Sukollawat “Weir” Kanarot wins the best actor for his role in Malila movie.

Produced by G Village Co-Creation Hub, “Malila” won Best Picture, Best Screenplay, Best Director for Anucha Boonyawatana, Best Actor for Sukollawat “Weir” Kanarot and Best Supporting Actor for Anuchyd Spanphong. Other winners were Warisra Yu (Best Actress for “App War”) and Tarika Thidathit, Best Supporting Female Actress for “Sing Soo” (“Reside”).

Best supporting actor goes for Anuchyd Spanphong in Malila movie.

Divided into two parts, “Malila” first dwells on the wonders of love and the sadness of separation between Shane (Sukollawat Kanarot) and Pich (Anuchyd Spanphong) through the beauty of nature and the art of bai sri, of which Pich is a master. The second part is quiet and powerful and reflects Buddhist spirituality.

 Tarika Thidathit wins best supporting female actress for “Sing Soo” (“Reside”).

In the TV categories, the hit period drama Buppesannivas” (“Love Destiny”) claimed three awards, for Best TV Drama, Best TV Screenplay and Best Supporting Actress for Janya Thanasawangkul. “Lar”, from One 31 channel, won Best Actress for Lalita Panyopas and Best Director for Sant Srikaewlor. Best Actor went to Saksit Tangtong from “Luead Khon Kon Jang” (“In Family We Trust”), while veteran actor Suprawat Patamasoot won Best Supporting Actor for “Rim Fang Nam”.

Ranee “Bella” Campen wins the popular vote for best actress.

In the music awards, Eve Pancharoen, better known as Palmy, won for Best Female Artist and Best Song for “Mae Kiew”. Pongsit Khampi who was nominated three awards, won just one but it was a major triumph, for Best Male Artist. Scrubb took Best Duo or Group, Yada “Petite” Gomez was named Best New Artist and Jay Penguin Villa’s album “Jay” was Best Album.

Palmy wins best female singer and best song for “Mae Kiew”.

Voted by the public, singer Palitchoke “Peck” Ayanaputra won Popular Artist, Prachaya “Singto” Ruangroj was Most Popular Actor, Ranee “Bella” Campen Most Popular Actress, Kong Huayrai for Most Popular Lukthung Male Artist, and Tai Orathai for Most Popular Lukthung Female Artist. “Nakee” won Most Popular Movie and “Sotus S The Series” was Most Popular Series.

 Palitchoke “Peck” Ayanaputra wins the popular artist.

THE IDEA of shooting a sex scene was nothing new to actress Emily Meade, age 29.

But before filming began last year on HBO’s “The Deuce”, she decided she wanted things done differently.

So, she approached the show’s creators and requested the presence of an external observer. That led HBO to hire Alicia Rodis – television’s first “intimacy coordinator”.

Spurred to action by the #MeToo movement against sexual harassment and assault, more and more studios and television channels are following suit.

Meade in a scene from “The Deuce”, an HBO series.

It isn’t a completely new idea: such coordinators have been used in theatres since at least the early 2000s.

And after the experiment on “The Deuce” was a success, HBO decided at the end of October to hire one for all series featuring sex scenes to ensure that cast members don’t get exploited during filming.

“Now that there is a very tangible solution available, maybe it’s a little easier to face the problem,” says Claire Warden, coordinator at Intimacy Directors International, the first specialised agency of its kind.

On set, the coordinator – who is usually a woman – starts by listening. She learns the actors’ and actresses’ boundaries, says Amanda Blumenthal, intimacy coordinator on HBO’s “Euphoria”, set for release this year.

“If an actor told me I don’t want my breast to be showing I make sure that the way it’s choreographed, it doesn’t happen,” she explained.

“When you’re working with men, we’ve done scenes where an actor will be wearing a prosthetic penis that’ll be shown on screen. So I’ve been working with actors on designing the prosthetic,” she added.

Another aspect of the job is to have discussions with the director and the “showrunner” – who holds overall creative and managerial authority – to get their visions for a scene.

Alicia Rodis was television’s first “intimacy coordinator.”

Then, the coordinator will relay that to actor, going backward and forward between the two parties until everybody is comfortable.

“One of the most important roles that we have is communication in that a lot of the damage that has been done just comes from people not wanting to talk about these things,” says Warden, who believes being open about the issues actually improves results on the screen.

