# Academy Award for Best Picture

The Academy Award for Best Picture is one of the Academy Awards (also known as Oscars) presented annually by the Academy of Motion Picture Arts and Sciences (AMPAS) since the awards debuted in 1929. This award goes to the producers of the film and is the only category in which every member of the Academy is eligible to submit a nomination and vote on the final ballot. The Best Picture category is traditionally the final award of the night and is widely considered the most prestigious honor of the ceremony.
The Grand Staircase columns at the Dolby Theatre in Hollywood, where the Academy Awards ceremonies have been held since 2002, showcase every film that has won the Best Picture title since the award's inception. There have been 611 films nominated for Best Picture and 97 winners.

## History
### Category name changes

At the 1st Academy Awards ceremony held in 1929 (for films made in 1927 and 1928), there were two categories of awards that were each considered the top award of the night: "Outstanding Picture" and "Unique and Artistic Picture", the former being won by the war epic Wings, and the latter by the art film Sunrise. Each award was intended to honor different and equally important aspects of superior filmmaking. In particular, The Jazz Singer was disqualified from both awards, since its use of synchronized sound made the film a sui generis item that would have unfairly competed against either category, and the Academy granted the film an honorary award instead.
The following year, the Academy dropped the Unique and Artistic Picture award, deciding retroactively that the award won by Wings was the highest honor that could be awarded, and allowed synchronized sound films to compete for the award. Although the award kept the title Outstanding Picture for the next ceremony, the name underwent several changes over the years, as seen below. Since 1962, the award has been simply called Best Picture.
* 1927/28–1928/29: Academy Award for Outstanding Picture
* 1929/30–1940: Academy Award for Outstanding Production
* 1941–1943: Academy Award for Outstanding Motion Picture
* 1944–1961: Academy Award for Best Motion Picture
* 1962–present: Academy Award for Best Picture

### Recipients

Until 1950, this award was presented to a representative of the production company. That year the protocol was changed so that the award was presented to all credited producers. This rule was modified in 1999 to apply a maximum limit of three producers receiving the award, after the five producers of Shakespeare in Love had received the award.
As of 2020, the "Special Rules for the Best Picture of the Year Award" limit recipients to those who meet two main requirements:
* Those with screen credit of "producer" or "produced by", explicitly excluding those with the screen credit "executive producer, co-producer, associate producer, line producer, or produced in association with"
* those three or fewer producers who have performed the major portion of the producing functions
The rules allow a bona fide team of not more than two people to be considered a single "producer" if the two individuals have had an established producing partnership as determined by the Producers Guild of America Producing Partnership Panel. Final determination of the qualifying producer nominees for each nominated picture will be made by the Producers Branch Executive Committee, including the right to name any additional qualified producer as a nominee.
The Academy can make exceptions to the limit, as when Anthony Minghella and Sydney Pollack were posthumously included among the four producers nominated for The Reader. As of 2014 the Producers Branch Executive Committee determines such exceptions, noting they take place only in "rare and extraordinary circumstance[s]."
Steven Spielberg currently holds the record for most nominations at thirteen, winning one, while Kathleen Kennedy holds the record for most nominations without a win at eight. Sam Spiegel and Saul Zaentz tie for the most wins with three each. During the time when the Oscar was given to production companies instead, Metro-Goldwyn-Mayer received the most, with five wins and 40 nominations.

### Best Picture and Best Director

The Academy Awards for Best Picture and Best Director have been closely linked throughout their history. Of the 97 films that have won Best Picture, 70 have also been awarded Best Director. Only six films have been awarded Best Picture without receiving a Best Director nomination: Wings directed by William A. Wellman (1927/28), Grand Hotel directed by Edmund Goulding (1931/32), Driving Miss Daisy directed by Bruce Beresford (1989), Argo directed by Ben Affleck (2012), Green Book directed by Peter Farrelly (2018), and CODA directed by Sian Heder (2021). The only two Best Director winners to win for films that did not receive a Best Picture nomination were during the early years of the awards: Lewis Milestone for Two Arabian Knights (1927/28), and Frank Lloyd for The Divine Lady (1928/29).

