Hunted is a black-and-white British film directed by Charles Crichton and released in 1952. Hunted is a crime drama in the form of a chase film, starring Dirk Bogarde, written by Jack Whittingham and Michael McCarthy, it was produced by Julian Wintle and edited by Gordon Hales and Geoffrey Muller, with cinematography by Eric Cross and music by Hubert Clifford. Hunted can be seen as an unusual example of the buddy film genre; the film won the Golden Leopard award at the 1952 Locarno International Film Festival. Robbie, an orphaned 6-year-old boy, has been placed with uncaring and harsh adoptive parents in London. Having accidentally set a small fire in the house, fearing he will receive severe punishment as he has in the past for misdemeanours, he flees into the London streets, he takes shelter in a derelict bombed-out building, where he stumbles across Chris Lloyd and the body of the man Lloyd has just killed – his wife's employer, who Lloyd had discovered was having an affair with his wife. Now on the run, aware that Robbie is the only witness to his crime, Lloyd realises that he will have to get out of London and that he has no option but to take the boy with him.
The film follows the pair as they travel northwards towards Scotland with the police in somewhat baffled pursuit, charts the developing relationship between the two. Lloyd regards Robbie dismissively, as an unwanted inconvenience, while Robbie is wary and suspicious of Lloyd; as their journey progresses however, the pair develop a strong bond of friendship and common cause, with both feeling they have burned their bridges and now have nothing to lose. They reach a small Scottish fishing port, where Lloyd steals a boat and sets sail for Ireland. During the voyage Robbie falls ill, Lloyd turns the boat back towards Scotland, where he knows the police are waiting for him. Dirk Bogarde as Chris Lloyd Jon Whiteley as Robbie Elizabeth Sellars as Magda Lloyd Kay Walsh as Mrs. Sykes Frederick Piper as Mr. Sykes Julian Somers as Jack Lloyd Jane Aird as Mrs. Campbell Jack Stewart as Mr. Campbell Geoffrey Keen as Detective Inspector Drakin Douglas Blackwell as Detective Sergeant Grayson Leonard White as Police Station Sergeant Gerald Anderson as Assistant Commissioner Denis Webb as Chief Superintendent Gerald Case as Deputy Assistant Commissioner John Bushelle as Chief Inspector Jon Whiteley was cast after a friend of Charles Crichton heard him reciting "The Owl and the Pussycat" on radio on The Children's Hour.
He was cast. Much of the film was shot with three main areas being used; the early London exterior scenes were shot in the Pimlico/Victoria area, which at the time still had derelict corners showing evidence of wartime damage. The location chosen for the scenes set in the English Midlands was the area in and around Stoke-on-Trent, with its distinctive industrial skyline of factory chimneys and giant pottery kilns; the railway sequence in this section was shot on the now-defunct Potteries Loop Line, this scene has come to be regarded as significant by British railway enthusiasts as it provides a rare filmic depiction of the long-gone line in operation. Scottish filming took place in the vicinity of Portpatrick in Wigtownshire and featured the fishing boat'Mizpah' BA-11 built by Noble of Girvan. Hunted on IMDb Hunted at AllMovie Discussion of filming locations of Hunted @ britmovie.net
London is the capital and largest city of both England and the United Kingdom. Standing on the River Thames in the south-east of England, at the head of its 50-mile estuary leading to the North Sea, London has been a major settlement for two millennia. Londinium was founded by the Romans; the City of London, London's ancient core − an area of just 1.12 square miles and colloquially known as the Square Mile − retains boundaries that follow its medieval limits. The City of Westminster is an Inner London borough holding city status. Greater London is governed by the Mayor of the London Assembly. London is considered to be one of the world's most important global cities and has been termed the world's most powerful, most desirable, most influential, most visited, most expensive, sustainable, most investment friendly, most popular for work, the most vegetarian friendly city in the world. London exerts a considerable impact upon the arts, education, fashion, healthcare, professional services and development, tourism and transportation.
