• Margot Robbie has been acting for years, but some of her movies are higher-rated than others. 
• Robbie's best films include "Birds of Prey" (2020) and "I, Tonya" (2017).
• On the other hand, she also starred in critical flops like "Terminal" (2018) and "Suicide Squad" (2016).  
• Visit Insider's homepage for more stories.

Although she's only been in films for a few years, Australian actress Margot Robbie has already been nominated for two Academy Awards and has proven herself as a performer to watch. 

And although she's been in some hits, the actress has also appeared in a few flops.

Here are all of the movies in Robbie's filmography, ranked according to critical scores on Rotten Tomatoes.

Note: All scores were current on the date of publication and are subject to change.

Robbie's lowest-rated film is "Terminal" (2018).

Rotten Tomatoes score: 20%

Summary: In the neo-noir thriller "Terminal," Robbie stars as Annie, a waitress who leads a dark double life.

In a sprawling city, Annie's life intersects with a teacher (Simon Pegg) battling a terminal illness and a contractor (Mike Myers) who employs a pair of hit men. 

She kicked off her turn as Harley Quinn in "Suicide Squad" (2016).

Rotten Tomatoes score: 27%

Summary: In the action thriller "Suicide Squad," intelligence officer Amanda Waller (Viola Davis) releases Gotham's most dangerous villains from jail under the caveat that they complete a deadly mission that could be their last.

The villains include Joker (Jared Leto), Deadshot (Will Smith), Killer Croc (Adewale Akinnuoye-Agbaje), Diablo (Jay Hernandez), and Harley Quinn (Robbie). 

Robbie starred as Jane Clayton in "The Legend of Tarzan" (2016).

Rotten Tomatoes score: 36%

Summary: Years after leaving the jungle behind, Tarzan (Alexander Skarsgard) and his wife Jane (Robbie) are called back on a mission for the Parliament in the action-adventure film "The Legend of Tarzan."

Once they return to the jungle, they realize that they have become pawns of the greed-driven Captain Leon Rom (Christoph Waltz). 

The actress played Jess in the crime thriller "Focus" (2015).

Rotten Tomatoes score: 56%

Summary: With notes of comedy and drama, the crime thriller "Focus," follows con artist Nicky Spurgeon (Will Smith) as he attracts the attention of low-level grifter Jess Barrett (Robbie).

After Nicky takes Jess under his wing, the two attempt to pull off the biggest con of their lives. 

In "Mary Queen of Scots" (2018) Robbie portrayed Queen Elizabeth I.

Rotten Tomatoes score: 63%

Summary: In the historical drama "Mary Queen of Scots," young royal Mary (Saoirse Ronan) returns to Scotland to claim her place on the throne and faces opposition from her cousin Queen Elizabeth I (Robbie).

As pressure mounts on both sides, the two women face off in a battle of wills for the future of their respective lands. 

She was Daphne Milne in "Goodbye Christopher Robin" (2017).

Rotten Tomatoes score: 63%

Summary: Based on a true story, "Goodbye Christopher Robin" centers around author A.A. Milne (Domhnall Gleeson) and the pressure he faces to write new material after he returns home from a war.

Inspired by his son's imagination and his wife Daphne's (Robbie's) support, Milne begins writing children's books about a curious young boy and his teddy-bear friend Winnie the Pooh. 

Robbie voiced Flopsy in "Peter Rabbit" (2018).

Rotten Tomatoes score: 64%

Summary: An animated re-imagining of the beloved Beatrix Potter books, "Peter Rabbit" follows the adventures of mischievous Peter (voiced by James Corden) and his friends Flopsy (Robbie), Mopsy (Elizabeth Debicki), and Cottontail (Daisy Ridley) as they tease gardener Mr. McGregor (Domhnall Gleeson). 

The actress played Tanya in "Whiskey Tango Foxtrot" (2016).

Rotten Tomatoes score: 67%

Summary: Set in 2003, the comedic drama "Whiskey Tango Foxtrot," is based on memoir by journalist Kim Barker (Tina Fey) and her life overseas as a war correspondent in Pakistan and Afghanistan.

While there, Barker develops a bond with BBC correspondent Tanya Vanderpoel (Robbie) and Scottish photographer Iain MacKelpie (Martin Freeman). 

In the romantic comedy "About Time" (2013) she was Charlotte.

Rotten Tomatoes score: 69%

Summary: "About Time" is a romantic comedy in which Tim Lake (Domhnall Gleeson) realizes he has the ability to travel through time.

At the behest of his father (Bill Nighy) Tim resolves to use time travel to solve his bad luck with dating and falls in love with Mary (Rachel McAdams) in the process. 

Robbie has a supporting role in the film as Charlotte, the best friend of Tim's little sister. 

She was Kayla Pospisil in the drama "Bombshell" (2019).

Rotten Tomatoes score: 70%

Summary: Based on the Fox News sexual-harassment scandal, the drama "Bombshell" follows news anchor Megyn Kelly (Charlize Theron) as she attempts to deconstruct the more toxic elements of her workplace with the help of Gretchen Carlson (Nicole Kidman) and Kayla Pospisil (Robbie). 

Robbie played Celine Joseph in "Suite Française" (2014).

Rotten Tomatoes score: 76%

Summary: "Suite Française" is a romantic drama set in 1940s France during World War II. In it, Lucile Angellier (Michelle Williams) awaits news of her husband from the front lines.

As the war drags on, Lucile develops unexpected feelings for German soldier Bruno Von Falk (Matthias Schoenaerts). 

Robbie had a supporting role in the film as Celine Joseph, one of Lucile's tenants. 

The actress played Ann Burden in "Z for Zachariah" (2015).

Rotten Tomatoes score: 79%

Summary: Set in a distant dystopian future, "Z for Zachariah" Ann Burden (Robbie) is led to believe that she's the only person left on the planet after a devastating nuclear war.

But everything changes when she meets fellow survivors Loomis (Chiwetel Ejiofor) and Caleb (Chris Pine). 

In "The Wolf of Wall Street" (2013) she was Naomi Lapaglia.

Rotten Tomatoes score: 79%

Summary: In the electrifying drama "The Wolf of Wall Street," stockbroker Jordan Belfort (Leonardo DiCaprio) allows greed to corrupt his ambition as he climbs the corporate ladder of Wall Street.

But distraction lays everywhere on his path to success, from drugs and parties to the dazzling Naomi (Robbie).

She was Allison Wells in the drama "Dreamland" (2019).

Rotten Tomatoes score: 80%

Summary: In the dramatic thriller "Dreamland," Eugene Evans (Finn Cole) faces poverty after the devastation of the Dust Bowl and is on the brink of losing his family's farm.

Determined to make money, Evans decides to find and capture elusive bank robber Allison Wells (Robbie) and reap the reward. 

Robbie depicted Sharon Tate in "Once Upon a Time in Hollywood" (2019).

Rotten Tomatoes score: 85%

Summary: Set in Los Angeles in 1969, movie star Rick Dalton (Leonardo DiCaprio) and his stunt double Cliff Booth (Brad Pitt) struggle to remain relevant as Hollywood makes room for younger stars like Sharon Tate (Robbie).

On a strange night, their three lives converge as the group of cult-like people referred to as the Manson "family" make murderous plans. 

Critics enjoyed her as Harley Quinn in "Birds of Prey" (2020).

Rotten Tomatoes score: 83%

Summary: A sort of follow-up to "Suicide Squad,""Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)" has Robbie return as Harley, who is bouncing back from a nasty breakup with the Joker.

Coming into her own, Harley assembles a crew of vigilantes to rise up against the villainous Roman Sionis (Ewan McGregor). 

The actress starred as Tonya Harding in "I, Tonya" (2017).

Rotten Tomatoes score: 89%

Summary: Based on a true story, the drama "I, Tonya" traces the life of skating legend Tonya Harding (Robbie) from promising Olympic athlete to the central figure in a criminal investigation after her one of her skating competitors is attacked. 

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• Warner Bros.' "Birds of Prey" won the domestic box office, but with a soft $33.2 million.
• The studio projected a $45 million opening (about half of its production budget), while industry projections were around $50 million to $55 million.
• It's a disappointing opening for the DC Comics movie, which has a fresh Rotten Tomatoes score of 81%. Its R rating may have kept away teen girls who love the movie's lead, Harley Quinn.
• Visit Business Insider's homepage for more stories.

Well, this was unexpected.

Though it's one of the most anticipated releases of the year, was critically acclaimed with a Rotten Tomatoes score of 81%, and is the most attractive new release in theaters since the mid January opening of "Bad Boys for Life," Warner Bros.' latest DC Comics title, "Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn," had a very soft opening.

"Birds of Prey" took in an estimated $33.2 million over the weekend, which makes it the top earner at the domestic box office and dethroned the three week reign of Sony's "Bad Boys for Life," but that's an extremely low number that is even below the modest $45 million opening projected by the studio (industry projections had it earning between $50 million and $55 million). The movie had a production budget of $84.5 million.

The opening really stings when you look at the fact that Warner Bros. had zero competition this weekend in theaters and released the title on over 4,200 screens. That's a record-breaker for the month of February. Even more screens that Disney/Marvel opened "Black Panther" on back in 2018.

The $33.2 million opening for "Birds of Prey" marks the lowest so far for a DC Comics title. The lowest before was the $100 million-budgeted "Shazam!" with $53.5 million.

So what in the world happened to the movie about the one and only Harley Quinn?

It's hard to nail it down to one thing. Warner Bros. marketed the heck out of it. As already noted, the release date wasn't the issue. Could it be a matter that the predominantly male demo that makes up comic book movie fans didn't want to turn out for a female-led comic book movie? It's hard to use that argument when movies like "Wonder Woman" and "Captain Marvel" found box office glory.

This one is a head scratcher. But if we were to focus on one aspect perhaps it's the movie's R-rating.

Though "Deadpool" has thrived over the fact that it can go off the rails in regards to language or behavior at the snap of a finger because it's a hard R franchise, when it comes to Harley Quinn that might have been a gamble by WB/DC that didn't pay off.

A big portion of the Quinn fanbase are teenage girls who don't just gobble up the comics and merch, but also consumer the cartoons Quinn is in. With the R rating, director Cathy Yan wasn't limited in the violence or salty language she could portray, but the movie missed out on the teen market.

Though "Suicide Squad," the first movie to feature Margot Robbie as Quinn, didn't find the critical backing, "Birds of Prey" did. "Suicide Squad" was rated PG-13 and went on to have a record-breaking $133.6 million opening (if it got the kind of reviews "Birds of Prey" did imagine what its lifetime gross would have been).

It's just one theory for a release that's certainly going to have Warner Bros. and the movie's producers analyzing the missteps for some time.

Box-office highlights:

• With $658,000 earned over the weekend, "Uncut Gems" now has a domestic total of $49.2 million, which makes it the highest-grossing release ever for its distributor A24 (passing "Lady Bird" $48.9 million).
• Before the weekend, Sony's "Little Women" passed the $100 million mark at the domestic box office. After $2.3 million earned this weekend, the movie's domestic total to date is $102.673 million.

SEE ALSO: "Birds of Prey" director Cathy Yan on the challenges of making her first studio movie and the "bonkers audition tape" that she and Margot Robbie loved

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• Laura Dern marveled at Billy Porter's gown on the red carpet before the 92nd annual Academy Awards at the Dolby Theatre in Hollywood, California on Sunday. 
• The "Marriage Story" actress stood back to admire Porter's custom Giles Deacon gown, which was created using 24-karat gold feathers. 
• The "Pose" actor grabbed her hand to greet her, but Dern didn't take her eyes off his dress. 
• People reacted to the moment online and adored the heartfelt moment between the two stars. 
• Visit Insider's homepage for more stories.

In the midst of the red-carpet chaos, Laura Dern took a moment to appreciate Billy Porter's gown before the 92nd annual Academy Awards at the Dolby Theatre in Hollywood, California on Sunday. 

Photographers captured the moment when the 52-year-old actress stood back to gaze at the "Pose" actor's multi-textured dress, which was custom-designed by Giles Deacon using 24-karat gold feathers. He accessorized with sparkly gold tights, custom-designed Jimmy Choo heels, and Atelier Swarovski jewelry. 

The "Marriage Story" star, who wore a black and pink Giorgio Armani gown, gaped with her mouth open when she spotted Porter on the red carpet. 

The 50-year-old actor was seemingly thrilled to see Dern and began to approach her, although she didn't take her eyes off his dress. 

Once Dern, who was nominated for best supporting actress for her role in "Marriage Story," got a chance to admire the dress, they held hands and greeted each other with a kiss on the cheek. 

People adored the warm moment between the stars, and some suggested that the interaction merited an award of its own. Others wanted to hang the photos in a museum. 

Before the show, Porter sent an email to The New York Times sharing that the look was inspired by Kensington Palace, particularly the gold and wood Cupola Room with statues of Roman gods. 

"I love the idea of Billy being this kind of messenger sent from the gods," Deacon told The New York Times. He also shared that he used enlarged prints of the room's walls as the design for Porter's skirt. 

This year isn't the first time Porter has received attention for his Oscars fashion. In 2019, he wore a memorable tuxedo dress designed by Christian Siriano. 

"We've gotten past a problem with women wearing pants. When women wear pants it's powerful," he said on Variety's "Actors on Actors." 

He continued, "When men wear a dress it's disgusting. We're not doing that anymore. I'm not doing it."

Join the conversation about this story »

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• Long-time International Brotherhood of Teamsters boss, James "Jimmy" Hoffa, went missing in 1975. 
• While theories surrounding his disappearance are still circulating today, the case has been described as one of America's greatest unsolved mysteries.
• Martin Scorsese's "The Irishman" starring Robert De Niro, Al Pacino, and Joe Pesci, among many other legendary actors, is a fictionalized account of Hoffa's disappearance from the point of view of Mafia hitman Frank Sheeran. 
• The film is based on a book by ‎Charles Brandt, "I Heard You Paint Houses," which details interviews and confessions that Sheeran once reportedly made to Brandt before he died. 
• Scorsese and De Niro have both said the film isn't necessarily a true representation of Sheeran — rather it's about a character they built together based on Sheeran.
• "The Irishman" is nominated for 10 Academy Awards this year including best picture.
• Here's what we know so far about the real-life Jimmy Hoffa and the ongoing investigation into his disappearance. 
• Visit Business Insider's homepage for more stories. 

SEE ALSO: What the life of Judy Garland was really like, from her dramatic childhood rise to fame to her tragic death

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James "Jimmy" Hoffa was last seen on July 30, 1975, at the Machus Red Fox Restaurant near Bloomfield Township, Michigan, just 25 miles from Detroit. The next day, he was reported as a missing person. Seven years later, in 1982, he was declared "presumed dead."

Source: Encyclopædia Britannica, History

Jimmy was a long-time leader of the International Brotherhood of Teamsters, "North America's strongest and most diverse labor union," according to the organization itself.

Source: International Brotherhood of Teamsters

While the union has been known for supporting truckers across America ...

Source: History

... it also became known for its ties to organized crime and the Mafia specifically.

Source: History, The New York Times

The mob ties and mysterious disappearance of Hoffa are the basis of the Martin Scorsese-directed Netflix film "The Irishman."

Source: Netflix

The story is an adaptation of the book "I Heard You Paint Houses"— Frank "The Irishman" Sheeran's account of his involvement with the Mafia, the Bufalino crime family, and Hoffa's death.

Source: Netflix, Esquire

Although Sheeran claims to have shot his long-time friend, Hoffa, on orders from the Bufalino family, he's reportedly one of 14 people who've taken responsibility for Hoffa's disappearance over the years.

