For the first time in its history, the Critics Choice Association (CCA) has released an official shortlist across 11 artisan categories, bringing deserved recognition to the behind-the-scenes craftspeople in cinema. These shortlists span traditional fields like cinematography, editing, production design, and original score, and notably introduce three new crucial categories: sound, stunt design, and casting and ensemble. This new initiative precedes the organization's nomination voting, which commenced with ballots sent to over 500 CCA members. Each artisan category is set to yield six official nominees, while the Best Picture race will honor 10 films. All CCA members will participate in voting across all major categories, including acting, screenplay, and Best Picture.

Among the films vying for top honors, Warner Bros.’ “Sinners” emerged as a dominant force with an impressive 13 mentions, appearing on shortlists for cinematography, costume design, editing, hair and makeup, sound, visual effects, original score, three original songs, and stunt design. Following closely with nine mentions apiece were Netflix’s “Frankenstein,” recognized for production design, cinematography, editing, hair and makeup, sound, visual effects, and score, and Apple’s high-octane “F1,” which made strong appearances across editing, sound, visual effects, score, and two original songs, in addition to longlist spots for production design and casting and ensemble. Universal Pictures’ “Wicked: For Good” also showcased its musical spectacle in the artisan fields, landing on shortlists for costume design, hair and makeup, production design, sound, visual effects, two original songs, and stunt design. Warner Bros. led all studios in total mentions with 31, including recognition for Paul Thomas Anderson’s “One Battle After Another” and James Gunn’s “Superman.” Netflix secured 21 mentions, A24 garnered 12, Focus Features 10, and Neon 9.

These newly instituted artisan shortlists serve to align the Critics Choice Awards more closely with the “below-the-line” recognition commonly seen at guild awards and the Oscars, allowing for a broader spectrum of eclectic selections to be considered by the members. Some surprising entries included Paramount Pictures’ “Roofman” and Marvel Studios’ “The Fantastic Four: First Steps” in production design, IFC’s “The Ugly Stepsister” and GKids’ “Kokuho” in hair and makeup, and A24’s “If I Had Legs I’d Kick You” and Apple’s “The Lost Bus” in sound. Several anticipated December releases, such as James Cameron’s “Avatar: Fire and Ash,” James L. Brooks’ “Ella McCay,” and Paul Feig’s “The Housemaid,” were not screened in time for the Nominating Committee process and were therefore excluded. However, to account for late entries, each artisan category on the final CCA ballot includes one open slot, enabling members to recognize an eligible late-year release. CCA nomination ballots are due on December 3 for above-the-line categories and December 4 for below-the-line categories, with the film nominations scheduled for announcement on December 5. The 31st annual Critics Choice Awards, hosted by Chelsea Handler, will take place on January 4, 2025, and will be broadcast on E!.

Providing a compelling example of the meticulous craftsmanship recognized by these shortlists is Guillermo del Toro’s “Frankenstein.” Production designer Tamara Deverell initiated the pre-production process by conducting extensive research in museums to create an authentic 1850s Edinburgh setting. During scouting with del Toro, she studied real Evelyn tables and the tools of scientists and doctors from the period at the Ontarian Museum. The aim was to create a visual world that mirrored Victor Frankenstein’s (Oscar Isaac) state of mind after his expulsion from the Royal College of Surgeons. Costume designer Kate Hawley collaborated with Deverell to establish a color scheme reflecting this, characterized by the “cold and bitter” tones of Edinburgh’s “wet cobblestone and incredible stone buildings,” with subtle splashes of color appearing in characters’ costumes, such as Lady Elizabeth Harlander (Mia Goth). Hawley noted how these environmental colors also influenced the costumes of background extras, contributing to the film’s distinctive “language of color” and its melancholic mood.

The intricate design extended to the Creature, portrayed by Jacob Elordi. Prosthetics designer Mike Hill, in collaboration with del Toro, aimed to make the Creature appear as though it had genuinely stepped out of the 1800s, avoiding a modern design. This involved researching different body parts and decaying corpses from the Crimean War to ensure a vintage and period-accurate aesthetic. Beyond the cityscapes, the film prominently features a Royal Danish Navy ship, the Horisont, crucial to the opening sequence where a wounded Victor Frankenstein is discovered. Rather than relying on green screens, del Toro’s team meticulously handcrafted a practical ship, encased in ice, mounted on a giant gimbal to simulate authentic movement at sea on its journey to the North Pole. Deverell worked with historians and shipbuilders, including Arctic historian Matthew Betts, to ensure the ship's authenticity, incorporating details like iron plates for navigating ice, and engineering its realistic motion.

Guillermo del Toro expressed his hope that this film adaptation would serve as a gateway for new generations to discover Mary Shelley’s literary classic, which he himself read as a child. He underscored the novel’s enduring urgency and its capacity to pose fundamental questions, stating that the film’s ultimate goal is not to replace the book but to encourage its discovery, thereby enriching the lives of those who engage with Shelley’s profound work. The Critics Choice Association’s recognition, particularly across these detailed artisan categories, further emphasizes the intricate and collaborative efforts essential in bringing such a rich and detailed narrative to the screen.