, Variety, Sight & Sound, Los Angeles Times, The Playlist
Alison Willmore, Film Critic, New York Magazine/Vulture
Nominating Committee for Best Documentary Feature:
Ben Fowlie, Executive and Artistic Director, Points North Institute; Founder, Camden International Film Festival
Tom Hall, Co-Head/Artistic Director at Montclair Film & The Clairidge Cinemas
Eric Hynes, Writer/Reporter/Critic; Curator of Film, Museum of the Moving Image
Ruth Somalo, Senior Programmer at DOC NYC & ADFF, independent curator and filmmaker
Ania Trzebiatowska, Film Curator, Sundance Film Festival
Nominating Committee for Best International Feature:
Bilge Ebiri, Film Critic and Writer, New York Magazine/Vulture
David Fear, Senior Editor & Critic, Rolling Stone
Wendy Ide, Film Critic, The Observer, Screen International
Guy Lodge, Film Critic, Variety, The Guardian and co-editor, Film of the Week
David Rooney, Chief Film Critic, The Hollywood Reporter
Nominating Committee for Breakthrough Director
Carlos Aguilar, Film Critic, Los Angeles Times, The Wrap
A.A. Dowd, Culture Editor, Chron
Kate Erbland, Executive Editor, Film, IndieWire
Lovia Gyarkye, Arts and Culture Critic, The Hollywood Reporter
David Sims, Staff Writer, Culture, The Atlantic
Nominating Committee for Outstanding Lead Performance, Supporting Performance, and Breakthrough Performer:
Robert Daniels, Film Critic, RogerEbert.com, The Playlist, IndieWire
Jon Frosch, Reviews Editor, The Hollywood Reporter
Tim Grierson, Senior U.S. Critic, Screen International; author, This Is How You Make a Movie
Tomris Laffly, Film Critic, Variety, RogerEbert.com
Brian Tallerico, Editor, RogerEbert.com
Nominating Committee for Breakthrough Series and Outstanding Performance in a New Series
Judy Berman, TV Critic, TIME
Jen Chaney, TV Critic, Vulture
Daniel Fienberg, Chief Television Critic, The Hollywood Reporter
Caroline Framke, Chief TV Critic, Variety
Melanie McFarland, TV Critic & Senior Culture Writer, Salon
Nominating Committee for Breakthrough Nonfiction Series
Judy Berman, TV Critic, TIME
Amy Dotson, Director of PAM CUT//Center for an Untold Tomorrow & Curator, Film & New Media at Portland Art Museum
Daniel Fienberg, Chief Television Critic, The Hollywood Reporter
Cynthia Fuchs, Interim Director, Film and Video Studies, College of Visual and Performing Arts, George Mason University
Sponsors
The Lead Sponsors of the 2022 Gotham Awards are Cadillac, FIJI Water and GreenSlate.
About the Gotham Film & Media Institute
The Gotham celebrates and nurtures independent film and media creators, providing career-building resources, access to industry influencers, and pathways to wider recognition. The organization, under the leadership of Executive Director and award-winning producer Jeffrey Sharp, fosters a vibrant and sustainable independent storytelling community through its year-round programs, which include Gotham Week, Gotham Labs, Filmmaker Magazine, the Gotham Awards, Gotham EDU, Owning It, and Expanding Communities.
About the Gotham Awards
The Gotham Awards, one of the leading honors for independent film and television, provides early acknowledgement to groundbreaking independent films and television series. Selected by distinguished juries and presented in New York City, the home of independent film, the Gotham Awards are the first honors of the film awards season. This public showcase honors the filmmaking community, expands the audience for independent films, and supports the work that The Gotham Film & Media Institute does behind the scenes throughout the year to bring such films to fruition.
Abigail Fuller’s short film Shepherd’s Song contemplates Earth’s interconnectedness through the eyes of California grazier Jenya Schneider. Climate change threats in the west frequently come in the form of severe droughts and wildfires. Jenya and her partner Jack have chosen a cyclically beneficial lifestyle for the Earth, their clients, and themselves. Four hundred ewes, recycled fencing, and unrelenting passion comprise their venture. Grazing becomes a service to the land, and the sheep produce wool and lanolin. The science behind grazing done right shows the value to the ecosystems it serves. It’s healing the land.