London ranks 26 out of 300 major cities for economic performance. It is one of the largest financial centres and has either the fifth or sixth largest metropolitan area GDP, it is the most-visited city as measured by international arrivals and has the busiest city airport system as measured by passenger traffic. It is the leading investment destination, hosting more international retailers and ultra high-net-worth individuals than any other city. London's universities form the largest concentration of higher education institutes in Europe. In 2012, London became the first city to have hosted three modern Summer Olympic Games. London has a diverse range of people and cultures, more than 300 languages are spoken in the region, its estimated mid-2016 municipal population was 8,787,892, the most populous of any city in the European Union and accounting for 13.4% of the UK population. London's urban area is the second most populous in the EU, after Paris, with 9,787,426 inhabitants at the 2011 census.
The population within the London commuter belt is the most populous in the EU with 14,040,163 inhabitants in 2016. London was the world's most populous city from c. 1831 to 1925. London contains four World Heritage Sites: the Tower of London. Other landmarks include Buckingham Palace, the London Eye, Piccadilly Circus, St Paul's Cathedral, Tower Bridge, Trafalgar Square and The Shard. London has numerous museums, galleries and sporting events; these include the British Museum, National Gallery, Natural History Museum, Tate Modern, British Library and West End theatres. The London Underground is the oldest underground railway network in the world. "London" is an ancient name, attested in the first century AD in the Latinised form Londinium. Over the years, the name has attracted many mythicising explanations; the earliest attested appears in Geoffrey of Monmouth's Historia Regum Britanniae, written around 1136. This had it that the name originated from a supposed King Lud, who had taken over the city and named it Kaerlud.
Modern scientific analyses of the name must account for the origins of the different forms found in early sources Latin, Old English, Welsh, with reference to the known developments over time of sounds in those different languages. It is agreed; this was adapted into Latin as Londinium and borrowed into Old English, the ancestor-language of English. The toponymy of the Common Brythonic form is much debated. A prominent explanation was Richard Coates's 1998 argument that the name derived from pre-Celtic Old European *lowonida, meaning "river too wide to ford". Coates suggested that this was a name given to the part of the River Thames which flows through London. However, most work has accepted a Celtic origin for the name, recent studies have favoured an explanation along the lines of a Celtic derivative of a proto-Indo-European root *lendh-, combined with the Celtic suffix *-injo- or *-onjo-. Peter Schrijver has suggested, on these grounds, that the name meant'place that floods'; until 1889, the name "London" applied to the City of London, but since it has referred to the County of London and Greater London.
"London" is sometimes written informally as "LDN". In 1993, the remains of a Bronze Age bridge were found on the south foreshore, upstream of Vauxhall Bridge; this bridge either reached a now lost island in it. Two of those timbers were radiocarbon dated to between 1750 BC and 1285 BC. In 2010 the foundations of a large timber structure, dated to between 4800 BC and 4500 BC, were found on the Thames's south foreshore, downstream of Vauxhall Bridge; the function of the mesolithic structure is not known. Both structures are on the south bank. Although there is evidence of scattered Brythonic settlements in the area, the first major settlement was founded by the Romans about four years after the invasion
A film director is a person who directs the making of a film. A film director controls a film's artistic and dramatic aspects and visualizes the screenplay while guiding the technical crew and actors in the fulfilment of that vision; the director has a key role in choosing the cast members, production design, the creative aspects of filmmaking. Under European Union law, the director is viewed as the author of the film; the film director gives direction to the cast and crew and creates an overall vision through which a film becomes realized, or noticed. Directors need to be able to mediate differences in creative visions and stay within the boundaries of the film's budget. There are many pathways to becoming a film director; some film directors started as screenwriters, producers, film editors or actors. Other film directors have attended a film school. Directors use different approaches; some outline a general plotline and let the actors improvise dialogue, while others control every aspect, demand that the actors and crew follow instructions precisely.