Warden adds that coordinators’ presence on set is usually welcome.

“The resistance that we get often comes from people who don’t quite understand why I’m there and think that I’m there to censor people or to take over the director’s role or stop them for telling the story that they want to tell,” she says.

However, she added, “we have a very specific expertise and craft and we’re there to support the director.”

“I’m always thinking about how to make sure that we’re honouring the actor’s wishes and boundaries and still getting the shot and telling the story,” says Blumenthal, adding that through choreographing, she helps make sure that a sex scene is “believable and looks real”.

Those leading the field bring a unique mix of expertise in both the arts and psychology.

And more jobs are coming up, albeit slowly. Behind HBO, other producers such as Showtime and Netflix have also hired coordinators – the latter for its teen drama series “Sex Education”.

“It takes time for the people in a position of power to learn about it and then also to understand why it’s important,” Warden says.

As for Blumenthal, she believes it will be another five or 10 years before it becomes the norm.

One day, Warden would like to go even further, and collaborate with writers to improve how they portray intimacy in their work in the first place.

She believes the stakes go well beyond just film and TV sets.

“The knowledge and the collaboration of how we can portray intimacy really will open up the world’s perception of that because TV is hugely influential on societies, the way society subconsciously views what’s right and what’s not,” she notes.

It will debut in Asia same time as the US on Monday, April 15 at 8am, with a same day encore at 9pm, exclusively on HBO GO via AIS PLAY and AIS PLAYBOX. New episodes will premiere every Monday at the same time.

For the entire month of March and April, HBO SIGNATURE will be a dedicated “Game of Thrones” channel with 24/7 programming – screening all past seasons of the hit-series, as well as exclusive behind-the-scenes featurettes.

Based on the popular book series “A Song of Ice and Fire”, by George RR Martin, this hit Emmy winning fantasy series chronicles an epic struggle for power in a vast and violent kingdom.

Members of the ensemble cast for the seventh season included Emmy and Golden Globe winner Peter Dinklage, Nikolaj CosterWaldau, Lena Headey, Emilia Clarke, Aidan Gillen, Kit Harington, Sophie Turner and Maisie Williams.

Watch the trailer at

A delicate portrayal of love, life and loss through Buddhism and the art of of bai sri – a delicate ornament made by folding banana leaves – were the true winners of the national Subhanahongsa film awards this year, taking home seven prizes including best film, director, actor, supporting actor and cinematographer.

“Homestay”, which garnered 13 nominations, went home with just two awards –best supporting actress and best editing and best visual effect.

“I have received many awards for “Malila” over the past year but I still don’t see a bright future for the film. So winning awards doesn’t fill me with joy. Thai movies don’t much receive protection and support from the government. I admire all filmmakers for showing that they are fighting and work for what they love, I hope that the new government will be more interested in Thai film and take better care of it. Thank you,” said “Malila” director Anucha Boonyawatana.

In fact, her speech turned out to be the most memorable moment of the event when deputy Prime Minister Wissanu Krea-ngam, there to announce the winner of best picture – also “Malila” – replied, saying, “The winner is the movie that doesn’t have to wait for the new government to support, even this government can support you, “Malila”.

Both speeches received loud applause though there was a mixed reaction on social media when certain posters pointed out that that “Malila” had received financial support and the opportunity to the pitch the idea at Cannes International Film Festival courtesy of the Culture Ministry.

Filmmakers have long wanted not just financial support but also an understanding of the art of filmmaking. Anucha later posted her thanks to the Culture Ministry and others on Facebook, apologising for her failure to do so on stage.

“I would like to thank the Ministry. I very much appreciate your support for telling a story touching on the sensitive issues of Buddhism and LGBT.”

Divided into two parts, “Malila” first dwells on the beauty of love and the sadness of separation between Shane (Sukollawat Kanarot) and Pich (Anuchyd Spanphong) through the beauty of nature and the art of bai sri, of which Pich is a master. The second part is quiet and powerful and reflects Buddhist spirituality. Learning that Pich is terminally ill, Shane decides to ordain in the hope of bringing blessings and perhaps even improved health to his friend.

The film’s actors –Sukollawat Kanarot and Anuchyd Sapanphong.and Anuchyd – received the best actor and supporting actor for their roles.

For Sukollawat, who is better known for his roles in TV dramas that the movies, it was a dream come true.