Source: Newsweek, Esquire

The film depicts Sheeran as the last surviving member of his mafia generation. It tells the story of his involvement, and his relationship with Hoffa, from his own point of view, which is why historians and critics are skeptical of how accurate this portrayed confession really is.

Source: Esquire, Newsweek, USA Today

While the confession and description of how Sheeran killed Hoffa and what he did with Hoffa's body is skepticized to this day, the reason why Hoffa was targeted in the first place is not, and it goes back to the election of John F. Kennedy into the White House.

Source: USA Today

Hoffa served as the Teamsters president from 1957 through 1967. During that time, JFK was elected President of the United States. The president appointed his brother, Robert Kennedy, Attorney General.

Source: History, Biography, JFK Library, Washington Post

Robert and Hoffa had a long-standing and well-documented feud. Kennedy's then-new position as Attorney General allowed the two to face-off even more intensely than before.

Source: Washington Post

Although Bobby was no longer Attorney General following the assassination of his brother, Hoffa was still facing other charges and trials, particularly in Nashville.

Source: Tennessean, Washington Post

Eventually, Hoffa was sentenced to 13 years in prison under multiple convictions including jury tampering, fraud, and racketeering.

Source: History, Biography

Hoffa was sent to Lewisburg Federal Prison in Pennsylvania.

Source: Biography, USA Today

While he was in prison, Hoffa's vice president Frank "Fitz" Fitzsimmons stepped in.

Source: Biography, USA Today

Hoffa was released from prison after almost five years on probation granted by the Nixon Administration. The administration changed his sentence from 13 years to 6 and a half years, and Hoffa would serve the then-remaining year and a half under probation.

Source: The New York Times

"The Irishman" emphasizes that Hoffa wanted to relax with his wife when he left Lewisburg, but not that he became known as a prison reform activist as well.

Source: The Harvard Crimson, The New York Times, Getty Images

The part of his post-prison life the film focuses on — and the part arguably most important to his disappearance — is that he wanted to reclaim his place on top of the Teamsters union. But, in Hoffa's absence, mobsters reportedly had formed a successful relationship with Fitz that they didn't want to change.

Source: USA Today, The Harvard Crimson

It's believed by historians that Mafia members wanted to continue working with Fitz. The theory continues on to say that Hoffa had too much information on the Mafia and its involvement with the Teamsters, and they wanted him dead so he couldn't reveal what he knew.

Source: USA Today, USA Today

When police started to investigate Hoffa's disappearance, they found his car at the restaurant where he reportedly had a lunch planned with Anthony "Tony Pro" Provenzano of New Jersey and Anthony "Tony Jack" Giacalone of Detroit.

Source: Encyclopædia Britannica, History, USA Today

"The Irishman" has been reviewed as "great filmmaking, but bad history," by author Dan Moldea who has been researching Hoffa for more than four decades. Other historians and critics say the same.

Source: USA Today

As a loose reiteration of Sheeran's account of what happened, the film hints at the cremation of Hoffa's body. However, historians like Moldea think it's possible that his body was shoved into a waste drum and buried in a New Jersey Landfill.

Source: USA Today, USA Today

No one really knows what happened to Jimmy, and some people including members of Hoffa's family and investigative reporter Scott Burnstein think we never will.

Source: USA Today

But with the resurgence of the story and persistence of investigators, other people including Moldea are hopeful that the truth will come out soon.

Source: USA Today, USA Today

• Brad Pitt won the Oscar for best actor in a supporting role for playing Cliff Booth in "Once Upon a Time in Hollywood."
• The actor paid tribute to the movie's director, Quentin Tarantino, calling him "original" and "one of a kind."
• He also gave a shoutout to his costar Leonardo Dicaprio, saying that "I'll ride on your coattails any time."
• Although the actor previously won an Academy Award for producing 2012 best picture winner "12 Years a Slave," this is his first acting win at the awards show.
• Visit Insider's homepage for more stories.

Brad Pitt won the Oscar for best actor in a supporting role at the 92nd Academy Awards for his role as stuntman Cliff Booth in Quentin Tarantino's"Once Upon a Time in Hollywood." 

Although the actor won his first Academy Award as a producer on the 2012 best picture winner "12 Years a Slave," this is his first acting Oscar after over 30 years in the industry.

"Wow," he said, "This is really incredible."

The actor then got political, calling out the Trump impeachment trial for blocking former national security adviser John Bolton's testimony.

"They told me I only have 45 seconds up here, which is 45 seconds more than the Senate gave John Bolton this week," he said on stage. "I'm thinking maybe Quentin does a movie about it — in the end, the adults do the right thing."

Pitt went on to pay tribute to the director, adding, "Tarantino, you are original, you are one of a kind. The film industry would be a much drier place without you."

He then gave a shoutout to his "Once Upon a Time in Hollywood" costar Leonardo DiCaprio, who is nominated for Best Actor, saying, "I'll ride on your coattails any day, man. The view's fantastic."

The actor also used his speech to call for an Oscar category for stunts.

"While we're doing all this, I think it's time we give a little love to our stunt coordinators and our stunt crews," Pitt said.

He closed his acceptance speech by dedicating the award to his kids, who "color everything I do."

Pitt has run the gamut this awards season, also winning a Golden Globe, BAFTA Film Award, Screen Actors Guild Award, and more. His speeches this awards season have also gone viral, like when he called costar DiCaprio "LDC" at the Golden Globes or joked about being on Tinder at the SAG Awards.

Join the conversation about this story »

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• As they've grown in popularity, superhero movies and films based on comic-book characters have been showing up more and more in award nominations.
• This year, "Joker" and "Avengers: Endgame" were both nominated for Academy Awards, with "Joker" racking up 11 nominations.
• Over the years, more than 25 superhero movies have been nominated for Oscars in categories including best visual effects, best animated feature, and best picture.
• Visit Insider's homepage for more stories.

"Joker"earned 11 Oscar nominations for 2020, making the supervillain origin story the most-nominated film of the year — but it's far from the first of its kind to be nominated for major awards.

In recent years, high-flying films about superheroes and villains have been nominated for Academy Awards rather frequently  — especially in the best visual effects category — and some have even won major titles like best animated feature or best supporting actor. 

Here are all of the Oscar-nominated superhero (and supervillain) movies ranked from best to worst, based on critic scores on Rotten Tomatoes. 

Editor's Note: We recognize that "superhero movies" encompass a wide range of films, and although this list is quite comprehensive, it may be missing a few projects that fall under that umbrella. In addition, critic scores were up to date as of publication but are subject to change. 

"Suicide Squad" (2016) won the Oscar for best makeup and hairstyling in 2017.

Critic Score: 27%

This attempt to flesh out some of DC's most iconic villains ended up winning an Oscar. Starring Jared Leto as the Joker and Margot Robbie as Harley Quinn, this story follows the Suicide Squad as they break out of prison and are tasked with saving the world.

"Batman Forever" (1995) was nominated for best cinematography in 1996.

Critic Score:39%

The first post-Tim Burton Batman, "Batman Forever," starred Val Kilmer as the caped crusader. The movie took Batman back to the world of camp, as Batman and Robin face off against Two-Face and The Riddler.  

It was nominated for best cinematography at the 1996 Oscars along with best sound and best effects. 

"Joker" (2019) was nominated for 11 Oscars this year, including best picture.

Critic Score:69% 

This gritty take on Batman's arch-nemesis stars Joaquin Phoenix in his best leading actor-winning role as Arthur Fleck.

The origin story is the most-nominated superhero movie in Oscar's history. The film earned 11 nominations and took home two awards for best actor and best original score.

"Batman" (1989) won the Oscar for best art direction in 1990.

Critic Score:72%

The first serious, live-action Batman movie featured Jack Nicholson as the Joker and Michael Keaton as Batman.

Nicholson was praised for his performance, but the unique art deco take on Gotham City is what won the movie the Oscar for best art direction.

"Iron Man 2" (2010) was nominated for best visual effects in 2011.

Critic Score: 73%

The sequel to the movie that kicked off the Marvel Cinematic Universe, or MCU, craze was a visual spectacle nominated for a visual effects Oscar.

Robert Downey Jr. returned as Tony Stark in the critically well-received sequel that was much maligned by fans. 

"Iron Man 2" included some major MCU introductions by debuting Don Cheadle as War Machine and Scarlett Johansson as Black Widow.

"Superman Returns" (2006) was nominated for best visual effects in 2007.

Critic Score: 75%

"Superman Returns" was the epic, big-screen revival of the world's most iconic hero.

With Brandon Routh as Superman and Kevin Spacey as Lex Luthor, this movie told a Superman story rooted in heartbreak and overcoming defeat against all odds.

Although it was fairly well-reviewed, it failed to launch a new Superman franchise and never got a sequel.

"Iron Man 3" (2013) received a best visual effects nod in 2014.

Critic Score:79% 

The third and final installment in the "Iron Man" trilogy was directed by Shane Black and brought in Guy Pearce as the villain. This entry dug into the post-traumatic stress of Tony Stark in the aftermath of "The Avengers." 

Many fans considered it an improvement over the second "Iron Man" film due to its deep, emotional focus on Stark — one of the MCU's most influential characters.

"Batman Returns" (1992) was nominated for best visual effects and best makeup at the 1993 Oscars.

Critic Score:79%

Tim Burton's sequel to "Batman" was met with more critical praise, especially for Michelle Pfeiffer's strange and incredible performance as Catwoman.

With Danny DeVito as the Penguin, this Batman movie features the villains and Gotham politicians more than it does Bruce Wayne. 

"Batman Begins" (2005) was nominated for best cinematography at the 2006 Oscars.

Critic Score:84%

The movie that kicked off Christopher Nolan's Batman trilogy was recognized for its cinematography at the 2006 Academy Awards.

"Batman Begins" is an origin story for Christian Bale's Bruce Wayne and his dark, gritty Batman. The film starred Cillian Murphy as The Scarecrow and Liam Neeson as Batman's mentor and rival Henri Ducard — the alias of Ra's al Ghul.

"Guardians of the Galaxy Vol. 2" (2017) was recognized for its visual effects in 2018.

Critic Score:85%

Nominated for best achievement in visual effects, the sequel to the MCU breakthrough "Guardians of the Galaxy" marked the return of the charismatic cast in a much more personal journey.

Chris Pratt, Zoe Saldana, and the rest of the Guardians crew returned in a story that introduced Kurt Russell as Peter Quill's father — who also happened to be a god.

The movie jacked up the stakes and humor, but it was still not quite as beloved as the original.

The stunning visual effects in "Avengers: Infinity War" (2018) were nominated at the 2019 Oscars.

Critic Score:85%

Part one of the Infinity Saga's grand finale was a visually impressive action feast. The film features all of the Avengers who have been gathering since "Iron Man" in their attempt to take down Josh Brolin's Thanos.

The infamous "snap" at the end of the film is one of the most iconic and tragic moments in MCU history.

"Hellboy II: The Golden Army" (2008) received an Oscar nomination for best makeup in 2009.

Critic Score:86%

It may not be recognized as a superhero film in the same vein as "The Avengers," but Hellboy is very much a classic comic-book character.

Written and directed by Academy Award-winner Guillermo del Toro, this sequel featured Hellboy and his team fighting in a supernatural war on humanity.

The trippy visuals of "Doctor Strange" (2016) earned it a best visual effects nomination at the 2017 Oscars.

Critic Score:89%

 "Doctor Strange" introduced Benedict Cumberbatch as the titular doctor who became infused with mystical powers.

This MCU origin story was visually distinct and had a standout cast featuring Tilda Swinton, Michael Stuhlbarg, and Mads Mikkelsen.

"Big Hero 6" (2014) won the award for best animated feature film at the 2015 Oscars.

Critic Score: 89%

Based on Marvel comics, "Big Hero 6" was an emotional roller coaster of a superhero movie.

The animated film follows the coming-of-age origin story of young genius Hiro Hamada. After discovering a robot that his late brother created, Hiro gathers a team of students and their robots to save Sanfrantokyo.

Though the film is not a part of the official MCU, Stan Lee still makes his iconic cameo in animated form. 

"X-Men: Days of Future Past" (2014) was one of three superhero movies nominated for best visual effects at the 2015 Academy Awards.

Critic Score:90% 

The time-traveling epic "X-Men: Days of Future Past" was a crossover between the old "X-Men" cast and the youngsters introduced in "X-Men: First Class."

Two timelines of heroes need to band together to save both worlds from assured destruction. 

Featuring all the "X-Men" favorites including Patrick Stewart as Professor X and both Ian McKellen and Michael Fassbender as Magneto, this was the ultimate "X-Men" crossover event.  

"Captain America: The Winter Soldier" (2014) was another visual effects nominee in 2015.

Critic Score: 90%

The sequel to "Captain America: The First Avenger" featured the return of Chris Evans in his now-iconic role.

This "Captain America" movie had a Cold War, espionage-thriller vibe to it that makes it distinct among the MCU canon. Its action-packed, twisty plot earned it a nomination for best visual effects.

The movie also introduced the world to Bucky Barnes (Sebastian Stan) as the Winter Soldier.

"Spider-Man" (2002) was nominated for best visual effects and best sound mixing in 2003.

Critic Score:90%

The first Sam Raimi-directed "Spider-Man" was a smash hit for the web-slinger.

Nominated for two Academy Awards, the Spidey origin story starring Tobey Maguire as Peter Parker and Kirsten Dunst as Mary Jane set the stage for the trilogy of "Spider-Man" movies that defined the decade of superhero movies.

No mention of this film is complete without acknowledging Willem Dafoe's unsettling performance as Norman Osborne/Green Goblin. 

"The Avengers" (2012) was nominated for best visual effects in 2013.

Critic Score:91%

The first big collection of the MCU minds assembled to defeat Loki in 2012.

The big climax of the first phase of the Marvel Cinematic Universe brought together Iron Man, Captain America, Thor, The Hulk, Black Widow, and Hawkeye to fight the ultimate battle. 

"Guardians of the Galaxy" (2014) received nominations for best visual effects and best makeup and hairstyling at the 2015 Oscars.

Critic Score: 91%

 Introducing the world to Peter Quill, Groot, and Drax, this take on the superhero comedy skyrocketed Chris Pratt to stardom.

An otherwise basic superhero plot about saving the world from a generic villain gained a great reputation thanks to its humor and lovable, diverse cast of characters. 

The Guardians went from being an obscure group of Marvel heroes to one of the biggest movie franchises in the world thanks to this successful debut.

"Birdman" (2014) received nine nominations and won three Academy Awards in 2015 including best picture.

Critic Score:91%

Although it's debatable whether or not "Birdman or (The Unexpected Virtue of Ignorance)" is a superhero movie, it's certainly the closest thing to one that has won best picture so far.

Michael Keaton was nominated for his performance as a washed-up actor known for playing the superhero Birdman.

The film is known for its appearance of only being shot in one take, and in turn, won the Academy Awards for best cinematography and best director.

"Logan" (2017) was the first superhero movie to get a screenwriting nomination.

Critic Score: 93%

This dark-yet-heartfelt send-off to Hugh Jackman's Wolverine was a groundbreaking superhero movie — the first to be nominated in a screenwriting category.

The violent and gory film finds Wolverine and Professor X at the end of their lives. Their final journey is to ensure a future generation of mutants survives to carry on their legacy. 

The film may have lost to James Ivory's "Call Me By Your Name," but it still marks a milestone for movies adapted from comic books and graphic novels.

