2024 Oscars: Best Film Editing Predictions

When it comes to predicting the Oscar winner for Best Film Editing, you can’t go wrong by looking for the movie with the most cuts. Past winners “The Bourne Ultimatum” (2008), “Mad Max: Fury Road” (2016), “Ford v Ferrari” (2020), “Dune” (2022) and last year’s champ “Everything Everywhere All at Once” included high-octane action sequences with frenetic cutting. A slew of winners — including “Saving Private Ryan” in 1999, “Black Hawk Down” (2002), “The Hurt Locker” (2010), “Hacksaw Ridge” (2017) and “Dunkirk” (2018) — have been war pictures. (Scroll down for the most up-to-date 2024 Oscar predictions for Best Film Editing.)

Oscar voters also embrace film editors who skillfully juggle multiple storylines, as was the case with “Traffic” (2001) and “Crash” (2006). And they like films that expertly inter-cut music with images, such as “Cabaret” (1973), “Chicago” (2003), “Whiplash” (2015), “Bohemian Rhapsody” (2019) and 2021 winner “Sound of Metal.” Special effects extravaganzas like “The Lord of the Rings: The Return of the King” (2004) and “Gravity” (2014) won by deftly blurring the lines between the real and the fantastic.

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Historically, a nomination for film editing was an essential one for the ultimate winner of the big prize. Indeed, 35 films have won both awards, including last year’s double dipper “Everything Everywhere All at Once.” That last win comes with a caveat as the reintroduction of the preferential ballot for Best Picture in 2009 has changed the dynamic. Since then, the only other Best Picture champ to also win Best Film Editing was “Argo” in 2012.

Please note: To read full descriptions of each film, check out our 2024 Oscars Best Picture predictions.

UPDATED: September 13, 2023

LEADING CONTENDERS
Kirk Baxter, “The Killer” (Netflix)
Nick Houy, “Barbie” (Warner Bros.)
William Goldenberg, “Air” (Amazon)
Jennifer Lame, “Oppenheimer” (Universal)
Yorgos Mavropsaridis, “Poor Things” ” (Searchlight)
Jon Poll, “The Color Purple” (Warner Bros.)
Pietro Scalia, “Ferrari” (Neon)
Thelma Schoonmaker, “Killers of the Flower Moon” (Apple/Paramount)
Michelle Tesoro, “Maestro” (Netflix)
Christopher Tellefsen, “Nyad” (Netflix)

STRONG CONTENDERS
Michael Andrews, “Spider-Man: Across the Spider-Verse” (Sony)
Kirk Baxter, “Dumb Money” (Sony)
Victoria Boydell, “Saltburn” (Metro-Goldwyn-Mayer)
Eddie Hamilton, “Mission: Impossible — Dead Reckoning Part One” (Paramount)
Michael McCusker, Andrew Buckland, and Dirk Westervelt, “Indiana Jones and the Dial of Destiny” (Walt Disney)
Julie Monroe, “The Bikeriders” (20th Century)
Colby Parker Jr. and Austyn Daines, “Gran Turismo” (Sony)
Claire Simpson and Sam Restivo, “Napoleon” (Apple/Columbia)
Paul Watts, “The Zone of Interest” (A24)

POSSIBLE CONTENDERS
Sarah Flack, “Priscilla” (A24)
Keith Fraase, “Past Lives” (A24)
Affonso Gonçalves, “May December” (Netflix)
Lucian Johnston, “Beau Is Afraid” (A24)
Dan Laustsen, “John Wick: Chapter 4” (Lionsgate)
Andrew Mondshein, “Rustin” (Netflix)
Tyler Nelson and Jessica Baclesse, “Creed III” (MGM/Warner Bros.)
Nathan Orloff, “Origin” (Neon)
Barney Pilling, “Asteroid City” (Focus Features)
Laurent Sénéchal, “Anatomy of a Fall” (Le Pacte)
Sofía Subercaseaux, “El Conde” (Netflix)
Kevin Trent, “The Holdovers” (Focus)

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