The 2023 Oscars Snubbed The Woman King And I'm Too Mad To Write A Good Headline

"The Woman King" was one of the best films of 2022. That's not hyperbole: the American Film Institute named it one of the 10 best movies of 2022. Everyone else seems quite taken with it, too. The film surpassed its (frankly, dismal) box office expectations in September, opening with a cool $19 million and wrapping up its run with $92 million worldwide. It's been quietly collecting nods from critics circles all over, and it represents a career best for Viola Davis, who's (rightly) been touting the film as her "magnum opus." It's not every day you see a dark-skinned Black woman over 50 headlining her own action epic, performing most of her own stunts, and leading an all-female army to box office victory and critical acclaim. By all accounts, it had a nice chance of success in the coming awards season. 

So why was "The Woman King" completely snubbed in all — and I do mean all — categories at the 95th Academy Awards?

Okay, look. I won't pretend to understand the complicated intricacies of awards season voting. I don't! But it doesn't really matter if I do. What matters is the fact that a film with generous critical acclaim, a strong box office performance, and a favorable audience reception can still find itself completely shut out of one of the biggest ceremonies for artistic achievement in film. "The Woman King" was doing fine leading up to the Oscar noms, keeping itself in the awards conversation with Critics Choice, Golden Globe and BAFTA nominations. But the Academy voters are either blissfully ignorant to all that the film had going for it, or willfully negligent in acknowledging it, because "The Woman King" came away with absolutely nothing when the Oscar nominations were announced.

Nothing for Davis, the star and producer who fought for six-plus years to prove that a film like this could get made, and could justify its existence in every way that matters. Nothing for its director, Gina Prince-Bythewood, whose work in the film all but proves she's one of the strongest voices behind the camera these days. Nothing for its supporting cast, for Thuso Mbedu, for Lashana Lynch, for Sheila Atim or John Boyega (we really do need to bring a Best Ensemble category to the Oscars, by the way), who all but run away with the film in the best of ways. Nothing for costumes, nothing for makeup, nothing for sound. Given all that aforementioned praise, you can forgive me for being a little put off.

I'd be much less pressed about all of this if it didn't represent such a glaring problem in Hollywood, especially when it comes to these major awards groups. Black women consistently turn in phenomenal, awardworthy performances year in, year out — in this year alone we've had Danielle Deadwyler in "Till," Regina Hall in "Honk for Jesus. Save Your Soul," Keke Palmer in "Nope" and Anna Diop in "Nanny." Last year it was Ruth Negga and Tessa Thompson in "Passing," Moses Ingram in "The Tragedy of Macbeth," Andra Day in "The United States vs. Billie Holiday." Black female directors too are steadily rising through the ranks, but precious few are acknowledged for their efforts. Think of Ava DuVernay's Best Director snub for "Selma" in 2015, or Regina King's for "One Night in Miami..." in 2021.

The point is, Black female filmmakers are consistently overlooked by the mainstream associations. "The Woman King" and its cast have gotten major love from Black-run critics circles. This year was an opportunity for more integrated circles to follow suit. I'm not saying a Best Picture nomination was in order — but if other crowdpleasers like "Top Gun: Maverick" and "Avatar: The Way of Water" can worm their way into the conversation, then what are we even doing here?

It's been borderline maddening to watch Black female talent go overlooked in the major awards — hell, by Hollywood at large — especially given the groundswell of support that other performances and films are getting this year. Andrea Riseborough scoring a Best Actress nomination with a "grassroots campaign" is the kind of development that speaks volumes about the state of the industry. The Academy has proven — probably more than they ever have before — that if they truly wanted to, they would. Even with the controversies it's entertained on grounds of historical inaccuracies (which is so hypocritical, but that's a story for another day), "The Woman King" had a shot at recognition. At the very least, it could have cleaned up in the technical categories. I hate begging for crumbs from an institution that consistently overlooks good talent, but until things change for the better, there's not much else to do or say.