UK import "Shaun the Sheep" returns to the animated Oscars race. Courtesy Everett Collection One of the most wide-open races at this year’s Oscars is for best animated feature, as big franchises and indies compete for gold.
Out Oct. 23 is the stop-motion “Wildwood,” pegged by many awards pundits as the race’s frontrunner. The film from director Travis Knight follows a teenager as she descends into a magical forest to save her brother from dark magical forces.
All five previous films from the independent stop-motion studio Laika, including “Coraline” and “Missing Link,” have landed nominations for best animated feature.
“They should lean into the fact that Laika is the one of the only independent animation studios in America, and is probably losing money,” one awards insider says. “It’s almost charity work — they’re employing so many people and keeping this industry alive, and people want to support that.”
“Wildwood’s” dark imagery and mature themes have earned it a PG-13. But it’s not the only feature leaning away from the stereotype of “little kid” animation.
Two-time Oscar winner Brad Bird, who’s behind Pixar hits “The Incredibles” and “Ratatouille,” could contend in the race for his latest directorial effort, “Ray Gunn.”
“Not every animated film has to be made for five-year-olds. I just reject that,” Bird recently told Page Six Hollywood of his stylish noir detective thriller, which stars Sam Rockwell and Scarlett Johansson. The film, which hits Netflix on Dec. 18, will also land an awards-qualifying run. Bird’s track record and reputation in the animation industry makes it an all-but-certain nominee.
It’s a no-brainer that the studio will campaign heavily for “Toy Story 5” — the last two entries in the decade-spanning franchise, “TS3” and “TS4,” both won the trophy for best animated feature. (The category was first awarded in 2002, after the release of “TS1” and “TS2.”)
It’s a smart move from the Mouse House to put its latest “Toy Story” in the race, although it could be at the expense of another animated project: “Hoppers.” Pixar’s beaver-centric March release (and my personal favorite animated film of the year so far), has all but disappeared from the awards conversation.
DreamWorks will also surely push its magical romp through Filipino folklore, “Forgotten Island,” out this weekend – though low box office tracking may hurt the film’s longevity in the race.
Another film that may not be at the top of American voters’ minds, but will surely attract international (namely, British) voters is Aardman Animation’s “Shaun the Sheep: The Beast of Mossy Bottom.” The last two “Shaun the Sheep” films have earned nods, giving this title from directors Steve Cox and Matthew Walker a real shot.
One awards source calls “Shaun the Sheep” creator and legendary filmmaker Nick Park “a hero in the UK,” adding that “Wallace and Gromit: Vengeance Most Fowl” won the BAFTA in 2024, in a year where “Flow” otherwise dominated.
The same source contends, “You often have foreign film outliers. The animation branch has their favorites. You’ll get the usual suspects, but then they usually recognize a couple more ‘out-there’ titles.”
This year, those imports include French-Belgian production “Iron Boy” and “Julián,” a co-production from Ireland, Canada, Denmark, Luxembourg and the UK.