"Spider-Man 2" (2004) was nominated for best sound mixing and best sound editing, and it won the best visual effects award at the 2005 Oscars.

Critic Score:93%

Until recently, "Spider-Man 2" was the superhero movie with the most Oscar nominations, and remains the only one with a win in the best visual effects category.

The sequel to 2002's "Spider-Man" featured the return of Tobey Maguire to the titular role, but this time he was facing off against Dr. Otto Octavius, portrayed in an emotive performance by Alfred Molina.

"Spider-Man 2" remains a stand-out superhero film, digging into everything that makes Spider-Man fragile, strong, and persistent as a character.

"Incredibles 2" (2018) was nominated for best animated feature at the 2019 Oscars.

Critic Score: 94%

This long-awaited follow up to a Pixar favorite delivered.

The crime-fighting Parr family returned in the series' second film, which follows through another one of their action-packed adventures — this time with Elastigirl at the center of the plot.

The film also added Bob Odenkirk and Catherine Keener as a brother-sister villain team.

"Superman" (1978) was nominated for three Oscars including best film editing, best original score, and best sound.

Critic Score:94%

The 1978 Christopher Reeve-led "Superman" was a landmark superhero movie.

Both critically acclaimed for its performances from Reeve, Marlon Brando, and Gene Hackman and financially a hit, it was an early Oscar superhero favorite that went on to receive a Special Achievement Academy Award for visual effects. 

It's the classic story of Superman versus Lex Luthor, but it was the first time comic fans got to see that story on the big screen done with this kind of budget.

"Avengers: Endgame" (2019) picked up a nomination for best visual effects.

Critic Score:94%

The conclusion to the epic Infinity Saga is one of the highest-grossing films of all time.

The final fight against Thanos involved time-travel and plenty of emotional character moments as the deaths of major characters were mourned, and torches were passed on to the next generation of Avengers.

"Iron Man" (2008) was nominated for best sound editing and best visual effects at the 2009 Academy Awards.

Critic Score:94% 

Although it was not technically the first movie in the MCU, it's safe to say Marvel movies would not be the same without 2008's "Iron Man."

Starring Robert Downey Jr., this origin story is about one of Marvel's most iconic superheroes and it helped officially kick off a new generation of superhero movies. 

"The Dark Knight" (2008) received eight Oscar nominations in 2009 and won the awards for best sound editing and best supporting actor.

Critic Score:94%

One of the few superhero movies to win multiple Oscars, "The Dark Knight" is Christopher Nolan's modern Batman classic.

This film took a more realistic approach to Heath Ledger's Oscar-winning performance as the Joker that inspired the 2019 film and was loved by critics and fans alike.

The movie, alongside "Iron Man," moved the needle for superhero movies to come.

"The Incredibles" (2004) won the Academy Awards for best animated feature and best sound editing at the 2005 Oscars.

Critic Score:97%

"The Incredibles" is one of Pixar's most critically-acclaimed movies. It also happens to be one of cinema's few original superhero stories.

In it, a family of superheroes must come together to save the world, and each other, from the supervillain Syndrome. The movie was also nominated for best sound editing and best original screenplay.

"Spider-Man: Into the Spider-Verse" (2018) won best animated feature at the 2019 Academy Awards.

Critic Score: 97%

This new look at what a Spider-Man story could be starred Shameik Moore as Miles Morales.

The beautifully animated "Spider-Verse" tells the interwoven stories of multiple Spider-people across different multi-verses.

They all must come together to save the world from destruction, but first, they must teach Miles what it means to take a leap of faith and become the Spider-Man his universe needs. 

"Black Panther" (2018) received seven nominations at the 2019 Oscars and won for best costume design, best original score, and best production design.

Critic Score:97% 

Currently, the most successful superhero movie at the Oscars is also tied for the highest-rated on Rotten Tomatoes.

The critically acclaimed "Blank Panther" is the story of T'Challa after the events of "Captain America: Civil War" and follows him in his return to Wakanda to claim his right to the throne

This tale about home, country, and rivalry featuring great performances from Chadwick Boseman and Michael B. Jordan is one of the most morally complex stories in the MCU.

Read More: 

• 10 of the most iconic villains in the DC universe
• The 11 best comic book movies of the 2010s
• 10 of the best and 10 of the worst superhero TV shows of all time
• Disney is opening an entire Marvel-themed 'Avengers Campus' park in 2020. Here's everything we know so far.

• Winning two Academy Awards this year, the film 'Ford v Ferrari' tells the story of the 1966 24 Hours of Le Mans endurance race.
• While the movie covers the race's underlying rivalry between Ford Motor Company and Ferrari, its true focus is on the two racing legends who helped develop Ford's program.
• We highlight the real story of 'Ford v Ferrari' with some of the details that didn't make it to the big screen.
• Visit Business Insider's homepage for more stories.

Narrator: In 1966, Ford Motor Company took on the biggest challenge it ever had taken before. The automaker's racing team attempted to win the 24 Hours of Le Mans, the world's most prestigious automobile race. The historic race and events leading up to it are the subject of 20th Century Fox's new movie "Ford v Ferrari" starring Matt Damon and Christian Bale. ​While the movie is packed with plenty of drama, action, and a few tears​, here's the true story of how Ford changed racing history." - Warning spoilers ahead.

The story begins three years earlier, in 1963. In an attempt to remedy his company's shortcomings against General Motors in the salesroom and on the track, Henry Ford II put together a deal to buy out Ferrari, who at the time owned the most dominant team in racing. His intent was both racing alongside the iconic Italian brand and spreading Ford's influence on a more global scale. However, when the deal went ​very ​sour...

Lee Iacocca: Mr. Ford, Ferrari has a message for you, sir.

Henry Ford II: What did he say?

Lee: He said Ford makes ugly little cars and ugly factories. And he called you fat, sir.

Narrator: It ignited one of the most famous rivalries in motorsports history. Ford decided there was only one place to ​truly g​et back at Ferrari - on the race track. Ford's race of choice? The 24 Hours of Le Mans, the world's most acclaimed endurance race that held more clout internationally than any other motorsport competition. The Detroit automaker would proceed to make a multi-million-dollar investment into its Le Mans program. However, Ford wouldn't only fare poorly at the 1964 Le Mans, but for the entire year overall, as not a single Ford car finished a race in the entire 1964 season. Growing more and more frustrated, Ford finally took the program to Carroll Shelby, owner of Shelby American Inc. and a former Le Mans winner himself, played in the film by Matt Damon.

Ford brought to Shelby its GT40 race car that its engineers had developed with the help of racing company Lola Cars. After the car's failures at multiple races in recent years, Ford gave Shelby one goal: win.

Henry Ford II: We know how to do more than push paper. Go ahead, Carroll, go to war.

Narrator: Integral to the GT's development would be Shelby team member Ken Miles, played in the film by Christian Bale. Miles was an English driver and mechanical engineer who had already played a major part in the development and success of Shelby's AC Cobra race cars. Miles helped the Shelby team address many of the Ford car's issues and did extensive testing on it. But after ​Ford chose to change out the car's engine at the last second before the 1965 24 Hours Le Mans, all of its GT40s failed to finish the race. Ferrari would go on to win, making it the brand's fifth Le Mans victory in a row.

As Ford's desire to take Ferrari down a peg grew, so did Shelby's commitment to the GT. The team and Miles continued their work, boosting the car's horsepower using some very "primitive" methods. As shown in one particularly memorable scene from the film, the team attached duct tape and cotton yarn to the car to assess the direction of airflow while the car was in motion. They discovered there were issues with the air ducting, and a few simple fixes helped add 76 horsepower to the car. They also proceeded to add lighter magnesium wheels, grippier tires, and better brakes.

As the 1966 racing season began, Ford's newly improved GT40 would win both the famous 24 Hours of Daytona and the 12 Hours of Sebring endurance races, both times with Miles behind the wheel. Suddenly the upcoming Le Mans held more significance than a potential victory for Ford over Ferrari. With his wins at Daytona and Sebring, a victory for Ken Miles at Le Mans would give the driver the triple crown, something that had never been accomplished in racing history.

Ford would enter eight cars into the 1966 24 Hours of Le Mans, with three of them managed by Carroll Shelby: one driven by Ken Miles and New Zealander Denny Hulme, the second team featuring American drivers Dan Gurney and Jerry Grant, and the third car piloted by New Zealand racers Bruce McLaren and Chris Amon. Meanwhile, Ferrari entered only two cars in the race, confident that after winning the past five races, a sixth victory was imminent.

In very anticlimactic fashion, Ferrari's two cars would fail to finish the race, with both being declared unable to continue by Lap 227. By the race's halfway point, it was clear that a Ford car would be taking home the trophy. But it was the race's end that would make the 1966 24 Hours of Le Mans one of the most controversial finishes in racing history.

As the final lap neared, three of Ford's car were at the front, with the lead two driven by Miles followed by McLaren. Miles had been driving record-setting laps, and the historic triple crown win for him was clear in sight. However, Ford's public relations team had other plans, opting for a literal "photo finish". Ford requested that Miles slow down and finish side by side with McLaren, for a picture that would truly emphasize the company's historic dominance at that year's race. After brief objection from Miles, he finally agreed to the decision, believing it would result in a tie for the entire Ford team.

But this wasn't the case as Miles and McLaren finished the race alongside one another. Instead of declaring the race a tie, Le Mans' organizers stated that the car that had covered the most amount of ground was the winner. Technically McLaren and Amon's GT40 had been lined up a mere 8 meters behind Miles' car at the start of the race. ​Despite being the fastest driver, Miles had lost. The controversial decision left Miles robbed of what would have been a historic victory and lifetime achievement. While the driver was left devastated by his unnecessary loss, Ford celebrated its win for American racing...and Big Money.

Despite his devastation, Miles didn't waste any time returning to the track, beginning work on Ford's newly developed J-Car in preparation for the 1967 season. However, just one month after Le Mans while testing the car at the Riverside course, Miles was killed in a horrific crash.

Thanks to the contributions of Miles and Shelby, Ford would go on to win the 1967, 1968, and 1969 Le Mans races and establish itself as a dominating force in the world of motorsports. However, Miles would remain relatively unheard of outside the racing community. Fortunately, his legacy has been brought to the public's attention with "Ford v. Ferrari". Although the film tells a story as much about tragedy as it is about triumph, it highlights the accomplishments of two men, one relatively unknown, who helped change the course of racing history in America.

SEE ALSO: What the 2020 Oscar nominees looked like behind the scenes

DON'T MISS: 'Bombshell' won the Oscar for best makeup and hairstyling. Here's how Charlize Theron transformed into Megyn Kelly

Join the conversation about this story »

• Taika Waititi spoke with Business Insider about his acclaimed Nazi satire, "Jojo Rabbit."
• Waititi wrote and directed the movie, and also stars as an imaginary Adolf Hitler who the main character talks to.
• Waititi said the first draft of the script was more dramatic and didn't include the Hitler character.
• Almost five years after Waititi wrote the script, Fox Searchlight said it wanted to make the movie, as long as Waititi played the Hitler character, "which was lunacy to me," Waititi said.
• Waititi won the best adapted screenplay Oscar at the Academy Awards on Sunday.
• Visit Business Insider's homepage for more stories.

This story was originally published on October 14, 2019, and has been updated to reflect Waititi's best adapted screenplay win.

Taika Waititi's eyes widen when he spots a couch in the room where his interview with Business Insider is set to take place. He goes straight for it and lies down, stretching across the entire piece of furniture. Moments later, he takes off his shoes to get even more comfortable.

Waititi will take relaxing moments when he can find them. His last few weeks have seen him pin-balling from Disney's huge fan event D23 in Los Angeles, to the Toronto International Film Festival, to the Fantastic Fest in Austin, Texas, and now back to LA.

But the actor-writer-director isn't complaining.

He's currently a hot commodity in every facet of his career. On the acting side, there's roles in anticipated projects like the Disney Plus series "The Mandalorian," the Ryan Reynolds comedy "Free Guy," and James Gunn's "The Suicide Squad." Waititi has also begun work writing "Thor: Love and Thunder" (coming out November 2021), the sequel to his successful first directing effort of a Marvel Cinematic Universe title, "Thor: Ragnarok." But what he's focused on most as he lies on the couch is his latest directing effort, "Jojo Rabbit" (in select theaters on Friday).  

Written, directed, and starring Waititi, the movie is a unique coming-of-age tale: Jojo (Roman Griffin Davis) is a young boy living with his mother (Scarlett Johansson) in Germany at the height of the Nazi regime during World War II. Jojo wants nothing more than to grow up to be a loyal Nazi and even has an imaginary friend who is a Nazi: Adolf Hitler himself (played by Waititi).

But the boy's life is thrown for a loop when he learns that his mother has been letting a Jewish girl hide in their house. 

In typical Waititi fashion, the story is original, full of heart, hilarious at times, and showcases the talents of its actors (particularly Johansson). All that adds up to a movie that you will hear more about as we get deeper into award season (especially after the movie won the audience award at the Toronto International Film Festival, which has led to Oscar gold for numerous past winners).

Business Insider spoke to Waititi about switching quickly from drama to dark comedy in the early drafts of writing "Jojo Rabbit," why he knew casting a major star to play Hitler was the wrong move, and what it was like to direct while in his Hitler costume.

This interview has been edited for length and clarity.


Jason Guerrasio: The source material for "Jojo Rabbit" is Christine Leunens book, "Caging Skies," but did your time spent in Berlin painting during your 20s influence the story at all?

Taika Waititi: No. I stole some of my friends' names that I grew up with while living in Berlin and put them in. While I was in Berlin, I was living the life of an artist so it was very free. Germany was very vibrant and liberal. The club scene was incredible. I think I drew more on the World War II films that I'd seen and some comedies.

Guerrasio: Speaking of watching war movies, was "Empire of the Sun" one of them? Because in some ways I compare the journey of Christian Bale's Jim character with Jojo's. 

Waititi: I definitely watched it in the last few years. I would have watched it to specifically look for something. 

Guerrasio: Even John Malkovich's character in that movie has a similar father figure-like relationship that Sam Rockwell's Nazi commander character has with Jojo. 

Waititi: Yeah. You're right. So there's that. "Alive Doesn't Live Here Anymore," that was more for the mother relationship. Ellen Burstyn is the greatest single mother character that's ever been committed to screen. She's so good in that. Having a mother who raised me by herself I was really struck by watching that film. And having kids myself, I also just fully realized how hard their job was. And not to just keep a kid alive, but to shield them from bullying and prejudice and the darkness of the world. Trying to keep their lives bright and happy even when you're feeling like s--t. Not to take it out on them, trying to raise a good person. 

Guerrasio: Scarlett Johansson's character is a mother who really knows how to keep her interactions with her son not as toxic as everything around them. Is that a character trait your mother had?

Waititi: When I was growing up I felt it was pretty chill but obviously there are certain things, and again, being a father now, there are just things kids do that piss you off. [Laughs.] With Scarlett's character I thought a little of [Roberto] Benigni in "Life Is Beautiful," where he is distracting his son from what's really going on around them. He never loses it at all. There's the one moment with Scarlett in the living room where she just snaps and then remembers herself. But I really wanted people to fall in love with her. I wanted the audience to see her as really the only grounded force in the film. Everyone else is running around like headless chickens and all she's trying to do is keep the kid safe. 

Guerrasio: Did you get any rehearsal time with her? I would think with her schedule you only had her for a limited time.

Waititi: Yeah, we just talked. We talked a lot about it. 

Guerrasio: Did you feel that was enough?