### Nomination limit increased

On June 24, 2009, the Academy of Motion Picture Arts and Sciences (AMPAS) announced that the number of films to be nominated in the Best Picture award category would increase from 5 to 10, starting with the 82nd Academy Awards (2009). Although the Academy never officially said so, many commenters noted the expansion was likely in part a response to public criticism of The Dark Knight and WALL-E (both 2008) (and, in previous years, other blockbusters and popular films) not being nominated for Best Picture. Officially, the Academy said the rule change was a throwback to the Academy's early years in the 1930s and 1940s, when 8 to 12 films were nominated each year. "Having 10 Best Picture nominees is going to allow Academy voters to recognize and include some of the fantastic movies that often show up in the other Oscar categories but have been squeezed out of the race for the top prize," AMPAS President Sid Ganis said in a press conference. "I can't wait to see what that list of 10 looks like when the nominees are announced in February."
At the same time, the voting system was switched from first-past-the-post to instant runoff voting (also known as preferential voting). In 2011, the Academy revised the rule again so that the number of films nominated was between 5 and 10; nominated films must earn either 5% of first-place rankings or 5% after an abbreviated variation of the single transferable vote nominating process. Bruce Davis, the Academy executive director at the time, said, "A Best Picture nomination should be an indication of extraordinary merit. If there are only eight pictures that truly earn that honor in a given year, we shouldn't feel an obligation to round out the number." This system lasted until 2021, when the Academy reverted back to a set number of ten nominees from the 94th Academy Awards onward.

### Language and country of origin

Nineteen non-English language films have been nominated in the category: La Grande Illusion (French, 1938); Z (French, 1969); The Emigrants (Swedish, 1972); Cries and Whispers (Swedish, 1973); The Postman (Il Postino) (Italian/Spanish, 1995); Life Is Beautiful (Italian, 1998); Crouching Tiger, Hidden Dragon (Mandarin Chinese, 2000); Letters from Iwo Jima (Japanese, 2006, but ineligible for Best Foreign Language Film because it was an American production); Amour (French, 2012); Roma (Spanish/Mixtec, 2018); Parasite (Korean, 2019); Minari (Korean, 2020, but ineligible for Best International Feature Film because it was an American production); Drive My Car (Japanese/Korean/Mandarin Chinese/German/Korean Sign Language, 2021), All Quiet on the Western Front (German, 2022), Anatomy of a Fall (French, 2023), Past Lives (Korean, 2023, but ineligible for Best International Feature Film because it was an American production), The Zone of Interest (German/Polish/Yiddish, 2023), Emilia Pérez (Spanish, 2024), and I'm Still Here (Portuguese, 2024). Parasite became the first film not in English to win Best Picture.
Ten films wholly financed outside the United States have won Best Picture, eight of which were financed, in part or in whole, by the United Kingdom: Hamlet (1948), Tom Jones (1963), A Man for All Seasons (1966), Chariots of Fire (1981), Gandhi (1982), The Last Emperor (1987), Slumdog Millionaire (2008), and The King's Speech (2010). The ninth film, The Artist (2011), was financed in France, and the tenth film, Parasite (2019), was financed in South Korea.

### Rating

Since 1968, most Best Picture winners have been rated R under the Motion Picture Association's rating system. Oliver! is the only G-rated film and Midnight Cowboy is the only X-rated film (what is categorized as an NC-17 film today), so far, to win Best Picture; they won in back-to-back years, 1968 and 1969. The latter has since been changed to an R rating. Eleven films have won with a PG rating: the first was Patton (1970) and the most recent was Driving Miss Daisy (1989). Eleven more films have won with a PG-13 rating (which was introduced in 1984): the first was The Last Emperor (1987) and the most recent was CODA (2021). For unrated films, A Room with a View (1985) is the first film to not be rated by the MPA and be nominated Best Picture, though no unrated films have won Best Picture.

