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.
I’m happy to say I enjoyed Halloween Ends quite a bit more than Halloween Kills. I also fully admit this movie won’t be everyone’s cup of tea (or, in Michael Myer’s terms, everyone’s kitchen knife.) Director David Gordon Green and co-writer Danny McBride are grappling with big ideas, and take some bold narrative swings in this film. This is a movie that is less concerned with slices and screams. Instead, it reflects on the nature of evil, as well as the long-lasting effects of trauma and pain on both survivors and bystanders.
Ultimately, what drew me to this film was the inevitable confrontation between Laurie and The Shape, and there Halloween Ends does deliver. It is exciting and exhilarating and left me wanting more. So much of this is due to Jamie Lee Curtis’ performance. In 2018’s Halloween, Laurie Strode was a type of haunted doomsday prepper – her every moment and movement was dominated by a fear of Michael Myers returning. In this final iteration, Laurie is looser and more free. She bakes pies and makes jokes. But she is not naïve. After 44 years and 6 prior appearances. Curtis still brings such fire to this character. All of the film’s best moments belong to her, and they are worth the price of admission.
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.
Jessica Lowe is positively loathsome as influencer girlfriend Sadie. You cannot help but laugh at her ridiculously aloof behavior. Brendan Scannell as Runway Dave and Asif Ali as Angry Mike provide the added laughs to round out our group of guys. They give unforgettable performances.
The script has honest Hangover vibes. While I wish the film focused more on actual roommate scenarios and less on the wacky road trip aspect, I still laughed my ass off. The climate change aspect is subtle and pitch-perfect. Kudos to the writers for using it effectively. The numerous cameos and ancillary characters no doubt strengthen the film, from beginning to end. Rob Riggle, Flula Borg, and Parvesh Cheena leave lasting impressions. In the end, raunchy and over-the-top, BROMATES is undeniably goofy as hell. You’ll laugh at the sheer absurdity of it all.
Suicide Bid
To Hell and Back
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
Jafar Panahi travels to a border town in order to direct a movie remotely. The actors and film crew are across the border and are taking directions via Zoom. As Panahi struggles to get the film finished he becomes involved with two sets of lovers, two of the actors, and two people in the village where he is staying. Both pairs want to flee to somewhere safe, something that might not be possible
This time out Panahi has made one of his most affecting films. Forget his personal situation, this story of life in a small town and in a repressive country will leave you shattered at the end. Panahi is juggling a lot of balls in the air and manages to manipulate them perfectly. First, we have his situation which is basically hiding out in a small town to make a movie he shouldn’t be making. In showing us what it takes to make his film we see how the small minds of the village express an openness that really isn’t. there This ties into the story of one of the couples, a doomed romance Panahi captures in a photo, that everyone wants to see, but which he deletes and denies having. It seems the young woman has been promised since birth to someone she doesn’t love and that someone needs proof to hurt the girl’s true love. At the same time, the lead couple in Pahani’s film is making a film based on their lives and their efforts to flee to the West. However, the need for official documents complicates things. All of the threads end in darkness for the characters and soul-searching for the audience.
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
Tora the Trucker Cat, truck driver David, and girlfriend Destiny travel together from state to state for months. Tora has a leash to explore national parks and a seat in David’s backpack when she needs a break. Tora has become the focus of David’s newfound photography skills. She’s a bit of a celebrity that’s allowed David to express himself in ways he never thought possible.
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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