Campion became the first woman in the 94-year history of the Academy Awards to receive two directing nominations. (Her first was for “The Piano” in 1994.) Another Netflix film, the divisive climate change satire “Don’t Look Up,” will also compete for moviedom’s top prize. ABC will broadcast the Oscars on March 27. “We set out to build a great film studio by empowering great filmmakers to tell great stories, and I’m proud that we’re doing it across disciplines and teams, including animation and documentary short,” Scott Stuber, Netflix’s film chief, said by phone, noting that Netflix received more nominations than any other company for the third year in a row. Apple TV+ made significant inroads with Oscar voters, with “CODA,” a romantic drama about the only hearing member of a deaf family, giving the tech giant its first best picture nomination. “CODA” also received nominations for Troy Kotsur’s supporting performance and Sian Heder’s adapted screenplay. Another Apple TV+ movie, “The Tragedy of Macbeth,” was recognised for lead acting (Denzel Washington), cinematography and production design. “The Power of the Dog,” “Don’t Look Up” and “CODA” were joined in the best picture category by two movies that were released simultaneously on HBO Max and in theatres (“Dune” and “King Richard,” both from Warner Bros.); four traditional movies that were box office duds (“Belfast,” “West Side Story,” “Licorice Pizza,” “Nightmare Alley”); and the little-seen but critically beloved Japanese film “Drive My Car.” “Dune,” directed by Denis Villeneuve, received 10 nominations in total. It was the second-most-nominated film behind “The Power of the Dog” — although, in a shock, Villeneuve did not receive a nod for best director. Instead, in another sign of an evolving movie academy, which has tried to become less of a club for white men by expanding its overseas membership, voters recognised Ryusuke Hamaguchi for “Drive My Car,” an introspective drama about a widowed theatre director and the young woman who drives him to rehearsals. Steven Spielberg (“West Side Story”), Kenneth Branagh (“Belfast”) and Paul Thomas Anderson (“Licorice Pizza”) rounded out the directing field. Notably, all three pushed for exclusive theatrical runs for their movies. No streaming service has ever won a best picture Oscar; despite inroads, the traditional studios have fended them off. (Last year’s winner, “Nomadland” from Searchlight Pictures, was mostly seen on Hulu, but only because most theatres were closed.) But streaming companies are now in the dominant position, in part because the pandemic accelerated a consumer shift away from theatres, at least where highbrow films are concerned. The economics of streaming also make it easier to spend freely in pursuit of Oscars. One heavily campaigned film, Amazon Prime Video’s “Being the Ricardos,” received three nominations, with Javier Bardem and Nicole Kidman among the lead acting nominees and — in a surprise — J.K. Simmons recognised for his role as “I Love Lucy” actor William Frawley. (In total, streaming services accounted for 12 of the 20 acting slots.) As always, Hollywood will pay as much attention to those who did not get nominated as those who did. Awards prognosticators expected Lady Gaga to be among the best actress nominees, for her gonzo performance in “House of Gucci.” Nominations instead went to Kristen Stewart (“Spencer”), Jessica Chastain (“The Eyes of Tammy Faye”), Olivia Colman (“The Lost Daughter”), Penélope Cruz (“Parallel Mothers”) and Kidman. In the documentary feature category, “The Rescue,” from previous Oscar winners Elizabeth Chai Vasarhelyi and Jimmy Chin (“Free Solo”), was notably left out. ACTRESS CATEGORIES This year’s unusually competitive best actress