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The Academy has engaged in so much relieved celebrating this year over Moonlight, Hidden Figures, and Fences — three films with mostly nonwhite casts have never competed for Best Picture at the same time, a boon after last year’s OscarsSoWhite fiasco — that voters may not have noticed something else noteworthy about this year’s race.

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For only the third time ever, three films with a female lead or co-lead — Hidden Figures, Arrival, and La La Land — are among those nominated for Best Picture. Not since the back-to-back races of 2010 (The Blind Side, An Education, Precious) and 2011 (The Kids Are Alright, Winter’s Bone, Black Swan, True Grit) have we seen so many contenders showcase meaty female characters, stats certainly buoyed by the Academy’s decision six years ago to allow up to ten Best Picture contenders after decades of there being only five.

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But unlike 2010 and 2011’s female-fronted hopefuls, none of which took home the prize, this year’s La La Land is all but a lock for Best Picture, reinforcing an important message: The best movie of the year doesn’t always have to be centered on a male protagonist.

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Since the first Academy Awards were presented in 1928, only 22 of the 89 Best Picture winners have featured a significant female character. (This includes movies like La La Land that have female co-leads, including Million Dollar Baby, Titanic, Driving Miss Daisy, Kramer vs. Kramer, and Gone With the Wind.) And despite the spike in gender parity we saw in 2010 and 2011, there have been years where female protagonists have been almost entirely absent from the nomination pool, including 2015, the year of Birdman, American Sniper, Boyhood, The Grand Budapest Hotel, The Imitation Game, Selma, The Theory of Everything, and Whiplash.

Even more disheartening, it’s been 14 years since the last time a true female-led movie won, 2003’s Chicago, and that victory was less about the movie’s characters than director Rob Marshall’s lavish adaptation of the 1975 stage production. It’s part of a long trend. When the Oscars do reward female-driven films, it’s often in a musical — the biggest spate of such winners happened in the 1960s, when West Side Story, My Fair Lady, and The Sound of Music all triumphed — more good news La La Land (not that it needs it).

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It’s worth acknowledging that this year’s ceremony will be the first to take place after the Academy’s record addition of new members last June — of the 683 invitees, 46 percent were female, and 41 percent were people of color. And this increasingly diverse, younger, and outspoken voting base could be the source of many of the most frequent criticisms of La La Land: that Emma Stone’s Mia is thinly sketched (she’s a self-proclaimed cinephile who hasn’t seen Rebel Without a Cause?) and that the film’s take on jazz is culturally tone-deaf — stirrings have helped to boost support for La La’s biggest competition, Moonlight. (Newly minted Academy member Mark Duplass went so far as to write an open letter to the Academy on the final day of voting to make the case for why Barry Jenkins’s film most deserved to win Best Picture.)

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Whatever happens on February 26, this year’s female-led Best Picture nominees simultaneously reinforce and buck data about the current state of women onscreen. According to a just-published study by the Center for the Study of Women in Television at San Diego State University, 29 percent of the highest-grossing films of 2016 featured female protagonists — sadly, an all-time high, and an increase of 7 percent from 2015 — while women characters still only accounted for 32 percent of all total speaking parts. Gender stereotypes remained the same: Female characters were still less likely than male characters to be seen at work or portrayed as leaders.

This is why the NASA mathematicians of Hidden Figures, Amy Adams’s linguistics scientist in Arrival, and Stone’s hard-working actress in La La Land are so distinct. They represent the kind of heroes we’re used to seeing men play in Oscar movies: characters who are defined by their lives’ work, not their relationships. (See Rocky, Gandhi, The Artist, Birdman, and many more.) And while many actresses have won the Best Actress Oscar for playing such characters — Julia Roberts for Erin Brockovich, Helen Mirren for The Queen, to name two — their nominated films have historically lost out to more traditional, male-focused fare. (In the cases above, it was to Gladiator and The Departed, respectively.) Many more highly acclaimed movies with female leads, like Sophie’s Choice and Thelma & Louise, don’t even earn a Best Picture nomination at all.

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Oscar’s spotty record on this front is why it’s so meaningful to see a movie like Hidden Figures on the ballot this year. It’s the first Best Picture nominee in history to feature an ensemble of highly educated female characters — let alone a nonwhite cast — engaged in a heroic, professional pursuit. (The last contender with a comparably diverse cast was 2012’s The Help, in which Figures’ nominee Octavia Spencer used a pie made of human feces, instead of math equations, to make her stand against racism.) Add in the film’s giant domestic box-office haul — nearly $147 million at press time — and Hidden Figures is arguably the most game-changing female-led movie since Bridesmaids.