### Genres and mediums

Three animated films have been nominated for Best Picture: Beauty and the Beast (1991), Up (2009), and Toy Story 3 (2010). The latter two were nominated after the Academy expanded the number of nominees, but none have won.
No comic book film has won, although three have been nominated: Skippy (1931), Black Panther (2018), and Joker (2019).
Two fantasy films have won: The Lord of the Rings: The Return of the King (2003) and The Shape of Water (2017), although more have been nominated.
The Silence of the Lambs (1991) is the only horror film to win Best Picture. Six others have been nominated: The Exorcist (1973), Jaws (1975), The Sixth Sense (1999), Black Swan (2010), Get Out (2017), and The Substance (2024).
Several science-fiction films have been nominated for Best Picture, though Everything Everywhere All at Once (2022) was the first one to win.
Titanic (1997) is the only disaster film to win Best Picture, though other such films have been nominated, including Airport (1970) and The Towering Inferno (1974).
No documentary has been nominated for Best Picture, although Chang: A Drama of the Wilderness was nominated in the Unique and Artistic Picture category at the 1927/28 awards. A Best Documentary Feature category was introduced in 1941.
Several musical adaptations based on material previously filmed in non-musical form have won Best Picture, including Gigi, West Side Story, My Fair Lady, The Sound of Music, Oliver!, and Chicago.
Several epics or historical epic films have won Best Picture, including the first recipient Wings. Others include Cimarron, Cavalcade, Gone with the Wind, The Bridge on the River Kwai, Ben-Hur, Lawrence of Arabia, Patton, The Godfather, The Godfather Part II, The Last Emperor, Dances with Wolves, Schindler's List, Forrest Gump, Braveheart, The English Patient, Titanic, Gladiator, The Lord of the Rings: The Return of the King, and Oppenheimer.

### Sequel nominations and winners

Ten films that were presented as direct sequels have been nominated for Best Picture: The Bells of St. Mary's (1945; the sequel to the 1944 winner, Going My Way), The Godfather Part II (1974), The Godfather Part III (1990), The Lord of the Rings: The Two Towers (2002), The Lord of the Rings: The Return of the King (2003), Toy Story 3 (2010), Mad Max: Fury Road (2015), Avatar: The Way of Water (2022), Top Gun: Maverick (2022), and Dune: Part Two (2024).
Toy Story 3, Mad Max: Fury Road, and Top Gun: Maverick are the only sequels to be nominated without any predecessors being nominated. The Godfather Part II and The Lord of the Rings: The Return of the King are the only sequels to have won the award, and their respective trilogies are the only series to have three films nominated. The Godfather series is the only film series with multiple Best Picture winners, with the first film winning the award for 1972 and the second film winning the award for 1974.
Another nominee, Broadway Melody of 1936, was a follow-up of sorts to previous winner The Broadway Melody, but beyond the title and some music, the two films have mutually independent stories. The Silence of the Lambs was adapted from the sequel novel to Red Dragon. The latter had been adapted for film as Manhunter by a different studio, and the two films have different casts and creative teams and were not presented as a series. Conversely, 2024's Wicked uses iconography and characters who appeared in 1939's The Wizard of Oz and other Oz films, but is not a direct prequel to any film.
The Lion in Winter features Peter O'Toole as King Henry II, a role he had played previously in the film Becket, but The Lion in Winter is not a sequel to Becket. Similarly, The Queen features Michael Sheen as Tony Blair, a role he had played previously in the television film The Deal. Christine Langan, producer of both productions, described The Queen as not being a direct sequel, only that it reunited the same creative team.
Clint Eastwood's Letters from Iwo Jima was a companion piece to his film Flags of Our Fathers that was released earlier the same year. These two films depict the same battle from the different viewpoints of Japanese and United States military forces; the two films were shot back-to-back.
In addition, Black Panther is a continuation of the events that occurred in Captain America: Civil War and the Marvel Cinematic Universe.

### Remake nominations and winners

Along similar lines to sequels, there have been few nominees and winners that are either remakes or adaptations of the same source materials or subjects.
Ben-Hur, which won Best Picture of 1959, is a remake of the 1925 silent film with a similar title and both were adapted from Lew Wallace's 1880 novel Ben-Hur: A Tale of the Christ. The Departed, which won Best Picture of 2006, is a remake of the 2002 Hong Kong film Infernal Affairs and is the first remake of a non-English language or international film to win.
Other nominees include 1963's Cleopatra about the titular last queen of Egypt following the 1934 version, 2018's A Star is Born following the 1937 film of the same name, and 2019's Little Women following the 1933 film of the same name with both being adaptations of the 1868 novel. True Grit, which was nominated for Best Picture at the 83rd Academy Awards, is the second adaptation of Charles Portis's 1968 novel following the 1969 film of the same name.
Four of the nominees for the 94th ceremony were based on source material previously made into films: CODA, Dune, Nightmare Alley, and West Side Story. The 2021 version of West Side Story became the second adaptation of the same source material for a previous Best Picture winner to be nominated for the same award after 1962's Mutiny on the Bounty. For that same ceremony, CODA became the second remake of a non-English-language or international film to win.
The 2022 German-language All Quiet on the Western Front is the second adaptation of the 1929 novel after the 1930 English-language film, and the third adaptation of the same source material of a previous Best Picture winner.