A beautiful score by Serena Goransson moves from subtle to soaring as the film progresses. It feels perfect. Carmen Delaney’s mix of handheld and drone cinematography gives the audience an idea of the landscape scale against Jenya and Jack’s figures through the mountainous grasslands. It is stunning. SHEPHERD’S SONG is part climate film, part nature film, and all heart. We can all learn a whole lot from Jenya and Jack. They are showing the world how to repair the damage we’ve done, one area of grassland at a time.
Paula Gallego plays Marta and brings everything we need from sass to “final girl” greatness. Her chemistry with Ramiro Blas takes you by surprise. It is one hell of a pairing. Speaking of Ramiro Blas, as Blasco, he manages to be slimy and loveable all at once. There’s a reason he won The Grimm Reaper award for Best Actor. You’ll love to hate him and hate and love him. 
The legwork done by these women is mindblowing. The all-hours phone calls, the messages, the threats, and the intimate and honest way they approached anyone connected with Miramax and The Weinstein Company. The film conveys the emotional exhaustion of it all. Story after story of similar allegations and subsequent NDAs sucker punch you, over and over. As these cases now play out in real-time, it is fascinating to witness how to reach a victim and what compels an enabler. One particular detail I found interesting was Weinstein’s obsession with whether the team had spoken to 
Carey Mulligan
The era jokes and visual cues are kickass. Wyatt says, “Penis wrinkles,” a phrase I know from my first feature film in theaters, E.T. High five for the obscure homage. Also, the fact that I can remember the lyrics to, “Hey Girl,” days later, says a lot. 
Mark Rylance
Sir Anthony Hopkins plays Paul’s grandfather, Aaron. Hopkins nails the role with charm and grace. He is a crucial moral compass for Paul but is also part of the broader problem. Gray explains how this microcosm of one family is just as relevant today, stating that one can be oppressed and still be an oppressor. This idea is never more true as we watch Paul begin to understand white privilege while simultaneously wrestling with his desire to be an artist and feeling unsupported, behavioral acting out, and the subsequent physical discipline.
Let me explain why the cast’s explanations became of great significance. The most successful aspect of Gray’s script is the nuance in character building. These are not sugar-coated versions of people, but characters in volatile times, racially and economically. Their flaws are exponentially recognizable, regardless of the year. Armageddon Time could be happening right now. The cynical nature of history and generational trauma will have audiences’ hearts in their throats, shaking their heads in shame for much of the film. Therein lies the film’s strongest achievement.
With a little bit of The Blair Witch Project vibe, writer-director Scott Sloane takes on exploitation in a unique and relevant way. Performances are solid across the board. The first half of the film is tightly structured. While the second half is a touch predictable, it is still fun, filled with gore and revenge. If you’re a ghost hunter/paranormal/ true crime/ horror nerd like me, you will appreciate the legit editing. Special shout out to the incessantly creepy contortionist work. Bravo.
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This Halloween, MUBI presents 
Legendary horror master George A. Romero returns to MUBI with a gruesome double feature with a generous amount of blood, guts, and sociopolitical allegory to satisfy any zombie movie cravings. From the final two chapters of Romero’s epic five-decade long Dead series: the “found-footage” shot 
This October, as the days grow shorter and the air grows colder, MUBI presents a double feature celebrating some of the very best of contemporary Icelandic cinema, which has recently experienced a resurgence of sorts in the international festival circuit. In 
To celebrate the Halloween spirit, this October MUBI presents Michio Yamanto’s aptly titled 
British experimental artist, critic, and writer Morgan Quaintance explores cinema as collective memory. Through his texturally rich short films, Quaintance focuses on hidden or forgotten history through the reconstruction of archival materials, moving image, photographs, written text and disconnected sounds. This month MUBI presents a double bill of his most recent work: 
To celebrate the release of 
This month, MUBI continues its ongoing retrospective of misunderstood French master Maurice Pialat with 
The script is relentlessly chilling. Because the audience has more information than anyone else, it feels as though the characters are sitting ducks. We are right alongside Sara as she witnesses her tormentors thrown into the back of a serial killer’s van. She says nothing, both out of fear and perhaps relief. Those that have ever been on the receiving end of horrible words and despicable actions will undoubtedly wince throughout the film.