Waititi: Unless you are searching for something, I'm not really sure you need much rehearsal. I felt the script was really in a place where I was really happy with it, and if there was anything we were searching for dialogue-wise, we could just talk about it and go off and try to execute those notes. And then there's also having amazing actors. With Sam and Scarlett, you don't really need to overthink it. I've learned that over the years, if you know someone is really good and they're smart and you have had those homework discussions earlier then most of your work is done. 

Guerrasio: Let's change it up and talk about Hitler.

Waititi: I've brought this on myself. 

Guerrasio: It sounds like early drafts of the script didn't have him in the story, right?

Waititi: The very first draft didn't have him, but then I started all over again. 

Guerrasio: What was the lightbulb moment?

Waititi: The book, I'll be straight up, is not a comedy. It's very much dramatic. And I was just about to do "What We Do in the Shadows," and I felt then that I was only interested in doing this if it's a different story from these World War II films. Knowing myself, I knew eventually I was going to put humor into it somewhere. When I rewrote it, I just started typing and it just kind of wrote itself. It only took me a couple of weeks. And I don't usually start at page one but I started and basically wrote all the way through. And the Adolf character came about and the script hasn't changed that much since. It's really hard to explain because the only time it's really happened to me is with this script.

Guerrasio: So in the rewrite that's when things get outlandish. 

Waititi: Yeah. The first version wasn't a comedy. 

Guerrasio: That first draft was more true to the book?

Waititi: Yeah. I wrote the first draft with a friend of mine. It was brilliant but it just didn't feel like me. 

Guerrasio: And also you probably asked yourself, "Do you want to do a serious movie on this subject?"

Waititi:"Do I have to go to work and feel sad and angry all day." So I started again. I didn't even have this idea in my head of having this imaginary friend. I think I wanted to get rid of the father. I wanted to have this life in the house small and simple. Just the kid and the mother. In the book there's the kid, the mother, the grandmother, the father comes back and forth. There were just too many characters to try and do this. So I got rid of all of that and then just gave him a friend.

Guerrasio: How did you end up playing Hitler?

Waititi: It was never my intention. The furthest thing from my mind was me playing him. Then we shopped it around to a few agencies, not even specific actors, and asked, "What do you think of the script? Who do you think would work?" Back when we were getting this off the ground it was all about what actors are a box-office draw when it came to making period movies. So a lot of the investors said, "We need an A-lister to play Hitler." I could see why they would say that, but weirdly it's not like that anymore. 

Guerrasio: And if you cast a star, all I'm going to see in that role is that star.

Waititi: You're exactly right. So, let's come up with a name. Big movie star. 

Guerrasio: Um … Brad Pitt. 

Waititi: If it's the Brad Pitt Hitler movie that's all it's going to be known as. 

Guerrasio: It's true. 

Waititi: And he'll be the only thing on the poster and it will distract from the real heart of that story which are these kids. And I want to see a Brad Pitt anything movie but it would have taken away from what the story is trying to deliver. 

Guerrasio: So you have to take the role. 

Waititi: And it was [the movie's distributor] Fox Searchlight's decision.

Guerrasio: Really?

Waititi: After I finished shooting "Thor: Ragnarok" they came in and said they really loved the script. This is four or five years after I wrote it. They said they really want to make it but they said, "We're only interested if you play Hitler." Which was lunacy to me. 

Guerrasio: What was their pitch? Why?

Waititi: They made a good point which was that particular role is written a certain way and it needs to be handled by the person who invented that character. Part of it, like we said, is the celebrity distraction thing, but also because the way I wrote it, and because I knew how it needed to be played, it fell on me. And it actually made it easier to play because I didn't have to deal with someone else filtering what I was trying to do. They were right, looking back on it. If I worked with another actor maybe that person would have researched it too much or tried to do a more authentic version of Hitler and pulled away the buffoonery I was after.

Guerrasio: So what was it like on set directing in costume? 

Waititi: Yeah, it was horrible. 

Guerrasio: Did you address everyone on set the first day of shooting? "Sorry guys, it is what it is." 

Waititi: I did actually have to do that. I was just embarrassed on set. Having to be dressed like that and having to talk to people. Often I took off the mustache between set ups or put a hat on. Or I would take the jacket off. But still, you catch yourself in a reflection and you're reminded. For most people it's something like seeing themselves and going, "I forgot, I got a haircut yesterday." For me it was, "Ah, I forgot, I look like Hitler."

SEE ALSO: The Nazi satire "Jojo Rabbit" is a heartfelt coming-of-age comedy by the director of "Thor: Ragnarok" that feautures an amazing performance by Scarlett Johansson

Join the conversation about this story »

NOW WATCH: Watch the 20 details you may have missed in the new trailer for 'Birds of Prey'

• Laura Dern won the Oscar for best actress in a supporting role for playing Nora Fanshaw in Netflix's "Marriage Story."
• This is her first Oscar, as well as the streaming service's first acting win at the awards ceremony.
• The streaming service only won two of its 24 Oscar nominations, including best documentary feature for "American Factory."
• Visit Insider's homepage for more stories.

Laura Dern won best actress in a supporting role at the 92nd Academy Awards on Sunday for playing divorce lawyer Nora Fanshaw in Noah Baumbach's"Marriage Story."

The actress was the favorite to win the category this year, having already taken home a BAFTA, Screen Actors Guild Award, and Golden Globe for her role in the movie.

This is her first Oscar win, as well as the first time that an actor has won an Academy Award for a film distributed by a streaming service — in this case, Netflix.

Dern gave a shout-out to Netflix film head Ted Sarandos and content chief Scott Stuber, as well as the "Marriage Story" cast and crew, and her parents.

Dern also made a point to thank both her "Marriage Story" director, Noah Baumbach, and her "Little Women" director, Greta Gerwig (who was nominated for best adapted screenplay and is Baumbach's partner).

"Thank you, Noah, for your words, and for your friendship in art and life, with you and Greta," she said in her acceptance speech.

Later, when a journalist in the Oscars press room asked the actress which female directors she would have nominated at this year's ceremony, Dern responded, "If I could give this Oscar to Greta Gerwig, I would do it right now."

"I share this [award] with Noah and Greta as well, who I spent my year with in art and friendship and now, doing press for both films," she added.

Netflix's only other win of the night was best documentary feature for "American Factory," despite the fact that its original films received 24 collective Oscar nominations (the most of any studio this year).

Other heavily nominated Netflix films, such as Martin Scorsese's"The Irishman" (which received 10 nominations) and "The Two Popes," went home empty-handed. Both "Marriage Story" and "The Irishman" were nominated for best picture, although they lost out to Bong Joon Ho's "Parasite."

Additionally, Netflix originals "Klaus" and "I Lost My Body" were nominated for best animated feature.

The service has become more prominent at the awards ceremony in recent years, and reportedly spent over $100 million on its 2020 Oscar campaigns.

Last year, Netflix received 15 nominations, and won best director, best international feature film, and best cinematography for Alfonso Cuarón's "Roma." However, the film's success stirred controversy, with directors like Steven Spielberg even suggesting that movies released both in theaters and on streaming platforms should be barred from Academy Awards consideration.

These comments clearly haven't shut Netflix out of awards conversations, but the streaming service has a ways to go before they win more of the Academy's top prizes.

Join the conversation about this story »

NOW WATCH: Apple forever changed the biggest tech event of the year by not showing up

• Business Insider spoke to Roger Deakins about how the weather was a major challenge in pulling off the unique continuous single shot visual in "1917." 
• Deakins won the best cinematography Oscar for the second time at the Academy Awards on Sunday.
• Visit Business Insider's homepage for more stories.

This story was originally published on January 14, and has been updated to reflect Deakins' best cinematography Oscar win.

Roger Deakins has dazzled moviegoers for decades with visuals that have gone on to become the most memorable in modern film history.

The frigid vistas in "Fargo," the dreamy Western plains in "The Assassination of Jesse James by the Coward Robert Ford," the gritty underground world of drug cartels in "Sicario," and the washed out future in "Blade Runner 2049" (which finally earned him his first-ever Oscar), all came from Deakins.

It's hard to imagine he could do anything that would top this legendary body of work.

But he has with "1917."

Marking Deakins' latest collaboration with Sam Mendes (the two worked together on "Jarhead,""Revolutionary Road," and "Skyfall"), the story follows two British soldiers during World War I who have to travel behind enemy lines to deliver a message that will stop 1,600 of their allies from walking into a trap. And in telling that story, Deakins makes it feel like the entire movie is done in one continuous shot.

The hugely ambitious idea paid off. The movie, currently in theaters, has found critical acclaim, box-office glory, and award-season praise as it won three Golden Globes (including best director for Mendes and best drama) followed by 10 Oscar nominations.

Among them was Deakins for best cinematography, the 15th time he's been nominated.

If you were looking for a sure bet this Oscars, it's that Deakins will take home his second Oscar when the awards are handed out on February 9. But don't count on the man himself to get too excited.

The 70-year-old Englishman has been the frontrunner too many times before, only to leave empty-handed, to listen to any Oscars handicapping. In fact, he's so modest it's hard to get many details out of him on how he actually pulled off the ambitious shooting technique that has become the biggest draw of the movie.

"We had a lot of prep and we could just work through all the problems," he said in a laid-back tone to Business Insider hours after the Oscar nominations were announced on Monday.

But finally he let out something that did scare him. It was something that even a legend like himself, who has come across seemingly every scenario behind the camera, could not control: the weather.

"That was a bit tricky," he said, with just the hint of dry English humor.

Most of "1917," which takes place over two days, is shot over grey skies. The gloom adds to the despair of the story's war-torn surroundings. But Deakins said it was also a choice he kept pushing for early on in preproduction.

"Just practically we had to shoot in cloud," he said, looking back. "Either you shoot it in real time, at the right time of day, which you never do unless you have months and months of time. Or you shoot in cloud and time it to look that way."

Knowing most of the filming would be done at Shepperton Studios in Scotland, the movie's production office looked up what the weather was in the area the year before at the time they were going to shoot. Deakins was disappointed in the answer: "Apparently it was gorgeous."

But the movie moved forward, which included Deakins and his team rehearsing the shots constantly with the small, light-weight cameras made especially for the movie from Arri Alexa.

Everyone was ready when the first day of shooting came in April of last year, but there was one problem.

"There wasn't a cloud in the sky," Deakins said. "It certainly made me anxious."

While producers were on the phone explaining to the studio, Universal, and financiers why they couldn't begin production because the weather was too nice, Mendes, Deakins, and the rest of the actors and crew were back to rehearsing in the trenches made for the movie.

Thankfully, the second day was a cloudy one and production was able to get back on track as they also made up the previous day's shooting. Deakins said that's how it was for most of production. If clouds weren't in the forecast, everyone waited around until the day came when there was — and then everyone doubled their efforts to stay on schedule.

"We would literally stand around for hours waiting for a cloud to come by," Deakins said. "I had five different weather apps on my iPhone. Every radar I could get. You look at them and try to find the one that will tell you what you want."

Then the day came when he wanted some sun. At the end of the movie, for a shot where the movie's lead, Schofield (George MacKay), is sitting by a tree, Deakins said he wanted the shot to show some rays of sunlight in the sky.

"There was this little cloud coming over the sun so before we shot that section we called everyone over and said, 'Let's shoot it, we might get lucky,' and sure enough when it got to the end of the take the sun came out," he said.

"That was the first take," Deakins continued, with a certain pride he didn't show earlier in our conversation. "We shot it another fifteen or twenty times, but Sam liked that first one. And it was the only one where the sun came out. We never got that again."

Looking back on the experience, Deakins said he would be up for shooting a movie again like this — though he wonders if anyone would want to.

"I don't think many directors would want to tell the story in that way," he said. "But it doesn't scare me off at all. It would be quite fascinating to do it on something else."

It's good to see that even a legend has dreams for what the future could hold.

"1917" is currently playing in theaters.

SEE ALSO: The 11 worst 2020 Oscar snubs — from Jennifer Lopez to Robert De Niro to female directors

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• "1917" was the first movie to be shot on the Arri ALEXA Mini LF.
• The movie's cinematographer, Roger Deakins, hand picked the camera because it could provide a top-quality cinematic look, but was small in size.
• This was vital, as the camera was navigated through some tight areas to pull off the single-shot feel of the movie.
• Deakins won his second best cinematography Oscar at the Academy Awards on Sunday.
• Click here for more BI Prime stories.

This story was originally published on January 24, and has been updated to reflect Deakins' best cinematography win.

A major reason why director Sam Mendes' latest movie, the World War I epic "1917," is the frontrunner at this year's Academy Awards is the edge-of-your seat experience that comes from its single-shot feel.

As we follow two soldiers who heroically go behind enemy lines to deliver an important message to a commander, the entire movie is made to resemble one continues shot (outside of a moment in the middle of the movie when the screen goes black).

To pull this off, the movie's cinematographer, Oscar winner Roger Deakins, had to map out a way his crew could navigate through muddy trenches and attach the camera seamlessly to rigs without any breaks in the action. And he also needed a camera small enough to do it all.

Typically, the smaller the camera, the less epic the feel of the footage being shot (because often lenses used for major motion pictures can't fit onto them). But Arri, one of the leading designers and manufacturers of cameras, was able to create something that gave Deakins the look he needed.

"1917" became the first movie to use the ALEXA Mini LF. It's a camera that has a large-format sensor, which is perfect for shooting in natural light (which is Deakins' specialty), but has a miniature body (it's the size of a small radio), making it possible to fit in cramped spaces.

The outcome is a breathtaking visual experience that could earn Deakins his second Oscar.

Here's how the ALEXA Mini LF was used in the movie:

SEE ALSO: The movie business is taking a hit from the Wuhan coronavirus, as nearly 70,000 theaters close in China and Shanghai Disneyland shuts down

A lucky start.

During the summer of 2018, Deakins went to Arri to discuss a miniature version of the ALEXA LF. The cinematographer felt it was the perfect camera to bring Mendes' story to life, but the issue was the original camera was too big for the intimate shots needed in the movie.

Luckily for Deakins, Arri was already developing a mini.

A race to the beginning.

By February 2019, a prototype of the ALEXA Mini LF was sent to Deakins. He and his team began doing camera tests to see if it would in fact work for "1917." That included not just trying out lenses, but also the proper rig that the camera operator would wear while filming.

To say Deakins was under the gun would be an understatement. Production on the movie was to start in two months.

Stand around and wait — for a cloud.

The team decided that the Mini LF was the right camera. Using Signature Primes lenses and a Trinity rig, Deakins and his team were ready to rock. The only problem was they needed cloud coverage.

Deakins decided in preproduction the best way to make the movie's look consistent throughout was to shoot it in overcast skies. But on the first day of shooting there was not a cloud in the sky.

Production was scrapped for the day.

"It certainly made me anxious,"Deakins told Business Insider.

However, the DP said the day allowed him and his team to continue rehearsing. Then the following day, which was full of clouds, they were so prepared they shot everything they needed to do on the day — plus made up what they missed the day before.

The Deakins seal of approval.

Looking back on production, Deakins said in a promotional video for Arri that the ALEXA Mini LF was one of the smallest cameras he'd ever used, but that compared to the standard LF camera Arri makes, ALEXA was superior.

"If you study it on the big screen it's remarkable the difference in quality," he said. "That's what struck me the most."

It certainly has blown away audiences. Along with winning the best picture (drama) prize at the Golden Globes, and being the frontrunner to take home the best picture Oscar, the movie has brought in close to $150 million at the worldwide box office. 

