Best Director: Charlotte Wells, AFTERSUN (60 points)

Runners-up:
Park Chan-wook, DECISION TO LEAVE (47 points)
Jafar Panahi, NO BEARS (36 points)

Best Picture: TÁR (61 points)

Runners-up:
AFTERSUN (49 points)
NO BEARS (32 points)

Best Actress: Cate Blanchett, TÁR (59 points)

Runners-up:
Michelle Yeoh, EVERYTHING EVERYWHERE ALL AT ONCE (38 points)
Tilda Swinton, THE ETERNAL DAUGHTER
Michelle Williams, THE FABELMANS (27 points)

Best Supporting Actress: Kerry Condon, THE BANSHEES OF INISHERIN (57 points)

Runners-up:
Nina Hoss, TÁR (43 points)
Dolly de Leon, TRIANGLE OF SADNESS (35 points)

Best Actor: Colin Farrell, AFTER YANG and THE BANSHEES OF INISHERIN (71 points)

Runners-up:
Paul Mescal, AFTERSUN (55 points)
Bill Nighy, LIVING (33 points)

Best Supporting Actor: Ke Huy Quan, EVERYTHING EVERYWHERE ALL AT ONCE (45 points)

Runners-up:
Brian Tyree Henry, CAUSEWAY (35 points)
Barry Keoghan, THE BANSHEES OF INISHERIN (27 points)

Best Screenplay: Todd Field, TÁR (61 points)

Runners-up:
Martin McDonagh, THE BANSHEES OF INISHERIN (42 points)
James Gray, ARMAGEDDON TIME (18 points)

Best Cinematography: Michał Dymek, EO (62 points)

Runners-up:
Hoyte van Hoytema, NOPE (37 points)
Kim Ji-yong, DECISION TO LEAVE (34 points)

Best Film Not in the English Language: EO (43 points)

Runners-up:
NO BEARS (37 points)
DECISION TO LEAVE (34 points)

Best Nonfiction Film: ALL THE BEAUTY AND THE BLOODSHED (46 points)

Runners-up:
DESCENDANT (40 points)
ALL THAT BREATHES (27 points)

Film Heritage Award: Jeanine Basinger, one of our most esteemed and important film scholars, whose work at Wesleyan University and beyond has continually bridged the divide between Hollywood and academia, film studies and movie love.

Film Heritage Award: Screen Slate, published and edited by Jon Dieringer, an essential daily online publication that has done much to build and sustain the filmmaking, theatrical exhibition and film critical communities of New York City and by extension the world at large.

Film Heritage Award: Turner Classic Movies, for a rich array of programming that ranges deep and wide in the history of cinema, a service too easily taken for granted by audiences and worthy of the utmost care and attention from its corporate owners.