### Silent film winners

At the 1st Academy Awards, the Best Picture award (then named "Academy Award for Outstanding Picture") was presented to the 1927 silent film Wings.
The Artist (2011) was the first essentially silent (with the exception of a single scene of dialogue, and a dream sequence with sound effects) film since Wings to win Best Picture. It was the first silent nominee since 1928's The Patriot and the first Best Picture winner to be produced entirely in black-and-white since 1960's The Apartment. (Schindler's List, the 1993 winner, was predominantly black-and-white but contains some color sequences.)

### Version availability

No Best Picture winner has been lost, though a few such as All Quiet on the Western Front and Lawrence of Arabia exist only in a form altered from their original, award-winning release form. This has usually been due to editing for reissue (and subsequently partly restored by archivists). Other winners and nominees, such as Tom Jones (prior to its 2018 reissues by The Criterion Collection and the British Film Institute) and Star Wars, are widely available only in subsequently altered versions. The Broadway Melody originally had some sequences photographed in two-color Technicolor. This footage survives only in black and white.
The 1928 film The Patriot is the only Best Picture nominee that is lost (about one-third is extant). The Racket, also from 1928, was believed lost for many years until a print was found in Howard Hughes' archives. It has since been restored and shown on Turner Classic Movies. The only surviving complete prints of 1931's East Lynne and 1934's The White Parade exist within the UCLA film archive.

### Diversity standards

The Academy has established a set of "representation and inclusion standards", called Academy Aperture 2025, which a film will be required to satisfy in order to compete in the Best Picture category, starting with the 96th Academy Awards for films released in 2023. There are four general standards, of which a film must satisfy two to be considered for Best Picture: (a) on-screen representation, themes and narratives; (b) creative leadership and project team; (c) industry access and opportunities; and (d) audience development. As explained by Vox, the standards "basically break down into two big buckets: standards promoting more inclusive representation and standards promoting more inclusive employment". The standards are intended to provide greater opportunities for employment, in cast, crew, studio apprenticeships and internships, and development, marketing, publicity, and distribution executives, among underrepresented racial and ethnic groups, women, LGBTQ+ people, and persons with cognitive or physical disabilities (not counting developmental disabilities like the autism spectrum), or who are deaf or hard of hearing.
For the 94th and 95th Academy Awards (films released in 2021 and 2022), filmmakers were required to submit a confidential Academy Inclusion Standards form to be considered for Best Picture but were not required to fulfill the standards. These standards will only apply to the Best Picture category and do not affect a film's eligibility in other Oscar categories.

### 2016 ceremony mistake

At the 89th Academy Awards on February 26, 2017, presenter Faye Dunaway read La La Land as the winner of the award. However, she and Warren Beatty had mistakenly been given the duplicate envelope for the "Best Actress in a Leading Role" award, which Emma Stone had won for her role in La La Land. While accepting the award, La La Land producer Jordan Horowitz, who was given the correct envelope, realized the mistake and announced that Moonlight had won the award.

## Criticisms and controversies
### High Noon and The Greatest Show on Earth

Many film historians believe that High Noon lost out to The Greatest Show on Earth due to the initial release of High Noon showing a panoramic view of modern downtown Los Angeles. Retrospectively, The Greatest Show on Earth has been considered by some to be one of the worst Best Picture winners in history.

### Diversity criticisms

In general, the awardees of that category have been criticized for disproportionately recognizing films about white men over those of women or non-white people. Though there have been exceptions like Barry Jenkins's Moonlight, films like Precious and Get Out have been seen as potentially being shut out of the Best Picture race because of older and white Academy voters choosing not to see them. From 2018 onwards, the Academy made an effort to add more younger, female, non-white and non-American voters, and to create a non-voting "emeritus" status for people who had not worked in the film industry after a certain length of time, in order to diversify and rejuvenate their voter bloc.

