‘Oppenheimer’ and ‘The Holdovers’ secure top awards at ACE Eddie Awards
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(Credits: American Cinema Editors)
At the 74th ACE Eddie Awards hosted at UCLA’s Royce Hall on March 3rd, Christopher Nolan’s Oppenheimer won the ‘Best Edited Drama Feature Film’ category, while The Holdovers emerged victorious in the ‘Best Edited Comedy Feature’ category.
Jennifer Lame edited Oppenheimer, a movie that has been dominating the awards season, recently picking up accolades from the SAG Awards, PGA, DGA, and BAFTA.
Oppenheimer and The Holdovers are also frontrunners in the race for the esteemed accolade at the Oscars, alongside Anatomy of a Fall, Killers of the Flower Moon, and Poor Things. The Academy Awards is set to take place on March 10th.
Spider-Man: Across The Spiderverse also secured top film honours at the ACE Eddie Awards by winning the ‘Best Edited Animated Feature Film’ award, while Still: A Michael J. Fox Movie was recognised as the ‘Best Edited Theatrical Documentary’.
Netflix’s Beef clinched the ‘Best Edited Limited Series’ award, and Reality received recognition in the non-theatrical documentary category. Taylor Swift: The Eras Tour was honoured with the ‘Best Edited Variety Talk/Sketch or Special’ award.
During his award speech, The Holdovers‘ Kevin Tent addressed last year’s writer’s strike, saying, “It’s great to look out and see so many rock star editors…Last year was an extraordinarily difficult year for our entire industry.”
Tent continued, “Editors and post-production are not immune at all. 2023 hurt badly and 2024 is off to a tepid start. It feels like there’s an industry that desires to avoid repeating 2023 and get back to doing what we do best.”
Walter Murch, known for significant titles like The Godfather and Apocalypse Now, additionally addressed the audience with a thought-provoking statement about artificial intelligence: “Just as editing transformed motion picture and cinema, I hope, we the present and rising generations of film editors and directors can find a way to use AI to expand and transform the potentials of cinema in ways that at the moment can only be leveraged through a glass darkly with equal amounts of excitement and nerves.”