“After years working as an actor, I have started loving this career and it is one that I hope will last forever. I started searching for new experiences and the chance to shift from TV show host to working in films. I am not naturally talented so I must try harder,” he told the audience.

Culture minister Veera Rojpojanarat presents the lifetime achievement award to veteran actor and voice actor Rong Khaomoonkadee.

Anuchyd, who made his debut in Jira Maligool’s 15 Kham Duan 11 (“Mekhong Full Moon Party”) 17 years ago then won the lead role in 2004’s “Hom Rong” (“The Overture”) was overwhelmed.

“Since ‘The Overture’, I have been searching for an interesting character to play. Thank you Anucha, Weir [Sukolwatt) and the rest of the cast,” he told the audience.

“Winning the award will I hope earn me more acceptance and recognition. I am still searching for good scripts and will continue asking to audition in projects that interest me.”

“Malila” premiered at the Busan International Film Festival in October 2017, winning Anucha the inaugural Kim Ji-seok award, which she shared with Japanese film “The Scythian Lamb”. A month later, it was screened in competition at the Singapore International Film Festival where it did even better, winning her Best Director award.

The lifetime achievement award this year went to veteran actor and voice actor Rong Khaomoonkadee while “2215 Chuea Baa Kla Kao” won best documentary after a year’s hiatus in the prize.

Director Gun Phansuwon and music composer Suthee Sangsareechoon pick up the award for Best Original Score for “9 Satra”.

The Subhanahongsa award ceremony this year was organised by Workpoint Entertainment, which also live broadcast the show. The only disappointment was the decision to only allow major award winners to give a speech on stage and have songs not relevant to the awards performed rather than those nominated for “Best Song”.

And the awards go to…

Best Picture: “Malila” (“The Farewell Flower”)

Best Director: Anucha Boonyawatana (“Malila”)

Best Actor: Sukollawat Kanarot (“Malila”)

Best Actress: Urassaya Sperbund, “Nong Pee Tee Rak” (“Brother of the Year”)

Best Supporting: Actor Anuchyd Sapanphong (“Malila”)

Best Supporting Actress: Suquan Bulakool, (“Homestay”)

Best Screenplay: Anucha Boonyawatana (Malila)

Best Cinematography: Chaiyapruek Chalermpornpanich (“Malila”

Best Film Editing: Chonlasit Upanigkit (“Homestay”)

Best Art Direction: Patchara Lertkrai (“Malila”)

Best Original Score: Ryan Shore, Suthee Sangsareechon, “9 Satra” (“The Legend of Muay Thai”)

Best Original Song: “Sang Sawan” by Bodyslam

Best Documentary: “2215 Chuea Baa Kla Kao” Best Recording and Sound Mixing: Richard Hocks (Kantana Sound Studio), Nakorn Kositpaisain (Vanilla Sky Studio) and Jakkrit Bua-iam (Gekko Studio Complex) (“9 Satra”)

Best Make Up Effects: Siwakorn Sukalankarn, Arporn Meebangyan (“Khun Phan 2”)

Best Costume Design: Nirachara Wannalai (“Khun Phan 2”)

Best Visual Effects: YggDrazil Group (“Homestay”)

Lifetime Achievement Award: Rong Khaomoolkadee

“Strike Back” Season 6 is currently airing with new episodes at the same time as in the US, every Saturday at 10am with a same day encore at 9pm.

The season finale is scheduled for March 30.

The series is also available on HBO Go via AIS Play and AIS Playbox.

The show follows the explosive escapades of Section 20, an elite, multinational, covert special-ops team that spans the globe fighting a vast web of interconnected criminal and terrorist activity.

“‘Strike Back’ established Cinemax as a destination for adrenaline-fuelled action series nearly a decade ago,” Antholis said. “It is with sincere gratitude for the service of all of the past and present members of Section 20 – both in front of and behind the camera – that we send the team of on one last mission to save the world from annihilation.”

Showrunner Jack Lothian said the series had “always raised the bar for small-screen action”.

“And we’re looking forward to doing that one last time. There are plenty of twists and turns ahead, but I can promise one thing – we’re going out with a bang.”

Season six stars Warren Brown, Daniel MacPherson, Alin Sumarwata, Jamie Bamber, Yasemin Kay Allen and Varada Sethu.