race produced cheers and jeers when the nominations were announced. Previous Oscar winners Kidman (“Being the Ricardos”) and Colman (“The Lost Daughter”) both received expected nods, but the rest of the category was filled with surprises and one eye-popping omission. While she was left off the SAG Awards nominee list, Stewart received her first Oscar nomination after two decades of work. She was rewarded for stretching outside her comfort zone to play Princess Diana in “Spencer.” Things didn’t go nearly as well for Lady Gaga, whose outsize performance in “House of Gucci” was passed over. The other nominations went to Chastain (“The Eyes of Tammy Faye”) and Cruz (“Parallel Mothers”). In the supporting actress category, Kirsten Dunst also landed her first nomination, for playing an alcoholic mother in “The Power of the Dog.” A 32-year screen veteran, Dunst has waited even longer than Stewart for academy recognition. (The moment may be even sweeter considering that her real-life husband, Jesse Plemons, was also nominated for playing her on-screen husband.) With the exception of Judi Dench (“Belfast”) who landed her eighth nomination, the supporting actress category was filled with first-time nominees: Ariana DeBose (“West Side Story”), Aunjanue Ellis (“King Richard”) and Jessie Buckley (“The Lost Daughter.”) DIVERSITY Last year was a watershed year for inclusion: Nine of the 20 acting nominations went to people of colour — a dramatic change from 2015 and 2016, when nearly all-white nominees prompted #OscarsSoWhite outcries. This year, the numbers were not as strong. Will Smith nabbed a best actor nomination for his role as the stubborn, hard-charging father of Venus and Serena Williams in “King Richard.” (It is his first nomination since 2007, when he was recognised for “The Pursuit of Happyness.”) Washington, an eight-time nominee and two-time winner, was recognised for “The Tragedy of Macbeth.” In the supporting category, the academy nominated deaf actor Kotsur (“CODA”). He joined his on-screen wife, Marlee Matlin, as the only two deaf actors ever recognised. The academy chose an all-white best actress category, omitting Jennifer Hudson and her rousing performance as Aretha Franklin in “Respect.” In the supporting actress category, DeBose made the cut for her role in “West Side Story,” as did Ellis, a veteran actress who shined in “King Richard.” The directing category, historically dominated by white men, saw Campion (“The Power of the Dog”) land her second nomination. Hamaguchi (“Drive My Car”) was also recognised. SPEILBERG For the eighth time in his five-decade career, Spielberg was nominated for best director. But it wasn’t easy. In a Hollywood that’s changing rapidly, Spielberg beat out competitors like Villeneuve (“Dune”), a perceived lock in the category. What is different this time around is that Spielberg is not a front-runner. Despite strong reviews for his interpretation of “West Side Story,” the favorite in this year’s race is Campion, who directed the slow-burn western “The Power of the Dog” for Netflix. She is the only woman to be nominated twice in the category, having previously been nominated for “The Piano” in 1994. Only seven women have ever been nominated for best director, and only two have won, including last year’s victor, Chloé Zhao (“Nomadland”). Branagh (“Belfast”), Anderson (“Licorice Pizza”) and Hamaguchi (“Drive My Car”) rounded out the category. It was Branagh’s second directing nomination, Anderson’s third and Hamaguchi’s first. The academy may be pointed toward fresh cinematic voices — in recent years, the organization has dramatically expanded its overseas membership to make itself less of a club for white men — but Spielberg’s nomination also showed