Some directors write their own screenplays or collaborate on screenplays with long-standing writing partners. Some directors appear in their films, or compose the music score for their films. A film director's task is to envisage a way to translate a screenplay into a formed film, to realize this vision. To do this, they oversee the technical elements of film production; this entails organizing the film crew in such a way to achieve their vision of the film. This requires skills of group leadership, as well as the ability to maintain a singular focus in the stressful, fast-paced environment of a film set. Moreover, it is necessary to have an artistic eye to frame shots and to give precise feedback to cast and crew, excellent communication skills are a must. Since the film director depends on the successful cooperation of many different creative individuals with strongly contradicting artistic ideals and visions, he or she needs to possess conflict resolution skills in order to mediate whenever necessary.
Thus the director ensures that all individuals involved in the film production are working towards an identical vision for the completed film. The set of varying challenges he or she has to tackle has been described as "a multi-dimensional jigsaw puzzle with egos and weather thrown in for good measure", it adds to the pressure that the success of a film can influence when and how they will work again, if at all. The sole superiors of the director are the producer and the studio, financing the film, although sometimes the director can be a producer of the same film; the role of a director differs from producers in that producers manage the logistics and business operations of the production, whereas the director is tasked with making creative decisions. The director must work within the restrictions of the film's budget and the demands of the producer and studio. Directors play an important role in post-production. While the film is still in production, the director sends "dailies" to the film editor and explains his or her overall vision for the film, allowing the editor to assemble an editor's cut.
In post-production, the director works with the editor to edit the material into the director's cut. Well-established directors have the "final cut privilege", meaning that they have the final say on which edit of the film is released. For other directors, the studio can order further edits without the director's permission; the director is one of the few positions that requires intimate involvement during every stage of film production. Thus, the position of film director is considered to be a stressful and demanding one, it has been said that "20-hour days are not unusual". Some directors take on additional roles, such as producing, writing or editing. Under European Union law, the film director is considered the "author" or one of the authors of a film as a result of the influence of auteur theory. Auteur theory is a film criticism concept that holds that a film director's film reflects the director's personal creative vision, as if they were the primary "auteur". In spite of—and sometimes because of—the production of the film as part of an industrial process, the auteur's creative voice is distinct enough to shine through studio interference and the collective process.
Some film directors started as screenwriters, film producers or actors. Several American cinematographers have become directors, including Barry Sonnenfeld the Coen brothers' DP. Other film directors have attended a film school to get a bachelors degree studying cinema. Film students study the basic skills used in making a film; this includes, for example, shot lists and storyboards, protocols of dealing with professional actors, reading scripts. Some film schools are equipped with post-production facilities. Besides basic technical and logistical skills, students receive education on the nature of professional relationships that occur during film production. A full degree course can be designed for up to five years of studying. Future directors complete short films during their enrollment; the National Film School of Denmark has the student's final projects presented on national TV. Some film schools retain the rights for their students' works. Many directors prepared for making feature films by working in television.
The German Film and Television Academy Berlin cooperate
Hue and Cry (film)
Hue and Cry is a British film directed by Charles Crichton and starring Alastair Sim, Harry Fowler and Joan Dowling. It is considered to be the first of the Ealing comedies, although it is better characterised as a thriller for children. Shot entirely on location, it is now a notable historic document due to its vivid portrait of a London still showing the damage of the Second World War. London forms the backdrop of a crime-gangster plot which revolves around a working class children's street culture and children's secret clubs. Following church choir practice in 1946 east London, Joe Kirby reads aloud to his gang from the Trump boys' comic, but finds a page missing, he buys a copy so he can follow the adventures of fictional detective Selwyn Pike. While reading one part of the latest story, Joe finds the comic adventure being repeated in real life when he comes across two men carrying a crate into Mr Jago's fur shop; the truck number plate—GZ 4216—matches the comic. Joe gets a friend to distract Jago.