• The fourth installment in the "Toy Story" franchise achieves a level of detail and realism unseen in any Disney-Pixar film.
• See how it all came together at the Pixar studios and how the geniuses at Pixar brought beloved toys like Woody, Bo Peep, and Buzz Lightyear to life in their most naturalistic forms yet. 
• We explain Pixar's production pipeline, start to finish — from the story and artwork stage; moving onto 3D computer modeling, shading and surfacing, layout, voice acting, character animation, simulation; and ending with lighting, effects, scoring, sound mixing, and final render.
• Visit Insider's homepage for more stories.

Following is the transcript of the video.

Narrator: If you've seen "Toy Story 4," you've probably noticed that Pixar's animation doesn't neglect any detail, no matter how small. From dust particles in the antique shop to subtle signs of aging on the toys, it's all there, rendered incredibly realistically on the big screen. So how exactly did Pixar bring this intricate world to life? Let's take a look at the fascinating process that created "Toy Story 4," from start to finish.

For "Toy Story 4," as for all Pixar films, story comes first. While the writers draft the script, story artists work alongside them, making preliminary sketches for each scene in the film. These sketches, called storyboards, give the Pixar team an idea of how each scene will go down. Editors then cut the storyboards together into an animatic, or story reel, basically a long, detailed flipbook that reflects the pace of each sequence. The story reel is edited with rudimentary sound effects, a scratch soundtrack, and temporary dialogue that's been prerecorded by Pixar employees. It serves as a rough draft for the movie, allowing the filmmakers to get an idea of how the story will unfold and hone the sequences before having them animated.

Once the storyline is set, the art department and production designers get together to create concept art for the characters and their environments. Meanwhile, character artists lay out how each toy will look in the film. For "Toy Story 4," character design involved a lot of research into the toys themselves: how they're made, how they age, and everything in between. The character team found their perfect villain on field trips to antique shops, where they'd often spot vintage dolls lurking in corners. There, the idea for Gabby Gabby was born. This newcomer is a talking doll from the 1950s, and she's designed to come off as very toylike in a way that might even give you the creeps at first. On the other hand, it's all warm fuzzies when we meet Ducky and Bunny, a pair of carnival-prize toys voiced by Keegan-Michael Key and Jordan Peele. Their loud, bright colors, cheap-looking plush, and sheen finish were designed to look authentic for the kind of toy you'd win at a carnival game: not the highest in quality, but lovable nonetheless.

The character artists also decide on wardrobe. They steered clear from any major changes to most of the toys' signature costumes. But they wanted to update Bo Peep's look to reflect her resourcefulness and sense of adventure, aspects of her character that weren't fully explored in the earlier "Toy Story"s. So they came up with a convertible costume that allowed Bo to repurpose elements of her outfit on the fly, even turning her dress into a bag or a cape when it suits her.

Another key step in the visual development of the film is the creation of color scripts, these digital illustrations that kind of look like impressionist paintings from the 19th century. Each picture depicts a single frame in the movie, helping filmmakers start to define the style, lighting scheme, and general mood of each shot and figure out how the colors in each scene will relate to the overall storyline.

All of these illustrations provide reference material for the next stage of computer modeling. This is when the toys and their environments begin to take form in three-dimensional space. Modeling artists take the basic shapes of the characters, sets, and props and mold them into a 3D mesh, then sculpt and refine these builds until they're satisfied. In constructing the sets, scale was a chief concern, as the artists wanted to accurately represent the diminutive size of the toys relative to their surroundings. To nail down that contrast, they photographed models of the toys interacting with objects out in the real world, then used those photos for reference. The character models require an extra step.

Al: So how long is this gonna take?

Geri: You can't rush art.

Narrator: They get rigged with a movable skeleton, which has controls placed around its face, its joints, and the rest of its body, like a really advanced digital puppet. Animators will then be able to manipulate the character's movement using its unique set of controls, making it act and emote in precise ways as the story requires. So the characters can now move, and they have sets to move around in, but something's missing. Neither the characters nor their sets have any surface characteristics, making everything kind of fall flat. That's where shading, or surfacing, comes in.

Shading artists' job is to furnish the 3D models with the kind of textures, finishes, and tints they'd have in real life, lending them visual complexity and charm. Some of this work is done using shaders, computer programs that know how to simulate a range of materials like plastic, fabric, metal, wood, glass, hair, or skin. Clever software proved useful for the 10,000 items that filled the antique shop. Shading-art director Laura Phillips said her team saved time by developing a language of three different ages for the many items in the store: fairly new, moderately aged, and extremely aged. They applied varying degrees of texture to the objects according to that visual language. But a lot of the shading was done by hand, especially for the most central and visible items, like the carnival game where Buzz accidentally lands himself. The sets team reasoned that in a traveling carnival, games like this one would have to be quickly assembled, torn down, and stowed away, so they'd probably look a little beaten up. To capture that, artists painted welding marks on the grid backdrop of the booth. This fit the game's shabby look, with its slightly warped metal bars and visible rusting.

Of course, special attention was also lavished on the shading of the characters. For plastic toys like Woody and Buzz, the shading artists created an algorithm to simulate the effect of light penetrating a slightly translucent surface, such as plastic. Meanwhile, they added subtle signs of wear and tear to the toys to reflect their histories. The threads on Woody's clothes have started fraying. There are dirt smudges on his hand and chin. And the seam on his vest has worn thin. Buzz has plenty of scratches of his own, especially near his joints, and his stickers have begun to bubble, pucker, and peel. You can also see felt poking out of certain spots on Jessie's hat. These specific scuffs towards the front of Gabby's shoes could only result from the distinct walking style of an older doll like her. The scratch effect on Forky's cheeks indicates his past life as an eating utensil. And Bo's porcelain shows signs of crazing, the type of micro-cracks that appear in the glaze of ceramics.

Now that the characters have started looking more tangible and real, the cast members visit the studio to record their voice performances. The sessions are filmed so that the actors' expressions can guide their characters' facial animations later on. Before that, though, is layout, when the characters are set up in front of a virtual camera. Layout artists in an animated movie function similarly as a camera team would in any live-action movie. Guided by the storyboards, they place the characters appearing in a scene into the appropriate set, arrange the characters in front of the camera, and block out their basic movements within the right camera angles. At this point, the sets may not be completely dressed yet, meaning more props might be added later on. But layout helps the set dressers determine the best placement of every object within the composition of each shot. Once the scenes have been staged, the animation team gets them moving, bringing all the primary and secondary characters to life.

Sid: The toys are alive! Nice dolly...

Narrator: Each character is defined by up to 1,000 avars, or hinges that are built into their skeleton. If the animators are like puppeteers and the characters are their puppets, the avars represent the strings on a puppet, points of possible movement that the animators manipulate to make their characters act and emote. Every day, the animation department comes together to analyze the one or two seconds of film they've just put into motion and talk about ways they can make those few seconds even more expressive.

Since the shots in Pixar films are so complex, it can take eight weeks or more to animate a single shot. The character animation is also highly specific. The way each character moves in "Toy Story 4" was informed by what type of toy they were and what personality traits they gave off. The story and character artists imagined the Bo Peep of "Toy Story 4" as a kind of graceful, agile road warrior, so the animators looked to reference footage of ballroom dancer Sharna Burgess, gymnast Aly Raisman, and "The Bride" from "Kill Bill." The way Bo wields her shepherd's hook was informed by footage of javelin throwers, martial-arts pros, and, of course, Rey from "Star Wars." In contrast, animators gave Gabby Gabby more doll-like movement that'd be consistent with an old-fashioned pull-string doll of her variety. Her weighted eyes blink slowly, closing when she's horizontal, and she mostly moves from joints in her hips, shoulders, and neck.

While the animation team choreographs characters' movements and facial expressions by hand, the simulation team uses computer programs to lay down the movement of other elements like fur, weather, or clothing. These phenomena interact with other components of a shot in ways that are largely defined by science. How much does a cat's hair move? How fast do raindrops fall? How much does a specific garment shrink or stretch? Pixar builds physics-based simulators that govern how these textures should behave onscreen. This saves the animators from doing impossible tasks by hand, like, for instance, animating each strand of hair on Gabby's head individually. Of course, simulation isn't solely dictated by science. The sim team balances math and physics against artistic considerations. One example is the fur on Ducky and Bunny. Its behavior is largely based on ostrich feathers and the fake feathers used on the Muppets. But according to simulation supervisor Henry Garcia, they found that Ducky's tuft was 10% funnier if they let it stay alive a little bit longer after he stops moving. The result is adorable.

Once the motion feels alive and believable, the lighting team comes in to illuminate the characters and sets. Using software that mimics the physics of light, Pixar adds hundreds of virtual light sources to each scene. The lights are strategically placed to draw attention to story points or to cultivate a certain mood. The antique shop, for example, appears bright towards the front but grows dark as you move deeper into the store, heightening the drama. Tonal variation is important. Bonnie's school appears cool and intimidating at first, but that changes once she gets to her classroom. There's warm light streaming through the window where she creates Forky, emphasizing the birth of new life. The carnival lighting establishes a very different energy, with multicolored marquee lights and Ferris wheel lights creating a sense of chaos and excitement. And inside the pinball machine, low-level lighting and fog create a cool aura, making it feel like an ideal hangout spot for the toys. After all the images are lit, rendering gets underway. This is when all of the digital data that makes up the motion picture gets translated into actual frames of film, 24 of them for each second of the movie.

At last, it's time for the final touches on shading, lighting, and effects. It's up to the effects artists to perfect the amount of dust and atmosphere in each image, varying the levels until they get their ideal look. That, of course, depends on setting. They wanted a lot of dust particulates in the antique shop, while at the carnival they emphasized the dirt kicked up from the ground. They also gave the air around the toys a richer texture than the air around the human characters to highlight just how tiny these toys really were. After the final frames are rendered, the film gets scored and sound-mixed. Five years and many, many late nights later, the fourth "Toy Story" is finally ready for viewing. Pixar's painstaking attention to detail draws the audience into the unique world perspective of the toys and makes watching "Toy Story 4" a totally immersive experience.

EDITOR'S NOTE: This video was originally published in July 2019.

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• "Parasite" swept Sunday night's Oscars and became the first non-English-language movie to win best picture.
• For fans just getting into the work of director Bong Joon Ho and the world of South Korean movies, there are plenty of other excellent films to watch.
• Bong's signature wit, dark humor, and thrilling plots have been on display his entire career.
• Visit Insider's homepage for more stories.

"Parasite" was the big winner of the 2020 Oscars, sweeping the board with best picture, director, original screenplay, and international film.

It was the night that introduced director Bong Joon Ho to millions of more people, and which will almost certainly result in a new wave of theater-goers watching his celebrated thriller.

For fans of Bong, it's a crowning achievement. He's been a fixture on the international film festival circuit for decades. The win for "Parasite"— which also won the coveted Palme d'Or at the Cannes Film Festival last year — is gratifying for his champions, including director Quentin Tarantino who, as Bong pointed out in his best director speech, has been instrumental in bringing his work to the English-speaking world.

The acclaim for "Parasite" also brings attention to the world of South Korean cinema. Bong's peers — including his friends Park Chan-wook ("Oldboy,""The Handmaiden"), Kim Jee-woon ("The Good, the Bad, and the Weird"), Lee Chang-dong ("Burning,""Poetry"), and Hong Sang-soo ("Right Now, Wrong Then") — have all made some of the best-reviewed movies of the past few decades.

For people discovering Bong's work through "Parasite," there's a wealth of other incredible movies to watch.

"Parasite" isn't even the best he's ever made.

7. "Barking Dogs Never Bite"(2000)

Bong's debut film — about a professor so annoyed by the sound of barking dogs in his apartment building that he kidnaps them — isn't generally considered his best. But it established the hallmarks of his future work: The premise is ridiculous, the genres and moods blend effortlessly, and it's funny.

6. "Okja" (2017)

"Okja" is Bong's only movie suitable for children, and one of his two movies with a lot of English-language dialogue. It's about a girl who befriends a genetically modified "super pig" named Okja, and tries to rescue it when the multinational corporation that developed it wants her back.

As I wrote in my 2017 review, Bong made the movie after the critical and commercial success of "Snowpiercer," his other largely English-language movie. He also got a big budget from Netflix.

All of that gave him the creative freedom to get weird. And it pays off. It's a fantasy epic in the vein of Steven Spielberg's "E.T. the Extra-Terrestrial" and Hayao Miyazaki's "Princess Mononoke." Tilda Swinton and Jake Gyllenhaal give unhinged supporting performances, and Bong goes all-in with a message about the horrors of factory farming.

The movie is also notable for being Bong's first collaboration with Choi Woo-shik, who starred in the South Korean blockbuster "Train to Busan" and was later cast in "Parasite."

5. "The Host" (2006)

It's easy to see why "The Host" was, for a time, the highest-grossing South Korean movie of all time.

The movie centers on a dysfunctional family trying to save one of their own from a vicious monster living in the Han River. It's also a political critique of Americans who invade other countries without regard for the locals, and the inept bureaucracies that make every problem worse.

At its heart, though, it's a moving, funny, and thrilling story about finding family in the most unexpected places.

4. "Memories of Murder" (2003)

Bong's second and breakthrough movie, based on a true story, is about a pair of mismatched detectives trying to crack the case of Korea's first serial killings, in the 1980s.

It established the director as a master of tonal shifts. The movie has the odd-couple comedy you'd expect. But more than that, it's a gripping procedural that digs deep into the anguish of the families of those killed and the despair of the officers unable to save the victims.

The movie was also Bong's first time working with Song Kang-ho, who later starred in "The Host,""Snowpiercer," and "Parasite."

The case was still unsolved as Bong made the movie, but South Korean authorities said they found the killer as he was campaigning for "Parasite" in September.

3. "Parasite" (2019)

"Parasite" melds all of Bong's ideas about class inequality, which have stirred through his movies throughout his career, and plotted them out into a masterpiece.

The coiled thriller, about a poor family that entangles their lives into a wealthy one (until everything goes wrong), catapulted Bong to international fame, winning the Palme d'Or at the Cannes Film Festival and best picture at the 2020 Oscars.

It's a movie working on all levels, with metaphoric set design and lines that carry the movie's message all the way to the unexpected end.

2. "Snowpiercer" (2013)

Bong's sci-fi masterpiece has all of the class-warfare ideas he refined in "Parasite." But here, they're scaled up to the level of a blockbuster. Starring Chris Evans, Song Kang-ho, and with a delightfully bizarre turn from Tilda Swinton that foreshadowed her work in "Okja,""Snowpiercer" has only gotten more socially relevant with time.

It takes place in a future wrecked by climate change, where all life survives on a single train circling the globe. The poor are in the back, feeding on scraps and fighting to live. In the front are the wealthy, partying away on the last days of the planet.

With its violence, humor, and moral righteousness, it's Bong at his best.

1. "Mother" (2009)

No, not the lowercased Darren Aronofsky movie starring Jennifer Lawrence. Bong's "Mother" is his funniest — and riskiest — endeavor. A decade later, it holds up as his best movie.

Like "Parasite" and "Memories of Murder," it takes place on a smaller scale but has Bong's signature vicious wit. In a small South Korean town, a young man with an intellectual disability is accused of murder. His mother, an elderly woman with an unlicensed acupuncture practice, tries to clear his name. "Mother" borrows in tone from Coen brothers' dark comedy crime classics like "Fargo" and "Barton Fink." The movie also had a small role for Lee Jung-eun, who later memorably played the housekeeper in "Parasite."

Bong pulls off the tricky balance of making a movie featuring a character with an intellectual disability, the righteous rage at a society that doesn't take his needs seriously, and a caring mother whose love is the beating heart of the story.