### Saving Private Ryan and Shakespeare in Love

Saving Private Ryan was immediately pegged as a favorite for the category by many members and fans of Spielberg's films, but it lost to Shakespeare in Love. The Academy's decision was widely criticized. The choice was seen as one of the biggest upsets in the awards history, and led to DreamWorks executives (including Terry Press) and many industry pundits accusing Miramax and one of the Shakespeare in Love producers, Harvey Weinstein, of winning due to their award campaign's negative messaging against Saving Private Ryan rather than their own film's merits. Press stated that Weinstein and Miramax "tried to get everybody to believe that Saving Private Ryan was all in the first 15 minutes".

### Brokeback Mountain and Crash

Brokeback Mountain losing the Best Picture to Crash was heavily criticized, with some critics such as Kenneth Turan accusing the Academy members of homophobia and benefitting from making a non-groundbreaking choice in Crash, considered as one of the most notable Oscars upsets. After announcing the award, presenter Jack Nicholson was caught on camera mouthing the word "whoa" out of apparent surprise at the result. The film's use of moral quandary as a storytelling medium was widely reported as ironic since many saw it as the "safe" alternative to Brokeback Mountain, which is about a gay relationship (the other nominees, Good Night, and Good Luck, Capote, and Munich also tackle heavy subjects of McCarthyism, homosexuality, and terrorism).

### Animated films in Best Picture category

The category of Best Animated Feature was created for the 74th Academy Awards to ensure the recognition of animated films; prior to its creation, the only animated film ever nominated for Best Picture was 1991's Beauty and the Beast. However, the award has since received criticism on the grounds that it discourages animated films from being eligible to win Best Picture. While the Academy rules allow for a film to be nominated in both categories, only two animated films (Up and Toy Story 3) have been nominated for Best Picture since the creation of the two categories.
A prominent example was the 2001 film Shrek; Dreamworks and producer Jeffrey Katzenberg campaigned heavily for the film to be awarded Best Picture, but it was not nominated in the category despite receiving nominations for a Golden Globe for Best Musical or Comedy, PGA Award for Best Theatrical Motion Picture, BAFTA Award for Best Film, and Critics' Choice Awards for Best Picture (and was the first animated film nominated in the latter three categories). Similarly, the 2008 film WALL-E received many accolades and garnered speculation that it might be nominated for Best Picture, but it was instead nominated for six categories, tying with Beauty and the Beast as the most nominated animated films in Oscar history, and won the award for Best Animated Feature Film. Other animated films that garnered Best Picture speculation but were ultimately not nominated include Guillermo del Toro's Pinocchio, The Boy and the Heron, and Spider-Man: Across the Spider-Verse with the former two films winning Best Animated Feature Film at back-to-back ceremonies.

### Extremely Loud & Incredibly Close nomination

Critics and audiences criticized Extremely Loud & Incredibly Close's nomination for Best Picture, with some calling the film one of the worst Best Picture nominees ever. Chris Krapek of The Huffington Post wrote very negatively about the film's nomination, calling the film "not only the worst reviewed Best Picture nominee of the last 10 years, [but] easily the worst film of 2011". Paste Magazine's Adam Vitcavage called the film's consensus for a Best Picture nominee "certainly the worst for at least 28 years", and David Gritten of The Telegraph called the nomination "mysterious".

### Emilia Pérez nomination

The nomination of Emilia Pérez for Best Picture, among other categories, was heavily criticized. The main causes for criticism was that the film's trans representation was stereotypical and backwards, and its portrayal of Mexican culture being inaccurate, along with director Jacques Audiard's comments about the Spanish language being "a language of developing countries, it's a language of countries of few means, of poor people, of migrants."