Thailand has many ghost tales and among the most popular and scary is Krasue – usually an old woman who morphs into a nocturnal spirit and whose head with the body’s internal organs hanging from it hovers in the air above the ground at night, looking a little like a fireball. She is the ghost that terrifies earthly mortals, eating their livestock and rotting food before returning to her body and appearing as a normal person by day.

Many successful movies about Thailand’s other popular ghost Mae Nak have been made over the last couple of decades, but Krasue seems to have fallen out of favour. Indeed only three projects starring this ghastly ghost have been made this century – “Krasue Valentine” by Yuthlert Sippapak in 2006, Bin Banluerit’s 2016 comedy “Krasue Khrueng Khon” and the erotic horror “Tamnan Krasue” (“Demonic Beauty”) by the same director.

Young actress Phantira stars as Sai

Now Krasue is back with not one but two new movies being released in three weeks. “Sang Krasue” (“Inhuman Kiss”) hits theatres on March 14 followed by “Sisters” on April 4.

For clarity’s, this article deals only with the first. Read about “Sisters” here next week.

“Sang Krasue” is set in a small village during World War II and centres on attractive teenager Sai (Phantira Pipityakorn), who grows up with two boys Jerd (Sapol Assawamunkong) and Noi (Oabnithi Wiwattana warang), who both fall in love with her.

But Sai discovers that she has inherited the curse of Krasue and soon she is transforming into the nocturnal spirit and hunting for fresh flesh and blood. Villagers are terrified by the deaths of their livestock and the Krasue hunt begins, led by veteran ghost hunter Tad (Surasak Wongthai). Jerd joins the hunt, but Noi, who has only recently returned to the village, decides to stand by Sai, despite knowing the horrifying truth.

“Sang Krasue” is set during the World War II in a small village whose residents become terrified by the mysterious death of their livestock and other strange events.

The project was initiated three years ago when Wisit Sasanatieng asked experienced TV-commercial director Sittisiri Mongkolsiri to work on it. “Sang Krasue” is Sittisiri’s first featurelength film, though he also worked on “Last Summer” with other moviemakers.

Sittisiri’s initial reaction was to say no. Unlike the various takes on Mae Nak that had been successfully and profitably turned into movies by Nonzee Nimibutr and Banjong Pisunthanakun, among others, Krasue movies remained trapped in the stereotype of the floating-head ghost who passes on the curse to another young woman by spitting into her drinking water.

But after giving the idea some thought, he decided it would be a challenge to make a film that was better than anything that had gone before.

Veteran actor Surasak Wongthai plays ghost hunter Tad.

That meant redefining the Krasue concept – keeping the essence of Krasue but changing the storyline.

“I don’t think of Krasue as a ghost but a monster,” says the director. “She is a normal person during the day but manifests herself at night as a head trailing the body’s internal organs. We call her a ghost because we define a ghost as a scary thing or spirit. But Krasue is like vampire or werewolf that transforms into something else and goes back to being a normal person later on.”

In “Sang Krasue”, Sai is a young girl, not the traditional old woman, who discovers that she has inherited Krasue blood and can mutate into the monster when darkness falls. She’s also aware that her fellow villagers are scared and will try to kill her. And it is on this turning point in her life that the film focuses – a teenage girl trying to manage her life and love while being hunted.

Even knowing Sai’s secret, Noi (Oabnithi) still loves her and helps her to survive the hunt.

Meanwhile her lover knows her secret but still loves her, and is willing to kiss her even though he knows that the Krasue curse can be transmitted through saliva.

“Of course, we all know that it can pass only to a woman, so my idea was what happens if the tainted saliva is transmitted through kissing and it happens to a man, not a woman. And in the film it does affect Noi after they kiss each other,” Sittisiri says.

Because of its scary and disgusting character, humans always think that Krasue is cruel. But in this film, “even a monster has a heart and is somehow more beautiful than she is in human form”, he says.

After Sittisiri created the new story line, he asked director Chookiat Sakveerakul to write the script. The film is set in the war years, far away from Bangkok. There is no electricity and criminals are everywhere.

“It’s not historically correct but a fantasy, so I’ve chosen to focus on the cinematic approach,” he explains. In his version, Krasue is an outsider and considered a threat, but she really is harmless.