"Mother" remains his crowning achievement.

• "Parasite" director Bong Joon Ho made history at the 2020 Academy Awards when his film won both best international feature and best picture.
• His charming acceptance speeches and reactions to the "Parasite" sweep were among the highlights of the awards ceremony.
• For instance, Bong gave a shout-out to legendary filmmaker Martin Scorsese, and reacted to his best director win by saying, "I will drink until the next morning."
• Visit Insider's homepage for more stories.

"Parasite" director Bong Joon Ho made history at the 2020 Academy Awards. He took home four Oscars (best original screenplay, best international feature, best director, and best picture), becoming both the first South Korean filmmaker to win an Oscar and the first director to win best picture for a film not in the English language.

Despite previously referring to the Oscars as a "very local" awards show, the director's charming acceptance speeches and reactions to the "Parasite" sweep were among the highlights of this year's ceremony.

From giving Martin Scorsese a sweet shoutout to making his Oscar statuettes kiss, here are the best Bong Joon Ho moments from the 2020 Oscars.

Bong started the night off strong by getting candid on the red carpet.

When Entertainment Tonight asked the director how he came up with the idea for "Parasite" on the red carpet, he simply responded, "Because I'm a f—ing weirdo."

Some fans noticed how similar the director's response sounded to Jughead's (Cole Sprouse) "I'm a weirdo" monologue on "Riverdale."

The director lovingly giggled and stared at his first Oscar of the night.

Bong's first win of the night was best original screenplay, which, as he mentioned in his acceptance speech, was the first Oscar ever awarded to a South Korean film.

But when his co-screenwriter Jin Won Han took the microphone to give his own speech, many viewers noticed the director staring down at his award and laughing in disbelief in the background.

He previewed his night out while accepting the Oscar for best international feature film.

Throughout the night, the director mainly spoke in Korean and gave his acceptance speeches via translator Sharon Choi, before giving a few English sentences for effect.

Perhaps the best of these remarks came when he accepted the Oscar for best international feature film and told the audience, "I'm ready to drink tonight. Until the next morning."

Bong gave a sweet shout-out to his fellow nominees after winning best director.

"When I was young and studying cinema, there was a saying that I carved deep into my heart, which is 'the most personal is the most creative'" he said via translator, before interjecting in English, "That quote was from our great Martin Scorsese."

Bong went on to pay tribute to the iconic director, whose films he studied in school.

The director also thanked Quentin Tarantino for introducing American audiences to his films, and added that he would "like to get a Texas chainsaw, split the Oscar trophy into five and share it" with his fellow nominees, which included Sam Mendes ("1917") and Todd Phillips ("Joker").

He was ecstatic upon accepting his historic best picture win.

The audience erupted in cheers as "Parasite" became the first international film to take the top prize at the Academy Awards.

The director apologized for having "too many" Oscars at the engraving station.

Since he won four Oscars, Bong was at the engraving station for a while as they added his name to the statuettes.

"I'm so sorry for all this," he said to the engraver. "Hard work. Too many."

He continued celebrating with two of his Oscar statuettes.

Finally, the director did what any of us might do if we were holding two Oscars — he made them kiss.

• "Parasite" made history in more ways than one when it took home the night's biggest honor, Best Picture, at the 92nd Academy Awards.
• It became the 12th movie in Oscar history to win Best Picture without earning a single nomination in the acting categories.
• The first time this ever happened was at the first Oscars ever in 1929, when "Wings" won Best Picture.
• It also happened to the cast of "Braveheart,""The Last Emperor," and "Slumdog Millionaire."
• Visit Insider's homepage for more stories.

An unimaginable amount of time, effort, money, and creativity go into making a movie — especially one that wins four Academy Awards and becomes the first film not in English to win Best Picture, among numerous other records across this awards season.

But, perhaps puzzlingly, the cast of "Parasite" failed to earn a single acting nomination this year, even though it seems counter-intuitive that the best movie of the year didn't have any of the best performances.

This has only happened 11 other times in Oscars history — keep scrolling to learn more.

The very first Best Picture winner was "Wings" in May 1929. It won one other award, Best Engineering Effects.

"Wings" is a silent film set during World War I, starring Clara Bow, Charles Rogers, and Richard Arlen — it's the only silent film to ever win Best Picture. (In fact, all the nominated movies at the first ever Academy Awards were silent.)

None of the actors received nominations, but the movie did get one other Oscar nod, for Best Engineering Effects, which it would go on to win.

"All Quiet on the Western Front" took home Best Picture in November 1930, as well as Best Director for Lewis Milestone.

"All Quiet," which is based on the World War I novel of the same name by Erich Maria Remarque, was directed by Lewis Milestone. It stars Louis Wolheim, Lew Ayres, John Wray, Arnold Lucy, and Ben Alexander. However, none of the actors were acknowledged by the Academy.

"All Quiet" was also nominated for Best Writing and Best Cinematography, but lost. 

Not only was "Grand Hotel" snubbed in the acting categories at the 1932 Oscars, it remains the only film to be named Best Picture without receiving any other nominations.

"Grand Hotel" follows the exploits of various guests of the Grand Hotel in Berlin post World War I. It stars Greta Garbo, John Barrymore, Joan Crawford, Wallace Beery, Lionel Barrymore, and Lewis Stone. It was directed by Edmund Goulding.

While it was deemed the best film of the year, apparently none of the individual components were worthy of a nomination. It was shut out of every other category, a feat that has yet to be repeated.

"An American in Paris" received eight nominations — none of which recognized the cast.

"An American in Paris,"a musical comedy starring Gene Kelly, Leslie Caron, Oscar Levant, Georges Guétary, and Nina Foch, is a beloved film. It won six Oscars: Best Picture, Best Story and Screenplay, Best Score, Best Art Direction (Color), Best Cinematography (Color), and Best Costume Design (Color). It was also nominated for film editing and its director, Vincente Minnelli.

However, no one, not even American icon Kelly, was recognized for their acting.

"The Greatest Show on Earth" was nominated for five Oscars and won two: Best Picture and Best Story.

"The Greatest Show" is about the lives of circus performers at the Ringling Bros. and Barnum & Bailey Circus. Betty Hutton, Cornel Wilde, and Hollywood legends Charlton Heston and James Stewart all star. It was also directed by legendary director Cecil B. DeMille, who has an entire Golden Globe lifetime achievement award named after him.

However, none of the actors received an Oscar nod. Instead, DeMille was nominated for directing, and the movie was also nominated for Best Costume Design (Color), and Best Film Editing. It won for Best Story.

Epic film "Around the World in 80 Days" won five Oscars, but its stars didn't receive any love from the Academy in 1957.

"Around the World in 80 Days," based on the Jules Verne novel of the same name, stars David Niven as the iconic explorer Phileas Fogg, Cantinflas as his loyal manservant Passepartout, Shirley MacLaine as Fogg's love interest Princess Aouda, and Robert Newton as the determined Inspector Fix — none of whom earned a nomination.

Instead, the film took home Best Picture, Best Adapted Screenplay, Best Score of a Drama or Comedy, Best Cinematography (Color), and Best Film Editing. It was also nominated for its costume design, art direction, and director, Michael Anderson.

In 1959, "Gigi" broke the record for most Oscar nominations for a single movie, with nine nods — and nine wins — though none of them went to the actors.

"Gigi," which is the story of a young woman in turn-of-the-century Paris training to be a "courtesan"— a sex worker — and her older male companion who eventually falls in love with her. And it's a musical!

The film stars Leslie Caron as the titular character, Louis Jordan as her love interest, Hermione Gingold as Gigi's grandmother, and Maurice Chevalier as, essentially, the narrator.

While none of them were recognized for their performances, the film did win Best Picture and Best Director for Vincente Minnelli, as well as for its screenplay, score, song, art direction, costume design, cinematography, and editing. Chevalier also received an honorary award for lifetime achievement.

It took 30 years, but the acting snub happened again for 1988's winner, "The Last Emperor."

"The Last Emperor" tells the wild story of the last emperor of China, Pu Yi, who ascended to the throne at age 2, and was thrown out at 5. He went on to live a life of luxury in Beijing, before fleeing to Japan, setting off a chain of events that eventually led him to living as an anonymous gardener. He was played by John Lone as an adult, and by Richard Vuu, Tijger Tsou, and Wu Tao, throughout the stages of his life.

"The Last Emperor"won all nine Oscars it was nominated for: picture, director, art direction, cinematography, costume design, film editing, original score, sound, and adapted screenplay.

The next time it happened was in 1996, after the cast of "Braveheart" failed to garner any nominations.

While Gibson took home Oscars for producing and directing "Braveheart," a fictional telling of the life of 13th-century Scottish knight William Wallace, aka Braveheart, his performance as Wallace was overlooked, as were his co-stars Sophie Marceau, Patrick McGoohan, and Catherine McCormack.

"Braveheart"also earned Oscars for its sound effects editing, cinematography, and makeup, as well as nominations for original screenplay, score, sound, costume design, and editing.

The final installation in the "Lord of the Rings" trilogy, "The Lord of the Rings: The Return of the King," is tied for most Oscar wins (11), but its cast wasn't nominated at all.

"Return of the King"won all 11 awards it was nominated for, tying it with "Titanic" and "Ben-Hur" for wins. Besides Best Picture, it won for directing, adapted screenplay, original score, original song, sound mixing, art direction, makeup, costume design, film editing, and visual effects.

Its all-star cast of Elijah Wood, Ian McKellen, Liv Tyler, Viggo Mortensen, Sean Astin, Cate Blanchett, John Rhys-Davies, Bernard Hill, Billy Boyd, Dominic Monaghan, Orlando Bloom, Hugo Weaving, Miranda Otto, David Wenham, Karl Urban, John Noble, Andy Serkis, — a pioneer of motion-capture performances — Ian Holm, and Sean Bean were all snubbed.

"Slumdog Millionaire" took home Best Picture in 2009, but its cast of largely unknowns (to American audiences) was snubbed. They'd go on to become beloved stars in Hollywood.

Its two stars, Dev Patel and Freida Pinto, broke through in a major way as star-crossed lovers who reunite after years apart, as Patel's character appears on the Indian version of "Who Wants to Be a Millionaire?" to try and reach out to Pinto's character.

While their performances were widely praised, the entire cast of "Slumdog" was snubbed. The film did, however, win the night's top prize, plus the awards for director, adapted screenplay, original score, original song for "Jai Ho," sound mixing, cinematography, and editing.

Additionally, it was nominated for its sound editing, and another original song, "O... Saya."

The reigning Best Picture, "Parasite," was left out of acting categories entirely — but that's not the only reason it made history.

With the movie's win, it becomes the first film not in English to win Best Picture. Bong Joon Ho, who wrote, produced, and directed the film, became the second person in history to win four Oscars in a single night, a feat matched only by Walt Disney decades prior. "Parasite" is also the first South Korean film to win Best International Film, as well as Best Picture.

However, this film would not have been as powerful as it is without the talents of stars Song Kang-ho, Lee Sun-kyun, Cho Yeo-jeong, Choi Woo-shik, Park So-dam, Lee Jung-eun, Jang Hye-jin, and Park Myung-hoon.

In total, "Parasite"won four Oscars: Best Picture, Best Original Screenplay, Best Director, and Best International Film. It was also nominated for its editing and production design.

• Read more:
• Here are all the 2020 Oscar winners
• 26 unbelievable Oscars records, from the oldest winner to the man with 59 nominations
• 11 surprising moments from the Oscars that you might've missed
• 'Parasite' is an Oscar winner for the ages — and it isn't even director Bong Joon Ho's best movie

• Insider was one of the first to see the controversial thriller, "The Hunt."
• Universal announced on Tuesday that it's releasing the movie on March 13. Previously, the movie was to open September 27, but was pulled following several mass shootings in August.
• The movie grabbed headlines last year after reports made it seem it's about liberal elites killing "deplorables" for sport. But that's not what it's about.
• "The Hunt" is a twisted, violent satire that examines everything from woke culture to internet trolls.
• Visit Insider's homepage for more stories.

"The Hunt" will see the light of day.

That's what I was told late last week when Universal called and invited me to see the movie before they announced on Tuesday that it will be released in theaters on March 13 (that's right, Friday the 13th).

Though I had been told by sources over the span of months that sooner or later the movie would get a theatrical release, it was still shocking to sit in a nearly empty screening room and watch a movie that got so many people revved up, even President Trump. Though none of them had seen the movie yet.

The film's release was pulled in August 2019 after significant backlash

Originally, the Blumhouse Productions thriller/satire about 12 strangers who wake up in a field and begin to be hunted by private-jet flying elites was to be released last year on September 27. But in the wake of the mass shootings in El Paso, Texas; Dayton, Ohio; and Gilroy, California, in early August, Universal pulled the release.

However, before Universal made that decision, the movie became a punching bag for commentators on Fox News and other conservative outlets. Universal staff even received death threats. And Trump seemed to reference the unreleased movie when he called Hollywood "really terrible" and "racist," then later that day, tweeted, "the movie coming out is made in order ... to inflame and cause chaos."

Now Universal is taking that uproar and using it for the movie's marketing. The poster released Tuesday includes the text, "The most talked about movie of the year is one that no one's actually seen. Decide for yourself."

The movie is actually poking fun at everything from being 'woke' to internet trolls to cancel culture

"The Hunt" is so violent and so unapologetically twisted you can't help but laugh over how absurd the whole movie is. (Honestly, it's torture porn-level gore, so be prepared.)

It's hard to explain the movie without giving away spoilers (so I'll be light), but the story is pretty exact to the script I was given last year.

After a powerful business executive (played by Hilary Swank) and her colleagues joke in a text thread about kidnapping "deplorables" and dumping them on the grounds of a remote manor out in the country for "the hunt," it actually becomes a reality after the thread finds its way online and becomes an internet conspiracy called "Manorgate."

The hunted run for their lives as the hunters kill them for sport. But we learn this is not liberals versus conservatives. It's more demented. 

The reality is the movie uses the sensational nature of the thriller/horror genre to comment on society today. From woke culture to internet trolls to cancel culture (which wasn't even a thing yet when this movie was made), all these are given satirical jabs. Not even the classic "Tortoise and the Hare" story is safe in this movie.

At its core, "The Hunt" is a sensationalized look at what happens when things are completely blown out of proportion. And the politics angle is a complete ruse within it.

But a movie cannot (or shouldn't) be fueled by that alone. There needs to be someone in the story that the audience can get behind and root for through all of this blood-soaked madness, and that's where Betty Gilpin comes in.

The star of Netflix's "Glow" is absolutely perfect as Crystal, the only captured person who seems to have some kind of clue on how to survive. Gilpin gives Crystal the right mix of over-the-top outrage and deep-seated personal issues to concoct an intriguing character to watch for 90 minutes. She in no way is the traditional horror "final girl."

The bottom line is "The Hunt" isn't about blue states or red states. Director Craig Zobel and screenwriters Damon Lindelof and Nick Cuse (who have all spent their careers finding joy in messing with audiences through their work, and have recently done so in their collaborations on "The Leftovers" and "Watchmen") is using the audiences' own triggers to show the absurdity of the actions that often follow.

The result is a gory good time that asks us to poke fun at ourselves and give everyone else a break for once.

Watch the new trailer below:

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• Bong Joon Ho's South Korean thriller "Parasite" swept at the Oscars.
• It's one of only 11 international movies to ever be nominated for best picture. It's the first to win.
• There are many critically acclaimed international films that viewers can watch, thanks to sites like Netflix, Hulu, and Amazon Prime.
• Here are some of the best international movies available to stream right now, including "Roma" and "Burning."
• Visit Insider's homepage for more stories.