## Winners and nominees

In the list below, winners are listed first in the gold row, followed by the other nominees. Except for the early years (when the Academy used a non-calendar year), the year shown is the one in which the film first premiered in Los Angeles County, California; normally this is also the year of first release, but it may be the year after first release (as with Casablanca and, if the film-festival premiere is considered, Crash and The Hurt Locker). This is also the year before the ceremony at which the award is given; for example, a film exhibited theatrically during 2005 was eligible for consideration for the 2005 Best Picture Oscar, awarded in 2006. The number of the ceremony (1st, 2nd, etc.) appears in parentheses after the awards year, linked to the article on that ceremony. Each individual entry shows the title followed by nominee.
Until 1950, the Best Picture award was given to the production company; from 1951 on, it has gone to the producer or producers. The Academy used the producer credits of the Producers Guild of America (PGA) until 1998, when all five producers of Shakespeare in Love made speeches after its win. A three-producer limit has been applied some years since. There was controversy over the exclusion of some PGA-credited producers of Crash and Little Miss Sunshine. The Academy can make exceptions to the limit, as when Anthony Minghella and Sydney Pollack were posthumously among the four nominated for The Reader. However, now any number of producers on a film can be nominated for Best Picture, should they be deemed eligible.
For the first ceremony, three films were nominated for the award. For the following three years, five films were nominated for the award. This was expanded to eight in 1933, to ten in 1934, and to twelve in 1935, before being dropped back to ten in 1937. In 1945, it was further reduced to five. This number remained until 2009, when the limit was raised to ten; it was adjusted from 2011 to 2020 to vary between five and ten, but has been a full ten since 2022.
For the first six ceremonies, the eligibility period spanned two calendar years. For example, the 2nd Academy Awards presented on April 3, 1930, recognized films that were released between August 1, 1928, and July 31, 1929. Starting with the 7th Academy Awards, held in 1935, the period of eligibility became the full previous calendar year from January 1 to December 31. This has been the rule every year since except 2020, when the end date was extended to February 28, 2021, due to the COVID-19 pandemic, and 2021, which was correspondingly limited to March 1 to December 31.
Since 2023, the category's winners and nominees from the 1927/28 and 1928/29 ceremonies have entered the public domain.

### 1920s

| Year of Film Release | Film | Film Studio |
| 1927/28 (1st) | Wings | Famous Players–Lasky (Lucien Hubbard, Jesse L. Lasky, B.P. Schulberg, & Adolph Zukor, producers) |
| 1927/28 (1st) | 7th Heaven | Fox (William Fox, producer) |
| 1927/28 (1st) | The Racket | The Caddo Company (Howard Hughes, producer) |
| 1928/29 (2nd) |
| 1928/29 (2nd) | The Broadway Melody | Metro-Goldwyn-Mayer (Irving Thalberg & Lawrence Weingarten, producers) |
| 1928/29 (2nd) | Alibi | Feature Productions (Roland West, producer) |
| 1928/29 (2nd) | The Hollywood Revue | Metro-Goldwyn-Mayer (Irving Thalberg & Harry Rapf, producers) |
| 1928/29 (2nd) | In Old Arizona | Fox (Winfield Sheehan, producer) |
| 1928/29 (2nd) | The Patriot | Paramount Famous Lasky |