“It’s a love story and, as in all love stories, love will win over everything, You don’t have to believe that Krasue is real – it’s just a fantasy tale.”

Sittisiri admits that the love triangle among the three actors and the monster image of Krasue are something like the successful teenage romance “The Twilight Saga”.

“But it’s also different. We see lots of vampire movies, but they’re not all the same,” he points out.

Aware that his idea was risky and that a large budget would be needed for the computer graphics and other visual effects, Sittisiri agreed to work on a pilot project to see whether he and the studio were moving in the same direction.

“After discussing the idea, Transformation gave me a budget to work on a short pilot clip. If it didn’t work or our idea wasn’t what they were after, then we wouldn’t proceed with the project. For the clip, I created my version of Krasue, the way she moves and other details, and they agreed.”

More than a year was spent on the visual effects, which Sittisiri describes as the hardest part of the project.

“We don’t have a real reference, so we went for a jellyfishlike movement for the Krasue while focusing on the right dynamics for the eye and hair movement,” he says.

The director also decided to cast three newcomers instead of superstars.

“It’s harder to convince the audience when they’re watching superstars. Besides, they always have busy working schedules and I wouldn’t have been able to handle that during the shoot. I’m also new too, so it’s better to work with new actors who can give us 100 per cent of their time.”

And obviously Transformation is pleased with the recent, naming Sittisiri codirector with Wisit Sasanatieng on “Oubatikaan” (“Shimmers”), the second Netflix original series coming from Thailand.

Thai cinema and its talented female directors come to the fore this month, in a series of films being screened by the Thai Film Archive at its Sri Salaya theatre to mark International Women’s Day.

Cinema is an industry run by men. Throughout the history of filmmaking, the job of “a director” is automatically linked to the image of a man seated in the director’s chair and running the creative engine of a movie. But in fact, women have long been involved in the key position on a film set. Alice Guy-Blache, for instance, was arguably the world’s first female filmmaker active between 1896-1906, right there at the dawn of cinema. A number of silentera filmmakers in Europe and the US were also female.

In Thailand, Pratuang Srisuphan is believed to be the first female cinematographer and director whose name appeared in several post-WWII movies (“Tat Rak”, 1953; “Sood Teerak”, 1955). Theatre director Ladda Sarntayon, who was active during the war years, later directed a film called “Fai Cheewit” in 1956 and “Kabuankarn Seree Cheen” in 1958. Wellknown actress Suphan Buranapim directed Chaam Amprang in 1955. Most prominently, Mom Ubol Yukol Na Ayutthaya, wife of Prince Anusornmongkolkarn, was credited as the director of several classic titles such as “Pak Thong Chai” (1957) and “Chaloeisak” (1958).

In short, women have long been a creative force in Thai cinema. And yet their presence has been limited, especially in the 16mm era in the 1960s and early 1970s. When the Thai film industry entered the 35mm era in the mid-1970s, a number of female directors came forward: Poranee Suwannatat, Amporn Prateepsane (who was a former action star), Suangsuda Chollampee, Nantana Weerachon, Oranuch Ladpanna, who all specialised in action flicks, as well as actresses who turned to directing such as Choosri Meesommon and Patravadi Meechudhon.

It was in the late 1990s and 2000s that a generation of nonmale filmmakers – spurred by technology and a renaissance of the industry that engendered new opportunities – made their presence felt both in the mainstream and independent scenes. Among them were Samarnrat “Ing K” Karnjanavanich (“Shakespeare Must Die”), Pimpaka Towira (“The Island Funeral”), Mingmongkol Sonakul (“Isaan Special”), Siwaporn Pongsuwan (“Khaoniew Moo Ping”), Paoon Chantasiri (“The Letter”), Sukanya Wongsatapat (“Akha Pu Narak”), Areeya Sirisopa and Nisa Kongsri (“Dek Toh”) and Anocha Suwichakornpong (“By the Time It Gets Dark”).

These directors touch on a wide range of style and subject, from hard-hitting documentary, satirical drama, experimental film and mainstream romantic flicks. Recently, a new crop of woman directors has emerged: Kanittha Kwanyoo (“Arpat”), Saraswadee Wongsompetch (“Yes or No”), Bongkot Benjarongkakul (“Sad Beauty”) and Manassanan Panlertwongkul (“Love Sucks”). There are also a number of young short filmmakers who’re poised to move on to feature filmmaking.