Jago catches Joe and calls the police but he does not press charges. A policeman, Inspector Ford, tells Joe to stop letting his imagination run wild. Ford sends Joe to meet a Covent Garden grocer, for a job. Nightingale likes Joe's stories. In a hideout in a bombed-out building, Joe friends tease him about the incident, until another boy says he saw a truck with GZ 4216 plate that morning. Joe says. To find out more they visit Felix Wilkinson. Joe and Alec find Wilkinson's house, find out the comic's editions are being manipulated and tell Wilkinson, he sees the criminals are using the codes from the comic to communicate their plans but, fearful of the gang, Wilkinson refuses to aid the boys. Joe tells the police but nobody listens so he visits the offices of the Trump. Here Joe meets Norman and together they work out the code from the next issue -'Tattoo Jack's’ plan to rob an Oxford Street department store. At the store, Joe's gang think they have overpowered the thieves but it is the police, who have been tipped off anonymously.
The kids scarper down a manhole. Norman tells the kids about Rhona Davis who works at the Trump. After following her home, the boys tie her up. Joe telephones Nightingale, who rescues Miss Davis. One of Joe's gang gets in the villain's car unnoticed and hears that stolen goods are being moved to Ballard's Wharf but without seeing that it is Nightingale. Joe gets Wilkinson to create a Trump story that sends all the criminals to Ballard's Wharf. Next day, Joe tells Nightingale the whole plan, but realises he is the mastermind as his car number plate matches. Nightingale and Miss Davis review the latest Trump story and are amused at Joe's attempt to capture them, until Nightingale realises Joe has caught him out by sending the crooks to Nightingale's own warehouse. Joe is disturbed by Nightingale. However, when the other crooks arrive, Nightingale doesn't know the password as he never finished the latest comic story. He's knocked unconscious by the crooks. Heading for Ballard's Wharf, the crooks are outnumbered by hundreds of boys.
Nightingale tries to flee in a van. Nightingale runs into a bombed building and, after a fight with Joe, Nightingale falls through one of the many holes in the floor. Joe jumps on to Nightingale, sprawled out below, winding him just as the police arrive; the final scene returns to the same church choir session as at the film's beginning, but with many of the boys now sporting black eyes and bandages, war-wounds from their recent adventures. According to trade papers, the film was a "notable box office attraction" at British cinemas in 1947; the film was digitally restored and released on Blu-ray and DVD in 2015. Hue and Cry on IMDb Hue and Cry at screenonline
University of Oxford
The University of Oxford is a collegiate research university in Oxford, England. There is evidence of teaching as early as 1096, making it the oldest university in the English-speaking world and the world's second-oldest university in continuous operation, it grew from 1167 when Henry II banned English students from attending the University of Paris. After disputes between students and Oxford townsfolk in 1209, some academics fled north-east to Cambridge where they established what became the University of Cambridge; the two'ancient universities' are jointly called'Oxbridge'. The history and influence of the University of Oxford has made it one of the most prestigious universities in the world; the university is made up of 38 constituent colleges, a range of academic departments, which are organised into four divisions. All the colleges are self-governing institutions within the university, each controlling its own membership and with its own internal structure and activities, it does not have a main campus, its buildings and facilities are scattered throughout the city centre.
Undergraduate teaching at Oxford is organised around weekly tutorials at the colleges and halls, supported by classes, lectures and laboratory work provided by university faculties and departments. It operates the world's oldest university museum, as well as the largest university press in the world and the largest academic library system nationwide. In the fiscal year ending 31 July 2018, the university had a total income of £2.237 billion, of which £579.1 million was from research grants and contracts. The university is ranked first globally by the Times Higher Education World University Rankings as of 2019 and is ranked as among the world's top ten universities, it is ranked second in all major national league tables, behind Cambridge. Oxford has educated many notable alumni, including 27 prime ministers of the United Kingdom and many heads of state and government around the world; as of 2019, 69 Nobel Prize winners, 3 Fields Medalists, 6 Turing Award winners have studied, worked, or held visiting fellowships at the University of Oxford, while its alumni have won 160 Olympic medals.