None of this takes away from La La Land’s likely Oscar victories, especially Stone’s for playing a woman whose creative aspirations are treated as worthy as those of her male love interest. This is an especially poignant theme at a time when many women in America feel under siege, and Hollywood itself is struggling to reconcile its own ugly gender biases when it comes to hiring writers and directors. If the Oscars really do reflect our culture’s most urgent narratives, La La Land, Arrival and Hidden Figures’ placement among this year’s best movies sends a powerful message: Stories with female heroes matter, maybe now more than ever.

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Getting Oscars 2017 on to the podium is the first and most difficult step for any film the competition is intense and getting more intense by the year. To pull your film out of the swirling mass of product first hire a specialist Oscar campaigner.

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They will have contacts and strategies to get to the Academy voters and crucially  know the rules. Oscars Awards 2017 Live Lavish party yes talking down other films no. Theres a whole culture of courting the Academy says veteran publicist Bumble Ward. Academy members can go out for lunch and dinner every single day in the season. That is part of the game who can you get in the room that will make people want to show up At the end of the day we are a talent culture – people are still excited to meet movie stars.

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Navigating the right path as the film leaves the editing room is vital from premiering at a gateway festival Telluride is the Good Housekeeping seal of approval for an Academy movie says Ward to organising attentionattracting events Oscars Nominations 2017 such as the reconstruction of the set of Room in a Los Angeles cinema. Critics still play a key role in achieving Oscar credibility. A good PR knows their press and knows peoples taste and what they respond to says Ward. So they will show them the movie first as they are the people who will talk about the movie the right way.

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The costs are borne by the films US distributors rather than producers Oscar campaigns are part of the marketing and PR that is already The Oscars 2017 happening for the films general release. Ward says the trick is sustainability – rather than the twoweek release window that standard film marketing aims at making a film seem interesting and new and fresh over several months or a year is a very hard thing to do. https://awards2017.us/

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Last year the Academy received 113.1m as income in its awards division a profit of 69.1m. The biggest chunk of income comes from Disney which pays around 75m annually to broadcast the show on ABC. Its motivation Selling advertising space which last year reached around 2m for a 30second spot. In 2015 ABC made 110m in ad fees from its broadcast.

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Is all the effort worth it An Oscarwinning film reaps an unquantifiable amount of kudos with the participants receiving an often careerchanging status hike. But the likely boost to box office is considerably smaller. Figures via data analyst Edmund Helmer suggest that Oscar 2017 Event winners add around 3m to their box office this compares unfavourably with the Golden Globes effect which adds on average 14.1m.

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weve got a small favour to ask. More people are reading the Guardian than ever but far fewer are paying for it. Advertising revenues across the media are falling fast. And unlike some other news organisations we havent put up a paywall – we want to keep our journalism open to all. So you can see why we need to ask for your help. The Guardians independent Oscars 2017 Stream investigative journalism takes a lot of time money and hard work to produce. But we do it because we believe our perspective matters – because it might well be your perspective too.

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The film with the single biggest increase after nomination 2017 is strangely American Sniper the controversial biopic of Navy Seal Chris Kyle. Its box office revenue increased 90% after it was nominated. However its figures are more likely related to a canny marketing strategy that did not rely on or even expect Academy approval. Of the best picture winners the most dramatic effect was on another Clint Eastwood project Million Dollar Baby which increased 56% after winning in 2005.

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The Academys yearly financial report contains basic details of the costs in 2016 it spent 44m on the Academy awards Live and related activities. The figures cover the awards ceremony and a string of allied events including the nominees luncheon cost  the Governors awards for lifetime achievement cost 865000 and the Governors Ball the Oscars official afterparty cost 1.8m. But the live show on Sunday night is estimated .

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One very big sense, the Oscars generally do matter: they greatly influence the movies that get financed and the pay scale that artists attain. This year happens to be one in which some unusually excellent films and artists have gotten nominations—and in which, for a welcome and long-overdue change, some of those films are centered on the lives of black people and some of those major artists are black. So, in one sense, this years Oscars matter exceptionally much. But, in another sense, win or lose, the results are already in.

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Moonlight has been nominated for eight Oscars, including Best Picture, Best Director, Best Supporting Actress, Best Supporting Actor, and Best Adapted Screenplay. Thats pretty amazing for a movie that cost a mere five million dollars to make. Its writer and director, Barry Jenkins, a total outsider who made his first feature, Medicine for Melancholy, for fifteen thousand dollars, is now a pillar of the industry—already. The world has outrun the Academy in acknowledging Jenkinss centrality; whether the Academy catches up with the world is hardly relevant.