PIGGY also speaks to the weight of parental support. We find Sara’s mother to be a nagging, uncaring shrew, while her father pays attention to her with genuine love. Her woes are exacerbated by her parents owning the local butcher shop, leading vile peers to dub her “Piggy.” One of the girls, Claudia, has a deeper connection to Sara based on her delay tactics in teasing and a matching bracelet with Sara.
The ending of the film is a double twist. The first had me yelling at the screen. The second was so shocking I audibly exclaimed, “Okay, that’s AWESOME.” Writer-director-producers 
It’s the summer of 1948 in Redhook, Brooklyn, and the Trouth family exists in quiet peace until Louis Jr. appears after years away. Old wounds have festered, and now he’s back for revenge. Guilt is his weapon. Well, that and a unique knife with a Turkish inscription belonging to younger brother Charles. BRUTAL SEASON is like an immersive theater experience on film. This slow-burn thriller is not what I expected, in all the right ways.
Performances across the board are stellar. One is particularly inescapable. The subtle manipulation Houston Settle brings into the fray, you know he’s up to no good. Jr.’s bitterness is palpable. His passive-aggressive nature turns vicious. 
There’s no denying that BRUTALSEASON has a similar energy to 
The townspeople are religious fanatics, believing María José triggered the apocalypse years ago with the birth of her son. Exacerbated by nosy neighbors, weak church figureheads, and zealots with a modicum of power, fear takes hold when little Lucía appears to use supernatural powers in gruesome acts of revenge. Everyone Will Burn culminates in a violent confrontation that’s intensely rewarding as a genre fan. Do not move a muscle when the credits roll. The best moment is yet to come.
Macarena Gómez brings a manic energy to the films. Warranted by the emotional torture of everyone in her life, her deliberate descent into pure red hot chaos is glorious. As Lucía, Sofía García skillfully walks the line between vulnerable and terrifying. She is nothing short of captivating. Her chemistry with Macarena Gómez is perfection.
Bravo to the costume and lighting teams. The no holds bar fight choreography is shocking and applause-worthy. EVERYONE WILL BURN harkens back to classic European horror and still manages to remain fresh and fantastic.
The script tackles guilt, a longing for acceptance, prejudice, and a willingness to take a chance. The otherworldly score by Sebastián Zeluta is hypnotic. It’s a touch transcendent. The handheld camera work, particularly during emotionally wrought scenes between our two leads, is a specific and keenly impactful choice. It also highlights the progressing surreal chaos occurring along Peter’s journey.
Alone in a cruel near-future world, 13-year-old Vesper experiments with what’s left of her surroundings to nourish her and her paralyzed father. Abandoned by her mother, Vesper keeps Darius’ body alive with her bio-hacking skills and uploads his full consciousness into a small droid. While she and others suffer immensely, the wealthy exist in private, enclosed spaces called “Citadels.” They produce seeds that the remaining poor vie for to survive in the harsh environment. After someone sabotages their generator, she reaches out to her Uncle, the leader of a group that cultivates children’s blood for seed trade. When Vesper discovers a young woman from the nearby Citadel passed out in the woods, she imagines a way out. VESPER is a gorgeous film about control and climate change wrapped in a glorious sci-fi narrative. 
Rosy McEwan plays Camellia with a complex mix of yearning and practicality. She is a slick foil for Vesper. McEwan’s grace and control are all the more stunning when given the opportunity to break. Our titular role comes to life with the sensational performance of Raffiella Chapman. Her raw vulnerability jumps off the screen. There is no denying she is a star. Her ability to carry this film from beginning to end is a wonder. 
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