Oxford is the home of numerous scholarships, including the Rhodes Scholarship, one of the oldest international graduate scholarship programmes. The University of Oxford has no known foundation date. Teaching at Oxford existed in some form as early as 1096, but it is unclear when a university came into being, it grew from 1167 when English students returned from the University of Paris. The historian Gerald of Wales lectured to such scholars in 1188 and the first known foreign scholar, Emo of Friesland, arrived in 1190; the head of the university had the title of chancellor from at least 1201, the masters were recognised as a universitas or corporation in 1231. The university was granted a royal charter in 1248 during the reign of King Henry III. After disputes between students and Oxford townsfolk in 1209, some academics fled from the violence to Cambridge forming the University of Cambridge; the students associated together on the basis of geographical origins, into two'nations', representing the North and the South.
In centuries, geographical origins continued to influence many students' affiliations when membership of a college or hall became customary in Oxford. In addition, members of many religious orders, including Dominicans, Franciscans and Augustinians, settled in Oxford in the mid-13th century, gained influence and maintained houses or halls for students. At about the same time, private benefactors established colleges as self-contained scholarly communities. Among the earliest such founders were William of Durham, who in 1249 endowed University College, John Balliol, father of a future King of Scots. Another founder, Walter de Merton, a Lord Chancellor of England and afterwards Bishop of Rochester, devised a series of regulations for college life. Thereafter, an increasing number of students lived in colleges rather than in halls and religious houses. In 1333–34, an attempt by some dissatisfied Oxford scholars to found a new university at Stamford, was blocked by the universities of Oxford and Cambridge petitioning King Edward III.
Thereafter, until the 1820s, no new universities were allowed to be founded in England in London. The new learning of the Renaissance influenced Oxford from the late 15th century onwards. Among university scholars of the period were William Grocyn, who contributed to the revival of Greek language studies, John Colet, the noted biblical scholar. With the English Reformation and the breaking of communion with the Roman Catholic Church, recusant scholars from Oxford fled to continental Europe, settling at the University of Douai; the method of teaching at Oxford was transformed from the medieval scholastic method to Renaissance education, although institutions associated with the university suffered losses of land and revenues. As a centre of learning and scholarship, Oxford's reputation declined in the Age of Enlightenment. In 1636 William Laud, the chancellor and Archbishop of Canterbury, codified the university's statutes. These, to a large extent, remained its gove
Sir Alexander Korda was a British film producer and director and screenwriter, who founded his own film production studios and film distribution company. Born in Hungary, where he began his career, he worked in the Austrian and German film industries during the era of silent films, before being based in Hollywood from 1926 to 1930 for the first of his two brief periods there; the change led to the divorce from his first wife, the Hungarian film actress María Corda, who could not make the transition because of her strong accent. From 1930, Korda was active in the British film industry, soon became one of its leading figures, he was the founder of London Films and, post-war, the owner of British Lion Films, a film distribution company. Korda was the first filmmaker to have been granted a knighthood; the elder brother of Zoltan and Vincent, Alexander Korda was born as Sándor László Kellner in Pusztatúrpásztó, Austria-Hungary. Born into a Jewish family, his parents were Ernesztina Weisz. Zoltan, a film director and Vincent, an art director had careers in the film industry working with their elder brother.
After the death of his father, Korda began writing film reviews to support his family. Korda changed his family name from Kellner to Korda—from the Latin phrase "sursum corda" which means "lift up your hearts". Korda became an important film figure through his film magazines Pesti Mozihét and Világ; this led to invitations to write film screenplays. Korda's first film script was for Watchhouse in the Carpathians, which he helped direct; when the First World War broke out, Korda was excused from military service in the Austrian Army because he was short-sighted. Korda made a film with The Duped Journalist, he directed Tutyu and Totyo, The Officer's Swordknot and Lyon Lea. Korda established a film company named building it into one of the largest in Hungary, his first film for them was a big success. He followed it with The Grandmother, Tales of the Typewriter, The Man with Two Hearts, The One Million Pound Note, Struggling Hearts, The Laughing Saskia, Miska the Magnate, St. Peter's Umbrella, The Stork Caliph, Magic.