And while distinguishing between “male” and “female” directors is increasingly pointless in the world of gender fluidity, the collective rally for the film industry to promote nonmale perspective through the works of nonmale filmmakers has gained momentum in the past few years – in Hollywood, international film festivals and in Thailand.

And so, to mark International Women’s Day on March 8, the Archive (Public Organisation) hosts a programme of 13 female-directed Thai films, from the 1960s to 2018, plus Patty Jenkins’ “Wonder Women” in a special (and free) screening.

The programme starts tomorrow March 1 and runs throughout the month at Sri Salaya Theatre, Thai Film Archive on Buddha Monthon Sai 5 Road, Salaya.

For more information, call (02) 482 20134 or visit http://www.face¬book.com/ThaiFilmArchivePage

Coming to the screen, weekdays at 5.30pm

– Tomorrow: “Arpat” (2014) directed by Kanittha Kwanyoo – A horror film about a monk, a girl and a ghost

– March 6: “Rak Niran” (“Eternal Love”, 1970) directed by Poranee Suwannatat – A vintage love story shot partly in Hong Kong

– March 8: “Wonder Woman” (2017) directed by Patty Jenkins – stars Gal Gadot as Wonder Woman.

– March 12: “Yes Or No” (2010) directed by Sarasawadee Wongsompetch  – A love story that defies gender stereotype

– March 14: “Dek Toh” (2005) directed by Areeya Sirisopha and Nisa Kongsri – A documentary about a rural school

– March 16: “Sad Beauty” (2018) directed by Bongkot Benjarongkakul – A thriller/drama about two female friends and their misadventure.)

– March 20: “Pumaree See Thong” (1988) directed by Nantana Weerachon  – A woman who keeps losing her husbands to deadly accidents falls in love and fears that the curse will follow her.

– March 22: “Peen Kliew” (1994) directed by Oranuch Ladpanna  – An action film about a group of locals who decide to rise and fight against influential landowners.

– March 23:

1pm:”Lovesucks” (2015) direct¬ed by Manassanum Punlertwongsakul

3pm: “Karaoke Girl” (2013) directed by Visra Vijitvadhakarn

– March 28: “Rak Risya” (1979) directed by Patravadhi Sritrairat (Meechudhon) – tale of forbidden love from Thailand’s doyenne of the screen and stage

– March 29: “Khao Niao Moo Ping” (2006) directed by Siwaporn Pongsuwan (A girl and her puppy go on an adventure in Bangkok.)

– March 31:

1pm: “The Island Funeral” (2015) directed by Pimpaka Towira (A road movie set in the Deep South of Thailand.

3pm: “By the Time It Gets Dark” (2016) directed by Anocha Suwichakornpong  – An award-winning film partly inspired by the events of October 6, 1976.

ALFONSO CUARON bagged a hat trick of Oscars on Sunday for “Roma”, his love letter to his childhood in 1970s Mexico City, but civil-rights drama “Green Book” crashed his party with a win for best picture.

The 57-year-old Cuaron won the prizes for best director, cinematography and foreign-language film, capping a wonderful night – and giving streaming giant Netflix another feather in its cap.

Alfonso Cuaron winner of the Best Director Award, Best Achievement in Cinematography Award and Best Foreign Language Film Award for “Roma”. 

“I grew up watching foreign-language films, learning so much from them, being inspired – films like ‘Citizen Kane’, ‘Jaws’. And there are no waves, there’s only the ocean,” an emotional Cuaron said.

“I think the nominees tonight have proven that we are part of the same ocean.”

Rock legends Queen, fronted by US singer Adam Lambert, kicked off the 91st Academy Awards with a rollicking performance of “We Will Rock You”. The group then brought the crowd to its feet with a rendition of the classic “We Are the Champions”.

Rami Malek won the Best Actor award for “Bohemian Rhapsody” 

Guitarist Brian May, 71, who is also an astrophysicist, delivered a signature guitar solo to open Tinseltown’s biggest night.

The British rockers may have experienced more nerves than during a normal gig: biopic “Bohemian Rhapsody” was up for several awards and ended up the biggest winner of the night with four Oscars.

The film – which tracks the band’s rise to fame from the moment when Freddie Mercury joined the band in 1970 to their memorable 1985 Live Aid performance – took statuettes for best actor Rami Malek, as well as sound editing, sound mixing and film editing.