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This isnt the only recent year in which the years best Hollywood or off-Hollywood film Moonlight received Oscar nominations; Wes Andersons The Grand Budapest Hotel got nine and won only in four minor categories, in 2015, and Martin Scorseses The Wolf of Wall Street got five and won none, in 2014. When Scorsese finally won his belated Oscar for Best Director, for The Departed, from 2006, he needed it: en route from his past heroism to his latter-day renaissance, Scorsese, who works on a colossal scale with colossal budgets, needed to pass from the age of the studios to the age of the Medici, and that Oscar did the trick. Jenkins, by contrast, is where Scorsese was with Taxi Driver, which got four nominations and no wins—he has marked history and doesnt need the Oscar to prove it.

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In my predictions, Ill balance punditry with pessimism Ive learned to assume that my favorite films wont win. All along, Ive been pretty sure that La La Land would be a lock for Best Picture; Hollywood loves nothing more than to see itself as a place where young people can fulfill their wildest dreams of stardom, and do so without any artistic compromise. But I think that Moonlight will win big, if not for the right reason. The Oscars 2017 right reason is simple: its by far the best picture on the list and the best movie that the industry produced all year. The reason it will win, though, is that the new American political regime is overtly racist, homophobic, and plutocratic, and many Hollywood people, like many people everywhere, are justly disgusted and angry. Moonlight is a fine and fierce work of art, but its very subject, a poor, black, gay young man, is, in its every detail, an affront to the Administrations benighted sensibilities. If the voting had happened before the shock of the new post-Inauguration reality, La La Land would win, but the voting period runs from February 13th through today, while the outrages, in word and deed, spew daily from Washington throughout the nation and the world. Moonlight is a great movie, not a political screed, but current events transform its symbolic significance.

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In 2006, Crash won for Best Picture and Ang Lee for Best Director, for Brokeback Mountain. For the next six years, the two awards 2017 overlapped, as they so often have throughout the history of the Oscars. The Academy has been implicitly auteurist since before the word was coined. But, in three of the past four years, the Best Picture and Best Director awards have been split, and I dont think this is a coincidence. Spotlight, the last Best Picture winner, is a political film; The Revenant, for which Alejandro G. Iñárritu won Best Director, isnt. https://www.oscar--2017.us/

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The same was true, two years earlier, of 12 Years a Slave and Alfonso Cuaróns Gravity, respectively, and, the year before that, for Argo and Lees Life of Pi. In 2015, there was Iñárritus Birdman, which won both Best Picture and Best Director; it wasnt a political film but, rather, a Hollywood actors self-regarding lament and fantasy—akin to La La Land. This year, I think were likely to see a similar split again, with Damien Chazelle, the director of La La Land, winning Best Director.

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Best Actor is a tough call. Casey Affleck gave the best performance, in Manchester by the Sea, but Denzel Washington is the best actor, even if in Fences, which he directed and starred in, he lets the technique show much too much. As my colleague Michael Schulman has written, the allegations of sexual harassment and related lawsuits that Affleck has faced may stay the hand of some voters; if thats so, the question is whether Washington will be the beneficiary or whether, in an altogether frothier register, Ryan Gosling, in La La Land, will squeeze through. I think its the year of substance over style though, of course, Moonlight has both; Washington will win.

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For Best Actress, nothing impresses like a tour de force, and the physical exertions that Isabelle Huppert invests in and endures in Elle are far showier than Emma Stones singing and dancing in La La Land. Im surprised that Taraji P. Henson didnt get a Best Actress nomination for her strong, thoughtful performance in Hidden Figures; its rare for movies about intellectuals to show the synapses firing, and Henson evokes mighty mental energy with mere glances. Hupperts Oscar would, moreover, serve as a lifetime-achievement award, and a well-deserved one. In Hollywood, youth will be served, and nothing delights the industry more than anointing its new royals. But sex sells—Elle and Huppert will win.

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Mahershala Ali is a shoo-in for Best Supporting Actor, and thats as it should be though Lucas Hedgess work in Manchester by the Sea is impressive, both verbally and physically, for an actor whos barely twenty. Alongside Jenkins, Ali is the cinematic man of the year, and his Best Supporting Actor nomination for Moonlight hardly scratches the surface of his vital presence. He could have been nominated for any or all of the films in which he appeared this year—whether for his role as a life-hardened gangster in Kicks, as a runaway slave in Free State of Jones, or, for that matter, as a male-chauvinist colonel in Hidden Figures. Hes the most old-school actor in the mix: for all his accomplished artistry, he doesnt need to show off his exertions onscreen, because his mere presence brings a world of experience to life. I impatiently await his leading roles.

