The internationalisation of U.S. awards continues apace with a bumper crop of nominations for Cannes and Venice at the Golden Globes.
My colleague Pete Hammond pointed out yesterday that Cannes must be happy with 20 nominations for films that premiered at the festival, including Emilia Perez, All We Imagine As Light and The Substance.
Cannes has confirmed to me this morning that it’s even better than that and it’s a whopping 28 nominations in total for films that launched on the Riviera. That’s a record. Recent record, at least. It’s a significant hike on previous nominations and points to a firm trend in growing appreciation for international movies at the big U.S. awards.
Cannes scored 20 nominations in 2024, nine in 2023, five for 2022, only one in 2021 and twelve for 2020.
Cannes wasn’t alone in feeling the love from Golden Globe voters. Venice also had a record year with 20 nominations for projects launched on the Lido.
In the list of nominees, eleven projects were presented as world premieres at Venice, including Vermiglio by Maura Delpero,the Golden Lion film The Room Next Door by Pedro Almodóvar, Beetlejuice Beetlejuice by Tim Burton, The Brutalist by Brady Corbet, September 5 – The Day Terror Went Live by Tim Fehlbaum, Queer by Luca Guadagnino, Maria by Pablo Larraín, Hit Man by Richard Linklater, Babygirl by Haluina Reijn, I’m Still Here by Walter Salles,and the series Disclaimer by Alfonso Cuarón.
The Brutalist scored the most Golden Globe nominations from Venice with seven.
The feat at the Golden Globes points to a high moment for Cannes and Venice on the global stage, the greater acceptance among U.S. audiences for international films, and also a growing international and foreign-language savvy voter base.
Independent festival films also outperformed their brawnier blockbuster counterparts yesterday with Gladiator II, Dune: Part II and Wicked only garnering eight nominations between them. Emilia Perez alone had 10.
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