“I may not have been the obvious choice but I guess it worked out,” chuckled a self-deprecating Malek, whose spellbinding turn as Mercury captivated audiences.

“Roma”, Cuaron’s black-and-white ode to childhood and the women who raised him, was the frontrunner going into the night. It had earned 10 nominations, despite spending little time in movie theatres, in keeping with Netflix’s customary release strategy.

“Green Book” overcame controversy for a successful night – it started off with a widely expected best supporting actor trophy for Mahershala Ali, and a best original screenplay award.

It was expected to lose out to “Roma” for best picture, but crept up to take the honours after winning the same prize at the influential Producers Guild Awards.

“The whole story is about love. It’s about loving each other, despite our differences, and finding out the truth about who we are,” said director Peter Farrelly.

Another frontrunner for an Oscar was offbeat royal romp “The Favourite”, which also had 10 nominations but turned out to be one of the night’s big losers.

It went home with just one win – albeit one of the night’s biggest shocks – for best actress Olivia Colman. The 45-year-old Brit bested Glenn Close, who swept all before her during the awards season for “The Wife”.

 Lady Gaga, left, and Bradley Cooper perform during the 91st Annual Academy Awards. 

Crowd favourite “A Star is Born”, too, came away with only one statuette, for Lady Gaga’s song “Shallow”, while the much-vaunted Dick Cheney biopic “Vice” was only recognised for hair and makeup.

“I’ve worked hard for a long time and it’s not about winning. But what it’s about is not giving up. If you have a dream, fight for it,” the Grammy-winning Gaga said, tears streaming down her face.

“Spider-Man: Into the Spider-Verse” won the Oscar for best animated film – a reward for its stunning, innovative visuals and strong messages about diversity and family that won over both moviegoers and critics.

“To our audience, thank you so much. We love you, and we just want you all to know – we see you, you’re powerful. This world needs you,” co-director Peter Ramsey told the audience at the Dolby Theatre.

The film – directed by Ramsey, Bob Persichetti and Rodney Rothman – introduces movie audiences to a new Spider-Man, Miles Morales, a half-black, half-Latino teen who, like Peter Parker before him, is just trying to survive adolescence in New York, find a girl who likes him and figure out who he is.

The classic tale of good and evil is told in a new way – rather than be stuck in some cardboard comic-book universe, this Spider-Man for a new generation wears Nikes and listens to rap.

The film is a perfect antidote to the #OscarsSoWhite complaints that have plagued the Academy of Motion Picture Arts and Sciences in recent years.

Celebrated filmmaker Spike Lee provided one of the few eyebrow-raising moments as he accepted an Oscar, his first ever competitive prize, for best adapted screenplay for race drama “BlacKkKlansman”.

Writerdirector Spike Lee, left, winner of Best Adapted Screenplay for “BlacKkKlansman,” and Mahershala Ali, winner of Best Supporting Actor for “Green Book”. 

Dressed all in purple in tribute to late pop crooner Prince, the director put the ABC network’s anti-profanity bleeping machine through its paces with some colourful language.

But then he got serious with an impassioned tribute to his grandmother and a plea for voters to be “on the right side of history” in the 2020 US presidential election.

Among all the contenders, Marvel superhero movie “Black Panther” would have had the best brand recognition among the TV audience – it took in more at the box office than all of its best-picture rivals combined.

The 7,900-odd voting members of the Academy of Motion Picture Arts and Sciences saw fit to add gold to the blockbuster’s haul of green, with statuettes for its production design, costumes and original score.

The winners were announced as ever in a ceremony beamed around the world to millions of showbiz fans with a twist – there was no host for the first time in three decades.

The academy opted to take the risk after comedian Kevin Hart withdrew in the face of a firestorm over past controversial tweets that were slammed as homophobic.

The first statuette – for best supporting actress – went to first-time nominee Regina King, 48, for her emotional performance as a mother defending her daughter’s boyfriend, wrongfully accused of rape, in “If Beale Street Could Talk”.

The academy – desperate to boost television ratings that have plummeted in recent years – tried to stick to a three-hour telecast, but it hit a few bumps along the way.

Controversies over its efforts to save time included plans to present a handful of awards during commercial breaks, and to feature only a few of the nominated songs. Both ideas were quickly scrapped.