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Best Supporting Actress is a weird category this year, not least because one of the nominees, Viola Davis, in Fences, ought to have been considered a lead actress. By contrast, Michelle Williams is on screen for only a few minutes in Manchester by the Sea, but theyre among the films most memorable moments and, for some viewers, its very summit. Meanwhile, Naomie Harriss performance in Moonlight opens wide emotional 2017 Oscars expanses in precise touches, and Octavia Spencer, in Hidden Figures, delivers the films emotional payoff no less than Williams does in Manchester. Spencer has won an Oscar, but Davis hasnt, and I think that this will be her year.

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Best Documentary is a tough category this year, too. I think that, for the boldness of the director Ezra Edelmans ambition, the depth of his research, the intricacy of his montage, and the prominence of his films subject, O. J.: Made in America will win, though Ava DuVernays 13th is the more insightful film with the larger historical scope and the more vital political insight, and Raoul Pecks I Am Not Your Negro has greater artistic resonance. Fire at Sea looks rigorous in its distanced, aestheticized view of the arrival of refugees on the island of Lampedusa and the lives of the islands residents, but its actually a coy and intellectually lazy shrug. Life, Animated is a moving and noteworthy story about an autistic boy who manages to make contact with the world and develop his own faculties by watching Disney movies; the filmmaking, however, with its many added animations and its snippety storytelling, reduces its remarkable subject to an all too familiar tone.

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Hear ye, hear  The Oscars are upon us once again. Jimmy Kimmel will be hosting the 89th annual Academy Awards ceremony, Oscars 2017 which airs Sunday, February 26, at 8:30 pm EST on ABC. The event will officially conclude a long awards season marked by repeat winners (we see you, La La Land) and increasingly incendiary acceptance speeches wrapping politics into the usual glitz and glamour.

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The 2017 Oscars have already seen their fair share of controversy, and we’re not even talking about La La Land’s likely Best Picture win over critical darling Moonlight. In January, President Trump’s controversial immigration ban threw the attendance of some nominees into question. While the Syrian rescue workers at the center Oscars 2017 Live of Best Documentary Feature nominee The White Helmets have secured visas to attend the ceremony, Iranian director (and previous Oscar winner) Asghar Farhadi, who helmed Best Foreign Film nominee The Salesman, declared that he wouldn’t attend the ceremony even if he were granted an exception. The same is true for Salesman star Taraneh Alidoosti.  https://2017--oscars.us/

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Of course, you can also expect the ceremony to hit its traditional beats, with plenty of celebration and Hollywood back patting. There’s also a chance that La La Land, with its 14 nominations, could break the Oscars’ all-time record for the 89th Academy Awards most wins by a single film if takes home more than the 11 awards won by Titanic, Ben Hur, and Lord of the Rings: Return of the King.

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This year’s Best Original Song performances — sometimes the most entertaining part of the show — will include Moana’s Lin-Manuel Miranda singing “How Far I’ll Go” with star Auli'i Cravalho; John Legend taking on both of La La Land’s two nominated songs (“City of Stars” and “Audition (The Fools Who Dream and Sting crooning “The Empty Chair” from the documentary Jim: The James Foley Story.

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And yes, Justin Timberlake will finally get the moment he’s been waiting for throughout his hundreds of appearances on the worldwide Oscar Nominations 2017 Trolls tour with a rousing performance intended to prove that no matter how hard we try, we “Can’t Stop the Feeling.

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But rather than subject you to more Timberlake snark, here’s how you can watch this year’s Oscars from the comfort of your own home. Come back to Vox on Sunday night for our live coverage of the ceremony!For movie goers the 87th annual Academy Awards are just as big as the Super Bowl, World Cup or the Olympics. The Oscars rating will likely be very big and there are plenty of interesting things to look out for come Sunday night.

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There will be plenty of party’s around the Tampa Bay area and around the country. Things will get underway at around 5 p.m. with the always fun to watch red carpet moment. It is where the stars enter the Dolby Theatre, in Los Angeles.

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Here is everything you need to know about this years event, including if you click here you will get your own printable Oscars ballot.The award show will begin promptly at 8:30 p.m. EST. However, red carpet coverage will begin at 5:30 p.m. EST on E! and ABC will go live at 7 p.m. with Jess Cagle, Amy Robach, Robin Roberts, Lara Spencer, Michael Strahan, and Joe Zee.