Korda regarded Harrison and Barrison as his best film. He made Faun, The Man with the Golden Touch, Mary Ann. During the Hungarian Soviet Republic, Korda made Ave Caesar!, White Rose and Neither at Home or Abroad. His final Hungarian film was Number 111. In October 1919, Korda was arrested during the White Terror that followed the overthrow of the short-lived Communist government, the Hungarian Democratic Republic, because he had participated in its government. After his release, he left Hungary for Austria, never returned to his country of birth. After leaving Hungary, Korda accepted an invitation from Count Alexander Kolowrat to work for his company Sascha-Film in the Austrian capital Vienna. Korda worked alongside Kolowrat, who had attracted several leading Hungarian and German directors into his employment, on the historical epic The Prince and the Pauper; the film was a major international success and inspired Korda with the idea of making "international films" with global box office appeal.
Korda's next two films, Masters of the Sea and A Vanished World, were both nautical-set adventures based on Hungarian novels. By that stage, Korda had grown irritated with Kolowrat's interference with his work and left Sascha to make an independent film and Delilah, set in the world of opera; the film was made with large crowd scenes. The lengthy shooting schedule lasted 160 working days; the film was unsuccessful. Unable to find further backing for his film projects, Korda travelled to Germany. Korda raised funding for the melodrama The Unknown Tomorrow. With backing from Germany's biggest film company, UFA, Korda returned to Vienna to make Everybody's Woman. While there, he began work on his next film, the historical Tragedy in the House of Habsburg, which portrayed the Mayerling Incident, it earned back around half of its production cost. He followed this with another melodrama. Korda had frequent problems with money, had to receive support from friends and business associates. Korda had cast his wife Maria Corda as the female lead in all his German-language films and to a large degree, his productions depended on her star power.
Korda cast her again in A Modern Dubarry, which adapted the life story of Madame Du Barry, based on an original screenplay by Lajos Bíró. The film may have intended to highlight Maria Corda's star potential to Hollywood. Korda made his final German film Madame Wants No Children for the Berlin-based subsidiary of the American studio Fox. Although made it was released before A Modern Dubarry. In December 1926 after receiving an offer of a joint contract from the American studio First National and his wife sailed for the United States on board the steamer Olympic. Once they reached Hollywood, both struggled to adapt to the studio system. Korda had to wait some time before gaining his first directorial assignment, his first American film was a drama titled The Stolen Bride. Korda was chosen; the film starred the American actress Billie Dove, rather than Korda's wife. After The Stolen Bride's moderate success, Korda was brought in to work on the comedy The Private Life of Helen of Troy
Academy Award for Best Director
The Academy Award for Best Director is an award presented annually by the Academy of Motion Picture Arts and Sciences. It is given in honor of a film director who has exhibited outstanding directing while working in the film industry; the 1st Academy Awards ceremony was held in 1929 with the award being split into "Dramatic" and "Comedy" categories. However, these categories were merged for all subsequent ceremonies. Nominees are determined by single transferable vote within the directors branch of AMPAS. For the first eleven years of the Academy Awards, directors were allowed to be nominated for multiple films in the same year. However, after the nomination of Michael Curtiz for two films, Angels with Dirty Faces and Four Daughters, at the 11th Academy Awards, the rules were revised so that an individual could only be nominated for one film at each ceremony; that rule has since been amended, although the only director who has received multiple nominations in the same year was Steven Soderbergh for Erin Brockovich and Traffic in 2000, winning the award for the latter.