Gaga and her co-star and director Bradley Cooper wowed the audience with their performance of “Shallow”, while songstresses Jennifer Hudson and Bette Midler also performed.

In the end, the show was only about 15 minutes over time.

Best Actress winner Olivia Colman for “The Favourite”

Best Supporting Actress winner for “If Beale Street Could Talk” Regina King)​​​​​​

Director Peter Farrelly, winner of Best Picture and Best Original Screenplay for “Green Book” 

​​​​​​​Andrew Wyatt, left, Anthony Rossomando, second left, Lady Gaga, second right, and Mark Ronson. Right, won the “Best Original Song” award for “Shallow”.

Alfonso Cuaron’s black-and-white cinematic ode to his childhood, “Roma,” leads with 10 nominations and is a firm favorite for the coveted best picture Academy Award.

If it does win, it will be the first foreign-language film, and the first from streaming giant Netflix, to earn the honor.

But civil rights dramedy “Green Book” has overcome controversy to remain on the radar, and could benefit from the Academy’s complex preferential voting system to snatch the top prize.

Hot on their heels are a variety of films, from offbeat royal romp “The Favourite” (also with 10 nominations), to Spike Lee’s race drama “BlacKkKlansman,” to crowd pleasers like superhero flick “Black Panther” and musical romance “A Star Is Born.”

Two biopics — “Vice” about former US vice president Dick Cheney and “Bohemian Rhapsody” about the band Queen — round out the list of contenders for best picture.

The 7,900-odd voting members of the Academy of Motion Picture Arts and Sciences had bold choices in front of them — traditional art-house Oscar bait, and big, rousing blockbusters.

“With eight best picture nominees, every film has passionate supporters, but no film has a consensus,” Tim Gray, awards editor for showbiz trade publication Variety, told AFP.

All will be revealed at the Dolby Theatre, in a ceremony beamed around the world to millions of showbiz fans, with a twist — there will be no host for the first time in three decades.

The Academy opted to take the risk after comedian Kevin Hart withdrew from the gig in the face of a firestorm over past controversial tweets that were slammed as homophobic.

“They still don’t have an answer to a question that’s been around since the first TV showing in 1953: is this a presentation of every category, or is it entertainment?” Gray said. “They want it to be both.”

The entertainment factor will be high when Queen opens the show with singer Adam Lambert fronting the iconic band.

– Will Glenn Close finally win? –

For top acting honors, Christian Bale’s transformation into Cheney for “Vice” gave him the early lead in the Oscars race, and several statuettes.

But Rami Malek won respect from his peers — and a Golden Globe, Bafta and a Screen Actors Guild award — for his spellbinding turn as late Queen frontman Freddie Mercury.

“In Christian Bale’s, I see an incredible actorly thing, but with Rami Malek, you see a role that just really connected with audiences,” said Variety’s chief film critic Peter Debruge.

“I wouldn’t be surprised if the newcomer disrupts in this case.”

The best actress race has a clear favorite: Glenn Close, who has swept the prizes for her gripping work in “The Wife” as a woman on the edge when her author husband wins the Nobel Prize in Literature.

Lady Gaga wowed fans and critics with her turn in “A Star is Born,” and Yalitza Aparicio’s nomination for her first acting role in “Roma” earned praise. But it looks to be Close’s night.

“It is not her strongest role, but it is an opportunity for her to really own a small film, to carry it on her shoulders, and to remind the industry that here is one of our real treasures as an actress,” Debruge said.

Mahershala Ali (“Green Book” and Regina King (“If Beale Street Could Talk”) are the odds-on favorites in the supporting acting categories.

– Better ratings this year? –

The Academy — desperate to boost television ratings that have plummeted in recent years — is trying to stick to a three-hour telecast, but it hit a few bumps along the way.

Controversies over its efforts to save time included plans to present a handful of awards during commercial breaks, and to feature only a few of the nominated songs. Both ideas have since been scrapped.

Lady Gaga and Bradley Cooper will sing their power ballad “Shallow” from “A Star Is Born.” Songstresses Jennifer Hudson, Bette Midler and Gillian Welch will also perform.

But Variety reported that Kendrick Lamar and SZA would not perform “All the Stars” from “Black Panther,” due to a “logistics and timing” issue.

The 91st Academy Awards begin Sunday at 5:00 pm (0100 GMT Monday).