### 1930s

| Year of Film Release | Film | Film Studio/Producer(s) |
| 1929/30 (3rd) | All Quiet on the Western Front | Universal (Carl Laemmle Jr., producer) |
| 1929/30 (3rd) | The Big House | Cosmopolitan (Irving Thalberg, producer) |
| 1929/30 (3rd) | Disraeli | Warner Bros. (Jack L. Warner & Darryl F. Zanuck, producers) |
| 1929/30 (3rd) | The Divorcee | Metro-Goldwyn-Mayer (Robert Z. Leonard, producer) |
| 1929/30 (3rd) | The Love Parade | Paramount Famous Lasky (Ernst Lubitsch, producer) |
| 1930/31 (4th) |
| 1930/31 (4th) | Cimarron | RKO Radio (William LeBaron, producer) |
| 1930/31 (4th) | East Lynne | Fox |
| 1930/31 (4th) | The Front Page | The Caddo Company (Howard Hughes & Lewis Milestone, producers) |
| 1930/31 (4th) | Skippy | Paramount Publix (Jesse L. Lasky, B.P. Schulberg, & Adolph Zukor, producers) |
| 1930/31 (4th) | Trader Horn | Metro-Goldwyn-Mayer (Irving Thalberg, producer) |
| 1931/32 (5th) | Grand Hotel | Metro-Goldwyn-Mayer (Irving Thalberg, producer) |
| 1931/32 (5th) | Arrowsmith | Samuel Goldwyn Productions (Samuel Goldwyn, producer) |
| 1931/32 (5th) | Bad Girl | Fox |
| 1931/32 (5th) | The Champ | Metro-Goldwyn-Mayer (King Vidor, producer) |
| 1931/32 (5th) | Five Star Final | First National (Hal B. Wallis, producer) |
| 1931/32 (5th) | One Hour with You | Paramount Publix (Ernst Lubitsch, producer) |
| 1931/32 (5th) | Shanghai Express | Paramount Publix (Adolph Zukor, producer) |
| 1931/32 (5th) | The Smiling Lieutenant | Paramount Publix (Ernst Lubitsch, producer) |
| 1932/33 (6th) |
| 1932/33 (6th) | Cavalcade | Fox (Frank Lloyd & Winfield Sheehan, producers) |
| 1932/33 (6th) | 42nd Street | Warner Bros. |
| 1932/33 (6th) | A Farewell to Arms | Paramount |
| 1932/33 (6th) | I Am a Fugitive from a Chain Gang | Warner Bros. |
| 1932/33 (6th) | Lady for a Day | Columbia |
| 1932/33 (6th) | Little Women | RKO Radio |
| 1932/33 (6th) | The Private Life of Henry VIII | London Films |
| 1932/33 (6th) | She Done Him Wrong | Paramount |
| 1932/33 (6th) | Smilin' Through | Metro-Goldwyn-Mayer |
| 1932/33 (6th) | State Fair | Fox |
| 1934 (7th) |
| 1934 (7th) | It Happened One Night | Columbia (Frank Capra & Harry Cohn, producer) |
| 1934 (7th) | The Barretts of Wimpole Street | Metro-Goldwyn-Mayer |
| 1934 (7th) | Cleopatra | Paramount |
| 1934 (7th) | Flirtation Walk | First National |
| 1934 (7th) | The Gay Divorcee | RKO Radio |
| 1934 (7th) | Here Comes the Navy | Warner Bros. |
| 1934 (7th) | The House of Rothschild | 20th Century |
| 1934 (7th) | Imitation of Life | Universal |
| 1934 (7th) | One Night of Love | Columbia |
| 1934 (7th) | The Thin Man | Metro-Goldwyn-Mayer |
| 1934 (7th) | Viva Villa! | Metro-Goldwyn-Mayer |
| 1934 (7th) | The White Parade | Jesse L. Lasky (production company) |
| 1935 (8th) |
| 1935 (8th) | Mutiny on the Bounty | Metro-Goldwyn-Mayer (Frank Lloyd & Irving Thalberg, producers) |
| 1935 (8th) | Alice Adams | RKO Radio |
| 1935 (8th) | Broadway Melody of 1936 | Metro-Goldwyn-Mayer |
| 1935 (8th) | Captain Blood | Cosmopolitan |
| 1935 (8th) | David Copperfield | Metro-Goldwyn-Mayer |
| 1935 (8th) | The Informer | RKO Radio |
| 1935 (8th) | The Lives of a Bengal Lancer | Paramount |
| 1935 (8th) | A Midsummer Night's Dream | Warner Bros. |
| 1935 (8th) | Les Misérables | 20th Century |
| 1935 (8th) | Naughty Marietta | Metro-Goldwyn-Mayer |
| 1935 (8th) | Ruggles of Red Gap | Paramount |
| 1935 (8th) | Top Hat | RKO Radio |
| 1936 (9th) |
| 1936 (9th) | The Great Ziegfeld | Metro-Goldwyn-Mayer (Hunt Stromberg, producer) |
| 1936 (9th) | Anthony Adverse | Warner Bros. |
| 1936 (9th) | Dodsworth | Samuel Goldwyn Productions (Samuel Goldwyn, producer) |
| 1936 (9th) | Libeled Lady | Metro-Goldwyn-Mayer |
| 1936 (9th) | Mr. Deeds Goes to Town | Columbia |
| 1936 (9th) | Romeo and Juliet | Metro-Goldwyn-Mayer |
| 1936 (9th) | San Francisco | Metro-Goldwyn-Mayer |
| 1936 (9th) | The Story of Louis Pasteur | Cosmopolitan |
| 1936 (9th) | A Tale of Two Cities | Metro-Goldwyn-Mayer |
| 1936 (9th) | Three Smart Girls | Universal |
| 1937 (10th) |
| 1937 (10th) | The Life of Emile Zola | Warner Bros. (Henry Blanke, producer) |
| 1937 (10th) | The Awful Truth | Columbia |
| 1937 (10th) | Captains Courageous | Metro-Goldwyn-Mayer |
| 1937 (10th) | Dead End | Samuel Goldwyn Productions (Samuel Goldwyn, producer) |
| 1937 (10th) | The Good Earth | Metro-Goldwyn-Mayer |
| 1937 (10th) | In Old Chicago | 20th Century-Fox |
| 1937 (10th) | Lost Horizon | Columbia |
| 1937 (10th) | One Hundred Men and a Girl | Universal |
| 1937 (10th) | Stage Door | RKO Radio |
| 1937 (10th) | A Star Is Born | Selznick International Pictures |
| 1938 (11th) |
| 1938 (11th) | You Can't Take It with You | Columbia (Frank Capra, producer) |
| 1938 (11th) | The Adventures of Robin Hood | Warner Bros.-First National |
| 1938 (11th) | Alexander's Ragtime Band | 20th Century-Fox |
| 1938 (11th) | Boys Town | Metro-Goldwyn-Mayer |
| 1938 (11th) | The Citadel | Metro-Goldwyn-Mayer |
| 1938 (11th) | Four Daughters | Warner Bros.-First National |
| 1938 (11th) | Grand Illusion | Réalisation d'art Cinématographique |
| 1938 (11th) | Jezebel | Warner Bros. |
| 1938 (11th) | Pygmalion | Metro-Goldwyn-Mayer |
| 1938 (11th) | Test Pilot | Metro-Goldwyn-Mayer |
| 1939 (12th) |
| 1939 (12th) | Gone with the Wind | Selznick International Pictures (David O. Selznick, producer) |
| 1939 (12th) | Dark Victory | Warner Bros.-First National |
| 1939 (12th) | Goodbye, Mr. Chips | Metro-Goldwyn-Mayer |
| 1939 (12th) | Love Affair | RKO Radio |
| 1939 (12th) | Mr. Smith Goes to Washington | Columbia |
| 1939 (12th) | Ninotchka | Metro-Goldwyn-Mayer |
| 1939 (12th) | Of Mice and Men | Hal Roach (production company) |
| 1939 (12th) | Stagecoach | Walter Wanger (production company) |
| 1939 (12th) | The Wizard of Oz | Metro-Goldwyn-Mayer |
| 1939 (12th) | Wuthering Heights | Samuel Goldwyn Productions |