Bong Joon-ho's South Korean thriller "Parasite" swept at the 2020 Oscars, winning for best director, best international feature film, best original screenplay, and best picture. It's one of only 11 international movies ever nominated for best picture and the first to win. 

When director Bong Joon Ho accepted the Golden Globe for best foreign language film earlier this year, he made a pointed remark to American audiences via a translator: "Once you overcome the 1-inch-tall barrier of subtitles, you will be introduced to so many more amazing films."

Luckily for viewers, streaming sites have made it easier than ever before to enjoy international movies. Here are some of the excellent films from around the world to stream right now.

2018's "Roma" is the story of a woman working as a maid in 1970s Mexico City.

Where to watch: Netflix

Synopsis: Based on director Alfonso Cuarón's memories of his childhood nanny, "Roma" follows an indigenous Mexican woman named Cleo as she works for an unraveling middle-class family in 1970s Mexico City.

The film went on to win three Oscars (best foreign language film, director, and cinematography), becoming one of Netflix's most awarded original films.

"['Roma'] achieves the rare feat of making the personal authentically political, not through explicit polemic or tortured metaphors, but simply by observing life with enough perspective to reflect it in all its contradictions,"wrote The Washington Post critic Ann Hornaday.

The 2019 supernatural romance "Atlantics" tells a haunting ghost story set in modern-day Senegal.

Where to watch: Netflix

Synopsis: Set in the capital city of Senegal, Mati Diop's "Atlantics" is a contemporary ghost story, a supernatural exploration of class, and a romance all in one.

Ada, the film's 17-year-old protagonist, is betrothed to a wealthy older man, but she's in love with a young construction worker named Souleiman. When he and his colleagues decide to sail across the ocean to Europe after going months without pay and disappear, his ghost reappears in Ada's life as she also dreams of escape.

"'Atlantics' remains a deeply romantic work that magnetized the fears of people trapped by their surroundings and striving for the companionship that can rescue them from despair,"wrote Eric Kohn for Indiewire.

In the 2018 South Korean mystery thriller "Burning," a young aspiring author investigates a friend's disappearance shortly after she meets a wealthy older man.

Where to watch: Netflix

Synopsis: Based on a short story by iconic Japanese author Haruki Murakami, "Burning" follows a poor farmer and aspiring novelist, Jong-su, who bumps into his former neighbor, a girl named Shin-Hae-mi (Jong-seo Jun), who leaves to travel soon after they enter the beginnings of a relationship. When she disappears soon after returning with a wealthy older man, Jong-su's investigation into what happened to her evolves into a slow-burn critique of South Korean class struggles.

Former "The Walking Dead" star Steven Yeun turns in a career-best performance as Ben, the mysterious man involved with Shin Hae-mi.

"'Burning' offers the opposite of instant gratification, creating a slow dramatic simmer that intensifies gradually over two-and-a-half perfectly measured hours, until it reaches a shocking and powerful crescendo,"wrote A.A. Dowd for The A.V. Club.

The 2018 drama "Shoplifters" is a heartbreaking, poignant look at found families and class struggles in Japan.

Where to watch: Hulu

Synopsis: In Hiorkazu Koreeda's "Shoplifters," a ragtag group of petty thieves scraping by just outside of Tokyo take in an abused young girl. As their illusion of nuclear family is called into question, the director investigates the collapsing Japanese state system and the definition of family outside of biological relatives.

"At once charming and heart-wrenching, this exquisitely performed film will steal the hearts of both art-house and mainstream audiences,"wrote Variety critic Maggie Lee.

The 2001 coming-of-age film "Y Tu Mamá También" follows two teenagers who embark on a road trip across Mexico with an older woman.

Where to watch: Netflix

Synopsis: Seventeen years before "Roma," Cuarón told a sensual coming-of-age story about two Mexican teenage boys who take a summer road trip with a woman in her late twenties in "Y Tu Mamá También."

The movie is set against the backdrop of the economic and political upheaval of 1999 Mexico and was nominated for two Academy Awards (best original screenplay and best foreign language film).

"'Y Tu Mamá También' manages to be comic, dramatic, erotic, sociological and even political, all without breaking a sweat,"wrote Kenneth Turan for The Los Angeles Times.

The 2016 drama "The Handmaiden" is a lesbian romance and revenge thriller.

Where to watch: Amazon Prime

Synopsis: Set during Japan's occupation of Korea in the 1930s, Park Chan-wook's "The Handmaiden" centers on a woman (Kim Tae-ri) who falls in love with the Japanese heiress (Kim Min-hee) whose inheritance she has been hired to help steal. The film won the award of best film not in the English language at the 2017 BAFTAs.

"'The Handmaiden' is just pure cinema, a dizzying, disturbing fable of love and betrayal that piles on luxurious imagery, while never losing track of its story's human core,"wrote The Atlantic critic David Sims.

Hulu's 2019 Macedonian documentary "Honeyland" was nominated for two Oscars in 2020: best documentary feature and best international feature film.

Where to watch: Hulu

Synopsis:"Honeyland," which was nominated for best documentary feature and best international feature film at the 2020 Oscars, follows the last female bee-hunter in Europe (specifically, Macedonia).

When nomadic beekeepers invade her property and threaten her livelihood, she is tasked with saving her bees.

"'Honeyland' is both an immersive experience and an undeniably gorgeous reflection on our relationship to nature,"wrote Monica Castillo for RogerEbert.com.

In the 2019 animated fantasy "I Lost My Body," a severed hand escapes from a Paris laboratory while a Moroccan immigrant falls in love with a librarian.

Where to watch: Netflix

Synopsis: Netflix's animated feature "I Lost My Body" tells the story of Nauofel, a Moroccan immigrant and pizza boy in Paris who falls in love with a librarian. While these events are taking place, a severed hand escapes from a dissection laboratory and attempts to find its body again.

Vulture critic Bilge Ebiri described it as"a gloriously hand-animated existential fable that manages to be both genuinely sweet and thoroughly twisted."

"Parasite" director Bong Joon Ho's previous movie, the 2017 Netflix original "Okja," satirizes animal cruelty within the food industry by telling the story of a South Korean girl separated from her giant pet pig.

Where to watch: Netflix

Synopsis: Before directing best picture winner "Parasite," Bong Joon Ho helmed the Netflix original movie "Okja."

It follows a young South Korean girl fighting to save her best friend, Okja, a super-pig that belongs to a corrupt international corporation.

"It's a testament to Bong's sprawling ambition that Okja manages to be so many things at once — a caustic satire of corporate evil, an intercontinental action/adventure epic, a coming-of-age narrative for the girl,"wrote Newsweek journalist Zach Schonfeld.

As strange as its premise may seem, the 2015 Irish sci-fi romance "The Lobster" is an endearing, off-beat satire of modern relationships.

Where to watch: Netflix

Synopsis: In the dystopian near-future of Yorgos Lanthimos' "The Lobster," single people who do not find a romantic partner in forty-five days are turned into animals. The Irish film was praised for its strange but affecting satire of loneliness and societal pressures to couple.

"Lanthimos forgoes easy sentiments about the transformative power of love,"wrote The Chicago Reader critic Leah Pickett. "This may turn off viewers, but there's a certain liberation and even some relief in knowing that societal pressure to settle down can be just as cruel as loneliness."

The 2016 action film "Train to Busan" follows a father and daughter's fight to survive when a zombie outbreak occurs in South Korea.

Where to watch: Netflix

Synopsis: A father and daughter are on the titular "Train to Busan" in South Korea when a zombie virus breaks out aboard the vehicle.

The Times critic Kate Mulr described"Train to Busan" as "a smart horror that contrasts the hyper-cleanliness and efficiency of South Korean life with bloody, neck-biting chaos."

In the 2019 romantic drama "Rafiki," the daughters of two rival Kenyan politicians secretly fall in love.

Where to watch: Kanopy

Synopsis: In the first LGBT film to ever screen in Kenya (where gay relationships are illegal), "Rafiki" tells a love story between Kena and Ziki, who are the daughters of rival politicians. While many critics noted that the movie's coming-of-age tale of forbidden love was familiar, its cultural context and bright Afro-Pop aesthetics were notable.

"This is a story that may have been told before, sure, but never in this context before,"wrote Gwllym Mumford for The Guardian. "That alone seems worth celebrating."

The 2001 French classic "Amélie" follows the exploits of its optimistic Parisian heroine.

Where to watch: Hulu

Synopsis: One of the more internationally successful of many French romantic comedies, "Amélie" centers around the escapades of its titular heroine, an idealistic and naive young woman in Paris who is inspired to improve the lives of the people around her.

The movie was nominated for five Oscars and later inspired a short-lived Broadway musical of the same name starring "Hamilton" actress Phillipa Soo.

"'Amelie' is one of those once-in-a-decade comedies which scatters its charm like pearls from a broken necklace, all the more adorable because they are not real,"wrote The Times critic Barbara Ellen.

In the eerie 2006 Spanish fairy tale "Pan's Labyrinth," a girl retreats from the violence of World War II into a fantastical underworld.

Where to watch: Netflix

Synopsis: Before director Guillermo del Toro won best picture for 2017's "The Shape of Water," he had already created an Oscar-winning movie — "Pan's Labyrinth."

Set during Spain in World War II, it follows the bookish stepdaughter of a sadistic army officer away from the war and into an eerie, fantastical underworld.

"Guillermo del Toro has crafted a masterpiece, a terrifying, visually wondrous fairy tale for adults that blends fantasy and gloomy drama into one of the most magical films to come along in years,"wrote The Associated Press critic David Germain.

Kristen Stewart played a high fashion personal shopper attempting to make contact with her late brother in the 2017 French ghost story "Personal Shopper."

Where to watch: Netflix

Synopsis: Kristen Stewart stars in "Personal Shopper" as a fashion consultant and spiritual medium in Paris attempting to make contact with her twin brother, who passed away there. In the process, she begins to receive strange anonymous texts.

Stewart, in particular, was praised by critics for her magnetic, aching performance in the horror-drama.

"['Personal Shopper'] is a riveting, impossible-to-shake masterwork that leaves the audience spooked, not by its telling but by its commitment to abstract themes of grief, solitude and coming of age,"wrote Durga Chew-Bose for The Globe and Mail.

The 2019 Chinese crime drama "Ash is Purest White" tracks the long-term romance between a mobster couple.

Where to watch: Kanopy

Synopsis: A long-spanning tale of the Chinese jianghu criminal underworld, "Ash is Purest White" tracks the relationship between two mobsters from 2001 to 2017.

Along the way, director Jia Zhangke pulls away from their immediate rivalries and explores China's rapid economic and cultural change in the 21st century.

"This is a movie about how time and circumstance conspire to make dazed, restless wanderers of us all,"wrote The Los Angeles Times critic Justin Chang.

Actor Chiwetel Ejiofor directed 2019's "The Boy Who Harnessed the Wind," which tells the true story of a boy in Malawi building a windmill to save his village.

Where to watch: Netflix

Synopsis: Actor Chiwetel Ejiofor made his directorial debut with Netflix's "The Boy Who Harnessed the Wind," which tells the true story of a 13-year-old boy in Malawi who saves his village from famine by learning to build a windmill.

"['The Boy Who Harnessed the Wind'] feeds our hunger for inspiring tales in these desperate times with a beautifully engineered narrative latticework of hardship, hope, and know-how,"wrote Robert Abele for The Los Angeles Times.

The 2014 South Korean sci-fi epic "Snowpiercer" imagines a dystopian future where the only humans left behind after an apocalyptic event fight for survival aboard a constantly moving train.

Where to watch: Netflix

Synopsis: Another Bong Joon-ho film available to stream on Netflix, "Snowpiercer" takes place in a future where a failed climate-change experiment has wiped out all life except a handful of people who boarded a train that travels around the world. In line with the class struggles explored in "Parasite," the movie follows the violent new class system that has emerged among them.

"Avengers" actor Chris Evans and Tilda Swinton costar in the ensemble cast. 

"['Snowpiercer' is] a wicked, violent parable, and one of the only movies of the summer worth talking about after the credits roll,"wrote Jim Slotek for The Toronto Sun.

"I Am Not a Witch" is a 2017 Zambian satire that centers on a young girl in a traveling witch camp.

Where to watch: Kanopy

Synopsis: In Rungano Nyoni's "I Am Not a Witch," an 8-year-old Zambian girl named Shula is found guilty of witchcraft and sent to live in a traveling witch camp.

The movie teeters gracefully between satire and drama, taking jabs at superstition and non-Western exploitation with an impressive performance from its young lead.

"['I Am Not a Witch'] blends deadpan humor with light surrealism, vivid visuals, and left-field musical choices,"wrote Stephen Dalton for The Hollywood Reporter.

The 2019 Mexican crime fantasy "Tigers Are Not Afraid" follows a girl who joins a street-dwelling gang of children to search for her missing mother.

Where to watch: Amazon Prime/Shudder

Synopsis:"Tigers are Not Afraid" is a dark, contemporary fairytale about a Mexican girl who joins a gang of five children to find her missing mother in the midst of local cartel violence.

"Blending the often frightening surrealism of a child's wild imagination with the blood-splattered realism of the drug cartels, 'Tigers Are Not Afraid' is a highly original horror story made for these times,"wrote The Houston Chronicle critic Cary Darling.

• Despite having celebrated careers and winning countless awards, many celebrities can't stand the idea of watching themselves on-screen. 
• Some actors who say they don't watch their own films include Reese Witherspoon, Tom Hanks, Jesse Eisenberg, and Julianne Moore. 
• Others, like Adam Driver and Joaquin Phoenix, say they've only seen a couple of their projects. 
• Visit Insider's homepage for more stories.

Although actors make a career out of being watched, not all of them enjoy seeing themselves on-screen. 

Here are 12 actors who say they don't watch their own movies.

Adam Driver typically doesn't watch his own work, but he made an exception for "Star Wars."

In a 2019 interview with Seth Meyers, "Star Wars" star Adam Driver said that he has never been a fan of watching his own movies. 

"I'm used to doing plays. I came from a theater background, so it never really equated to me … like why would I want to watch that? So long as I know what it feels like … that's good enough for me," Driver said. 

Even though he doesn't really watch his own work, the actor made an exception for the final film in the "Star Wars" Skywalker saga since he's such a big fan of the franchise.

Plus, he wanted to see how the final film looked with the addition of CGI since he shot most of his scenes on a green screen. 

"You're standing in front of the screen and they're like, 'Trust us. Your lightsaber is working … There's space behind you. It looks really cool,'" he explained. 

Constance Wu said she hasn't seen "Hustlers."

During an interview on "Live with Kelly and Ryan," Constance Wu shared that although she's watched her film "Crazy Rich Asians," she won't watch her more recent movie "Hustlers."

"I still haven't seen it,"she shared, explaining that she wants to "focus on the present" and avoid being too self-critical. 

Tom Hanks said he believes watching himself in movies is a "horrible mistake."

Although he's been in some of Hollywood's most iconic films, Tom Hanks told ABC News in 2016 that he doesn't watch much of his past work, including hits like "Forrest Gump,""Philadelphia," and "Cast Away"— which all scored him Academy Award nominations for best actor. 

He said he doesn't watch his own flicks because he thinks doing so is a "horrible mistake." 

"Because you never learn what to do. You only sort of learn what not to do. The thing about looking at the old movies is that they don't change," he explained. 

