Movie |
Alligator | Coma
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Best Visual Effects International Competition | 2019
Best Art Direction International Competition | 2019 | Denis
Best ScienceFictionHorror Film | 2019
Best Motion Picture of the Year | 2019
Visually Striking Film of the Year | 2019
Best Sound Editing | 2019 | Glenn
Best Sound Integration | 2019 | Glenn
Best Visual Effects | 2019
Best Use of Visual Effects | 2018
Best Visual Effects | 2018
Best Special Effects | 2018
Best SciFiFantasy Movie | 2018
Best SciFi Film | 2018
Best Science Fiction Film | 2018
Best Original Score | 2018 | Ben
Best Original Score | 2019 | Ben
Best Visual Effects | 2019 | Andrew
Best Studio Film | 2019
Best Production Design | 2019 | Michelle
Best Original Score | 2019 | Ben
Best Visual Effects | 2019 | Sara
Best Trailer International Competition | 2019
Best Poster International Competition | 2019
Best Costume Design International Competition | 2019 | Sammy
Best SoundSound Efects International Competition | 2019
Best Original Music International Competition | 2019 | Ben
Best Cinematography International Competition | 2019 | Rob
Best Editing International Competition | 2019 | Barney
Best Screenplay International Competition | 2019 | Alex
Actor of the Year for an exemplary body of work For and | 2019
Actor of the Year (for an exemplary body of work) | 2019 | Tessa
Best SciFiHorror Movie | 2019
Best Screenplay | 2019 | Alex
Best Cinematography | 2019 | Rob
Best Visual And Sound Effects | 2019
Favorite Actress | 2019 | Natalie
Best Original Score | 2019 | Ben
Visual Effects | 2019 | Andrew
Best SciFiHorror Film | 2019
Best Dramatic Presentation Long Form | 2019 | Jeff
Best Original Score | 2019 | Ben
Best Sound Mixing | 2019
Best Sound Editing | 2019 | Glenn
Best Visual Effects | 2019 | Andrew
Best Music | 2019 | Ben
Best Picture | 2019
Screenplay | 2018 | Alex
Best Art DirectionProduction Design | 2018
Best Screenplay | 2018 | Alex
Best Cinematography | 2018 | Rob
Best Score | 2018 | Geoff
Best Horror Movie of the Year | 2018
Best SciFi Movie of the Year | 2018
Best Special Effects of the Year | 2018
Most Memorable Scene in a Movie | 2018
Best Picture | 2018
Best Adapted Screenplay | 2018 | Alex
Best Actress | 2018 | Natalie
Best Male Director | 2018 | Alex
Best Picture | 2018
Best Adapted Screenplay | 2018 | Alex
Best Film Editing | 2018 | Barney
Best Production Design | 2018 | Mark
Best Original Score | 2018 | Ben
Best Sound Mixing | 2018
Best Sound Editing | 2018 | Glenn
Best Visual Effects | 2018
Best SciFiHorror Film | 2018
Best Support Actress | 2018 | Tessa
Best Acting Ensemble | 2018
Best Visual Effects | 2018 | Simon
Best Cast | 2018 | Josh
Best Actress | 2018 | Natalie
Best Supporting Actress | 2018 | Jennifer Jason
Best Cinematography | 2018 | Rob
Budget 40,000,000 USD
Box Office Collection 43,070,915 USD
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Due to a poorly received test screening, David Ellison, a financier at Paramount, became concerned that the film was "too intellectual" and "too complicated," and demanded changes to make it appeal to a wider audience, including making Natalie Portman's character more sympathetic and changing the ending. Producer Scott Rudin sided with Garland in his desire to not alter the film, defending the film and refusing to take notes. Rudin had final cut.
Oscar Isaac filmed this movie and Star Wars: Episode VIII - The Last Jedi (2017) on adjacent studio lots. He had the same trailer for both films and would often film scenes for both movies on the same day.
Director Alex Garland decided not to reread the novel "Annihilation." Instead, he decided to adapt it "like a dream of the book."
On December 7, 2017, it was announced that due to the clashes between producer Scott Rudin and David Ellison, a financier at Paramount, and the shift in Paramount's leadership, a deal was struck with Netflix handling international distribution rather than releasing the film in theatres. According to this deal, Paramount would handle the U.S. and China release, while Netflix would begin streaming the film in other territories 17 days later.
This film was based on the first book in the "Southern Reach" trilogy.
"Lena: Why did my husband volunteer for a suicide mission? Dr Ventress: Is that what you think we're doing? Committing suicide? Lena: You must have profiled him. You must have assessed him. He must have said something. Dr Ventress: So you're asking me as a psychologist? Lena: Yeah. Dr Ventress: Then, as a psychologist, I think you're confusing suicide with self-destruction. Almost none of us commit suicide, and almost all of us self-destruct. In some way, in some part of our lives. We drink, or we smoke, we destabilize the good job... and a happy marriage. But these aren't decisions, they're... they're impulses. In fact, you're probably better equipped to explain this than I am. Lena: What does that mean? Dr Ventress: You're a biologist. Isn't the self-destruction coded into us? Programmed into each cell?"
"[last lines] Lena: You aren't Kane... are you? Kane: I don't think so. [pause] Kane: Are you Lena?"