that it’s not ready to abandon its history just yet. POPULARITY Quick: Name the eight movies that were nominated for best picture at last year’s ceremony, the one inexplicably held in a train station. Don’t feel bad. We had to Google it, too, and we get paid to follow this stuff. For a variety of reasons — the pandemic-accelerated shift toward small-screen streaming services, the stubborn refusal of voters to include films that the masses have actually seen — the Oscars just aren’t what they used to be, as evidenced by a 76% decline in viewership since 2014. Seventy. Six. This year’s ceremony will try to pick itself up off the Nielsen ratings asphalt by returning to a hosted format for the first time since 2018. A host has yet to be named. 2022 OSCARS NOMINEES LIST BEST PICTURE “Belfast” “CODA” “Don’t Look Up” “Drive My Car” “Dune” “King Richard” “Licorice Pizza” “Nightmare Alley” “The Power of the Dog” “West Side Story” BEST DIRECTOR Kenneth Branagh, “Belfast” Ryusuke Hamaguchi, “Drive My Car” Paul Thomas Anderson, “Licorice Pizza” Jane Campion, “The Power of the Dog” Steven Spielberg, “West Side Story” BEST ACTOR Javier Bardem, “Being the Ricardos” Benedict Cumberbatch, “The Power of the Dog” Andrew Garfield, “Tick, Tick … Boom!” Will Smith, “King Richard” Denzel Washington, “The Tragedy of Macbeth” BEST ACTRESS Jessica Chastain, “The Eyes of Tammy Faye” Olivia Colman, “The Lost Daughter” Penélope Cruz, “Parallel Mothers” Nicole Kidman, “Being the Ricardos” Kristen Stewart, “Spencer” BEST SUPPORTING ACTOR Ciaran Hinds, “Belfast” Troy Kotsur, “CODA” Jesse Plemons, “The Power of the Dog” J.K. Simmons, “Being the Ricardos” Kodi Smit-McPhee, “The Power of the Dog” BEST SUPPORTING ACTRESS Jessie Buckley, “The Lost Daughter” Ariana DeBose, “West Side Story” Judi Dench, “Belfast” Kirsten Dunst, “The Power of the Dog” Aunjanue Ellis, “King Richard” ORIGINAL SCREENPLAY “Belfast” “Don’t Look Up” “King Richard” “Licorice Pizza” “The Worst Person in the World” ADAPTED SCREENPLAY “CODA” “Drive My Car” “Dune” “The Lost Daughter” “The Power of the Dog” ANIMATED FEATURE “Encanto” “Flee” “Luca” “The Mitchells vs. the Machines” “Raya and the Last Dragon” PRODUCTION DESIGN “Dune” “Nightmare Alley” “The Power of the Dog” “The Tragedy of Macbeth” “West Side Story” COSTUME DESIGN “Cruella” “Cyrano” “Dune” “Nightmare Alley” “West Side Story” CINEMATOGRAPHY “Dune” “Nightmare Alley” “The Power of the Dog” “The Tragedy of Macbeth” “West Side Story” EDITING “Don’t Look Up” “Dune” “King Richard” “The Power of the Dog” “Tick, Tick … Boom!” MAKEUP AND HAIRSTYLING “Coming 2 America” “Cruella” “Dune” “The Eyes of Tammy Faye” “House of Gucci” SOUND “Belfast” “Dune” “No Time to Die” “The Power of the Dog” “West Side Story” VISUAL EFFECTS “Dune” “Free Guy” “No Time to Die” “Shang-Chi and the Legend of the Ten Rings” “Spider-Man: No Way Home” SCORE “Don’t Look Up” “Dune” “Encanto” “Parallel Mothers” “The Power of the Dog” SONG “Be Alive” (“King Richard”) “Dos Oruguitas” (“Encanto”) “Down to Joy” (“Belfast”) “No Time To Die” (“No Time to Die”) “Somehow You Do” (“Four Good Days”) DOCUMENTARY FEATURE “Ascension” “Attica” “Flee” “Summer of Soul (…Or, When the Revolution Could Not Be Televised)” “Writing With Fire” INTERNATIONAL FEATURE “Lunana: A Yak in the Classroom,” Bhutan “Flee,” Denmark “The Hand of God,” Italy “Drive My Car,” Japan “The Worst Person in the World,” Norway ANIMATED SHORT “Affairs of the Art” “Bestia” “Boxballet” “Robin Robin” “The Windshield Wiper” DOCUMENTARY SHORT “Audible” “Lead Me Home” “The Queen of Basketball” “Three Songs for Benazir” “When We Were Bullies” LIVE-ACTION SHORT “The Dress” “The Long Goodbye” “On My Mind” “Please Hold” “Ala Kachuu — Take and Run” ©2022 The New York Times Company