Reese Witherspoon said she "would spiral into a state of self-hate" if she watched her own movies.

During a 2010 interview with the Daily Express, Academy Award-winner Reese Witherspoon said she refuses to watch her past work and sometimes she even forgets about scenes she was in. 

"I have absolute amnesia about every movie I have ever made," she said. "I won't watch them because if I did I would spiral into a state of self-hate." 

Witherspoon went on to say that she has caught glimpses of her work and felt strange about it afterward. 

She added, "I sometimes catch the odd clip of something. I look at it and think, 'I have absolutely no memory of that.' It's really weird."

Al Pacino has said he doesn't feel the need to watch the majority of his movies.

The star of some of the industry's most highly respected films, Al Pacino told USA Today about his heralded career in 2019, noting that he doesn't rewatch much of his work. 

"There's no real need [to go back]. I've seen it; I know what it is," Pacino said. "If it's good, I feel lucky. If it's not, it's something you try to forget."

He said the only exception is if he happens to catch one of his old films on TV.

Jared Leto said he doesn't really revisit his old films.

Oscar-winner Jared Leto told SyFy Wire in 2017 that although he doesn't usually watch his own work, there have been a few exceptions ("Requiem for a Dream" and "Blade Runner 2049").

"As soon as you watch it, that's when it becomes subjective," Leto said. "I just think with watching your own films, it can be too self-conscious of a process. You either like what you did and you're prone to repeat it, or you didn't like it, and it can make you self-conscious. I'm not sure how much win there is for me."

He also implied that he doesn't feel the need to watch his movies because he already knows how they will end. 

Megan Fox has cringed while watching clips from her old movies.

During a 2019 interview with Entertainment Tonight, actress Megan Fox was shown clips of various projects from her past.

The actress audibly gasped and visibly cringed at the sight of her own work, telling ET that it was "weird" to watch herself. 

"I just got sick to my stomach … ugh, kill me. Just kill me," she said, reacting to the clips from films she had been in. "Why are you doing this to me? Just smother me or something."

She explained that it's hard to watch herself because she is very much a different person now than she used to be. 

Fox added, "It's weird. Because I've grown so much as a person, I would think that I would listen to myself talk and be like, 'God, who's that?'... I just am looking at that girl and I want to give her a hug."

Julianne Moore has said that making movies is what gives her joy, not watching them.

Actress Julianne Moore has an incredible filmography that has earned her multiple Academy Award and Golden Globe nominations.

But in 2013, she told Britain's Daily Express newspaper that she can't sit through any of her films. 

"I haven't seen any of my own movies," Moore said. "I can't sit there for a premiere or anything. I like being in the movie more than I like watching them. That's my big thrill, rather than seeing the finished product."

In 2015, Joaquin Phoenix said he has only seen two of his movies

In 2015, actor Joaquin Phoenix revealed to Time Out London that at that point he'd only seen two of his many films — "Her" and "The Master."

He said he had hoped that watching his own films would help him grow as an actor, but that hasn't been the case. 

''I thought I might be mature enough to watch and learn," he said. "To think: These are the mistakes that were made. But it's still something I struggle with."

Angelina Jolie has said she doesn't like watching her own movies very much.

In a 2009 interview on "Good Morning America," Angelina Jolie explained that although she has seen most of her work at least once, there are some projects she has never seen.

"I like the process of doing them more than watching them," Jolie explained. 

She also said she doesn't feel the need to watch any of her movies more than once. 

Javier Bardem said he "can't handle" watching himself on-screen.

In a 2012 interview for GQ, Oscar-winner Javier Bardem said he loves acting, but doesn't enjoy watching his films. 

"The fact that I like to make characters doesn't mean that I like to watch my characters being made, my performance," he said. 

He went on to say that he judges himself too much when viewing his work on screen.

"I can't even watch that f---ing nose, that f---ing voice, those ridiculous eyes. I can't handle that. But when I'm doing it, I don't see my nose or hear my voice; it's like there's something stronger, bigger than that. And I need to express it," he said. 

Jesse Eisenberg has said he refuses to watch his movies and he won't read critic reviews of them.

In 2016, actor Jesse Eisenberg told Business Insider that he avoids watching himself on screen and he does not read critical comments. 

"I don't watch anything I've been in, and I don't read reviews or analysis of movies I've been in, or my plays," he said. 

When asked if he would watch his work under any circumstances, he was adamant about keeping true to himself and his process. 

"I have a very specific feeling about what I do," Eisenberg said. "I really like thinking that you're working in this bubble and I can experience these personal emotions without thinking that it's going to be scrutinized by, in some cases, a lot of people, in some cases, a small group of people. To take that burden off yourself of thinking about how it's going to be perceived by other people or myself has kind of made me feel that much more comfortable."

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Though directors often are portrayed in the press as the leaders of the creative process on a movie, the reality is producers are just as important — sometimes even more.

Before a director can yell "action," a producer is out there getting financing, nailing down a key crew member or actor, landing locations, and talking to the studio about production issues. A producer takes all this on so the director can focus on making the movie. And that's just one movie. Imagine being a producer overseeing a franchise.

Simply put: producers may not get a lot of attention, but they are the MVPs of many movies.

Here are 12 producers — ranging from those behind "A Quiet Place" to Oscar nominees "Ford v Ferrari" and "The Two Popes"— that you should keep an eye out for in 2020 and beyond:

Listed alphabetically by last name.

SEE ALSO: "Birds of Prey" disappoints at the box office, bringing in only $33.2 million its opening weekend

Jessica Elbaum, Gloria Sanchez Productions

At one time Will Ferrell's assistant, Elbaum rose up the ranks at Ferrell and Adam McKay's Gary Sanchez Productions, nabbing associate producer credits, including one on "Step Brothers," and then in 2014 launching the female-focused production arm of the company, Gloria Sanchez Productions.

The output has been impressive with the likes of "Booksmart,""Hustlers," and the Netflix series "Dead to Me."

Upcoming, Elbaum has the next Kristen Wiig comedy, "Barb and Star Go to Vista Del Mar," and the Rachel McAdams/Will Ferrell comedy, "Eurovision."

Brad Fuller and Andrew Form, Fully Formed

Founding the company Platinum Dunes with blockbuster producer Michael Bay in 2001, you would think Fuller and Form would be neck deep in projects with huge explosions and car chases. But over the years, the producers have built its reputation in the horror genre.

In the early 2000s, when revamping old horror IP was popular, the duo brought back to life "The Texas Chainsaw Massacre" franchise, as well as reboots of "The Amityville Horror,""Friday the 13th," and "A Nightmare on Elm Street" (in that time they also released two "Teenage Mutant Ninja Turtles" movies).

But since then, Fuller and Form have hit pay dirt with "The Purge" franchise (teaming with Blumhouse) and a box-office sensation made for only $17 million, "A Quiet Place."

Fuller and Form, who started the company Fully Formed last year, look like geniuses around Hollywood for doing that one. Now they hope lightning strikes twice with "A Quiet Place II" opening March 20.

Anita Gou, Kindred Spirit

Gou started producing less than a decade ago and already has had four movies world premiere at the Sundance Film Festival. The two that hit the fest in 2019 went on to become a pair of the most acclaimed titles of the year, "The Farewell" and "Honey Boy."

Along with producing, Gou heads international production at Central Motion Picture Corporation, Taiwan's oldest film studio that her family acquired a major stake in.

David Hoberman and Todd Lieberman, Mandeville Films and Television

After Hoberman was a solo producer in the mid 1990s, he teamed with Lieberman in 2002 to launch the latest version of Mandeville.

The duo has found success making "The Fighter,""Stronger,""Wonder," and the live-action "Beauty and the Beast." They were also being behind the long-running TV series, "Monk."

They are hard at work on the upcoming Netflix action series, "Hit and Run."

Charles D. King, Macro

After nearly 20 years working as an agent at William Morris with a roster that included the likes of Oprah Winfrey and Tyler Perry, King jumped over to the producing side in 2015 with a focus on projects centered on people of color.

So far his output has been impressive: "Fences" (which earned an Oscar win for Viola Davis), "Mudbound" (nominated for four Oscars), and "Roman J. Israel, Esq." (Oscar nomination for Denzel Washington).

Most recently he produced the Sundance hit "Sorry to Bother You," starring LaKeith Stanfield, and is wrapping up an upcoming biopic on Black Panther Party member Fred Hampton, starring Daniel Kaluuya in the role.

Andrew Kosove and Broderick Johnson, Alcon Entertainment

For over 20 years, Kosove and Johnson's Alcon Entertainment has produced a wide array of titles, including family fare like "My Dog Skip" and "Dolphin Tale," dramas like Christopher Nolan's "Insomnia" and the Denzel Washington-starrer "The Book of Eli," and blockbusters like "Blade Runner 2049." Its TV arm, Alcon Television Group, has done HBO documentaries "Sinatra: All or Nothing At All" and five-time Emmy winner, "The Defiant Ones."

Along with continuing their long-established first-look deal with Warner Bros., Kosove and Broderick are also finding success on the streaming side with the children's series "Pete the Cat" and sci-fi series "The Expanse" on Amazon Prime.

Dan Lin, Rideback

Lin has found success with a variety of movies. Early in his career, he launched the "Sherlock Holmes" franchise and later was responsible for Warner Bros.' successful LEGO titles.

That diverse range of titles has continued with successes like Disney's live-action "Aladdin" and the "It" movies.

He was just at the Oscars celebrating the three Oscar nominations for his Netflix title, "The Two Popes," and he's in production on several projects, including another "Sherlock Holmes" movie and a sequel to "The Lego Batman Movie."

Mynette Louie

A staple in the independent film world, Louie has prided herself on supporting filmmakers who want to get out challenging work with diverse voices.

She received an Emmy nomination for the HBO movie "The Tale," and at this year's Sundance, the movie she produced, "I Carry You with Me," won both awards given out in the NEXT section. The movie has been acquired by Sony Pictures Classics.

Kevin J. Messick, Hyperobject Industries

Alongside Adam McKay for many of his big comedy movies as well as the director's transition to dramas like "The Big Short" and "Vice," Messick will now be his partner at McKay's new production company, Hyperobject Industries.

One project McKay is penning right now for the company is "Don't Look Up," which focuses on two scientists trying to warn everyone about an impending meteor strike. The company has a first-look deal with Paramount.

Messick is also an executive producer on HBO's "Succession" and the upcoming series on how the Los Angeles Lakers became one of the most successful teams in the NBA.

Will Packer, Will Packer Productions

The "Ride Along" franchise, "Girls Trip," and "Night School" all opened No. 1 at the box office and they also were all produced by Will Packer.

Packer's movies have become big successes thanks to his keen eye for scripts and spotting rising talent.

On deck is the love story "The Photograph," opening in February and starring LaKeith Stanfield and Issa Rae. And he's in production on "Praise This," focused on a youth choir music competition from the director of the successful comedy "Little" (also produced by Packer).

Jenno Topping, Chernin Entertainment

Since joining Chernin at its start in 2011, Topping, its head of film and television, has overseen the company's successful "Planet of the Apes" franchise as well as Oscar-nominated titles like "Hidden Figures" and "The Greatest Showman."

Chernin has had a long-time first look deal with 20th Century Fox, and since Disney bought the studio (and has renamed it 20th Century), Chernin has been one of the few shining lights as it produced the best picture Oscar nominee "Ford v Ferrari."

Topping is currently hard at work launching another "Apes" movie, which will be the first to come out since the Disney buy.

Lisa Whalen, Company X/SpectreVision

There are a whole lot of genre movies being made, but the movies that Lisa Whalen is overseeing at SpectreVision and Company X are on a whole different level than anything else being put out today.

SpectreVision was founded by Elijah Wood, Daniel Noah, and Josh C. Waller in 2010 with the goal of focusing on horror movies. Whalen soon came on as CEO and since has produced critical acclaimed titles like 2014's Iranian vampire tale, "A Girl Walks Home Alone at Night," and recently a pair of wild Nicolas Cage titles, "Mandy" and "Color Out of Space."

In 2016, Company X was born and is now the parent company. Also run by Whalen, the company has expanded outside of horror and is producing projects with no genre or budget constraints.

• This year, Amazon Studios will not present or screen a movie at CinemaCon, the movie-theater industry's biggest conference, several sources familiar with Amazon's plans told Business Insider.
• In the past, the streamer has attended the Las Vegas event to show movie-theater owners its upcoming slate of titles or screen a movie.
• This is the latest indication that Amazon is changing its strategy on how it's releasing movie titles going forward.
• Visit Business Insider's homepage for more stories.

Every spring, the movie industry travels to Las Vegas for CinemaCon, the annual movie-theater convention where new innovations are shown off and studios tease theater owners with their upcoming slate of titles, complete with lavish presentations with big stars. 

In the past, Amazon Studios has been one of those presenting its upcoming work. But at the 2020 edition, the streaming company that has been the most open to working with the industry by respecting the exclusive theatrical window will be scaling back its presence.

Amazon Studios will not be doing a presentation of its upcoming slate or screening one of its titles at this year's CinemaCon, according to several sources familiar with Amazon's plans. 

In recent years, Amazon has been one of the featured presenters at CinemaCon, as it has invited attendees to a luncheon during the four-day event where it presented footage to its upcoming releases and had talent from those movies come out and talk. Highlights from the past included Charlie Hunnam speaking about filming in the jungle for the 2017 release "The Lost City of Z," and in 2018 director Luca Guadagnino and star Dakota Johnson showed footage of their remake of "Suspiria." In 2019, Amazon changed things up by screening its big Sundance pick-up, "Late Night," for attendees.

For 2020's CinemaCon, Amazon Studios executives will be in attendance taking meetings and will have a suite where they will make their upcoming reel available, according to a source at Amazon familiar with its plan. But there won't be any big presentation to attendees like in previous years.

This is the latest indication that Amazon is changing up how it's releasing movies. Last year, the streamer's epic "The Aeronauts" and Adam Driver-starrer "The Report" were shown theatrically in a limited two-week release before showing up on Prime Video. Amazon also didn't report the box office for those releases. That strategy was more similar to what Netflix does than the more traditional releases Amazon Studios has done in the past.

Another reason why Amazon is not doing anything flashy at CinemaCon this year is it doesn't have a big title to show off. Last year, it bought "Late Night" for $13 million and screened it at CinemaCon months later. But at this year's Sundance, Amazon didn't make big waves with its buys. Out of the three, the biggest was a $12 million buy for "Uncle Frank." Directed by "Six Feet Under" creator Alan Ball, it follows a closeted gay man (played by Paul Bettany) who comes out to his Southern family in the 1970s.

In 2020, Amazon's releases will be a mix of limited releases, straight to Prime Video, and theatrical releases that respect the 78-day exclusive window that all the Hollywood studios obey. Its next release, "Sound of Metal" starring Riz Ahmed — which Amazon bought at the Toronto International Film Festival last year — will get a traditional release and its box office will be reported, according to the Amazon source. But Amazon has generally been deemphasizing the central importance of theatrical releases.

CinemaCon will celebrate its 10th anniversary when it runs March 30 to April 2 at Caesars Palace (years prior the convention was called ShoWest, but was rebranded in 2011). Sony is the only traditional studio that will not be attending. Disney will be the opening-night presentation. Focus Features, which often just does a luncheon like Amazon, is stepping up by presenting during the "State of the Industry" event. And hot off "Parasite" dominating the Oscars, its US distributor Neon will also be presenting, according to a source with knowledge of this year's lineup.

SEE ALSO: 12 movie producers at the top of their game to watch in 2020 and beyond

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