The Academy Awards for Best Director and Best Picture have been closely linked throughout their history. Of the 91 films that have been awarded Best Picture, 65 have been awarded Best Director. Since its inception, the award has been given to directing teams. John Ford has received the most awards in this category with four. William Wyler was nominated on twelve occasions, more than any other individual. Damien Chazelle became the youngest director in history to receive this award, at the age of 32 for his work on La La Land. Two directing teams have shared the award; the Coen brothers are the only siblings to have won the award. Kathryn Bigelow is the only woman to have won the award, for 2009's The Hurt Locker. Since the 82nd ceremony held in 2010, when the Best Picture category was no longer limited to 5 nominees, only Bennett Miller and Paweł Pawlikowski have been nominated for films not nominated for Best Picture; as of the 2019 ceremony, Alfonso Cuarón is the most recent winner in this category for his work on Roma.
In the following table, the years are listed as per Academy convention, correspond to the year of film release in Los Angeles County, California. For the first five ceremonies, the eligibility period spanned twelve months from August 1 to July 31. For the 6th ceremony held in 1934, the eligibility period lasted from August 1, 1932, to December 31, 1933. Since the 7th ceremony held in 1935, the period of eligibility became the full previous calendar year from January 1 to December 31; as of the 91st Academy Awards, four Asian directors have been nominated a total of six times in this category, one has won the award two times. 1965 – Hiroshi Teshigahara for Woman in the Dunes 1985 – Akira Kurosawa for Ran 1999 – M. Night Shyamalan for The Sixth Sense † 2000 – Ang Lee for Crouching Tiger, Hidden Dragon † 2005 – Ang Lee for Brokeback Mountain † 2012 – Ang Lee for Life of Pi † As of the 91st Academy Awards, six black directors have been nominated a total of six times in this category, none have won the award.
1991 – John Singleton for Boyz n the Hood § 2009 – Lee Daniels for Precious † 2013 – Steve McQueen for 12 Years a Slave ‡ 2016 – Barry Jenkins for Moonlight ‡ 2017 – Jordan Peele for Get Out §† 2018 – Spike Lee for BlacKkKlansman † As of the 91st Academy Awards, five Latin American directors have been nominated a total of eight times in this category, three have won the award five times. 1985 – Héctor Babenco for Kiss of the Spider Woman † 2003 – Fernando Meirelles for City of God 2006 – Alejandro G. Iñárritu for Babel † 2013 – Alfonso Cuarón for Gravity † 2014 – Alejandro G. Iñárritu for Birdman ‡ 2015 – Alejandro G. Iñárritu for The Revenant † 2017 – Guillermo del Toro for The Shape of Water ‡ 2018 – Alfonso Cuarón for Roma † As of the 91st Academy Awards, seven Oceanic directors have been nominated a total of eleven times in this category, one has won the award. 1942 – John Farrow for Wake Island † 1983 – Bruce Beresford for Tender Mercies † 1985 – Peter Weir for Witness † 1989 – Peter Weir for Dead Poets Society † 1993 – Jane Campion for The Piano † 1995 – Chris Noonan for Babe † 1998 – Peter Weir for The Truman Show 2001 – Peter Jackson for The Lord of the Rings: The Fellowship of the Ring † 2003 – Peter Jackson for The Lord of the Rings: The Return of the King ‡ 2003 – Peter Weir for Master and Commander: The Far Side of the World † 2015 – George Miller for Mad Max: Fury Road † As of the 91st Academy Awards, five female directors have been nominated a total of five times in the category, one has won the award.
1976 – Lina Wertmüller for Seven Beauties 1993 – Jane Campion for The Piano † 2003 – Sofia Coppola for Lost in Translation † 2009 – Kathryn Bigelow for The Hurt Locker ‡ 2017 – Greta Gerwig for Lady Bird §† As of the 91st Academy Awards, twenty-five directors of non-English language films have been nominated a total of thirty times in this category, one has won the award. 1961 - Federico Fellini for La Dolce Vita, Italian 1962 - Pietro Germi for Divorce Italian Style, Italian 1963 - Federico Fellini for 8½, Italian 1964 - Michael Cacoyannis for Zorba the Greek, Greek 1965 -