### 1940s

| Year of Film Release | Film | Film Studio |
| 1940 (13th) | Rebecca | Selznick International Pictures (David O. Selznick, producer) |
| 1940 (13th) | All This, and Heaven Too | Warner Bros. |
| 1940 (13th) | Foreign Correspondent | Walter Wanger (production company) |
| 1940 (13th) | The Grapes of Wrath | 20th Century-Fox |
| 1940 (13th) | The Great Dictator | Charles Chaplin Productions |
| 1940 (13th) | Kitty Foyle | RKO Radio |
| 1940 (13th) | The Letter | Warner Bros. |
| 1940 (13th) | The Long Voyage Home | Argosy-Wanger |
| 1940 (13th) | Our Town | Sol Lesser (production company) |
| 1940 (13th) | The Philadelphia Story | Metro-Goldwyn-Mayer |
| 1941 (14th) |
| 1941 (14th) | How Green Was My Valley | 20th Century-Fox (Darryl F. Zanuck, producer) |
| 1941 (14th) | Blossoms in the Dust | Metro-Goldwyn-Mayer |
| 1941 (14th) | Citizen Kane | Mercury |
| 1941 (14th) | Here Comes Mr. Jordan | Columbia |
| 1941 (14th) | Hold Back the Dawn | Paramount |
| 1941 (14th) | The Little Foxes | Samuel Goldwyn Productions (Samuel Goldwyn, producer) |
| 1941 (14th) | The Maltese Falcon | Warner Bros. |
| 1941 (14th) | One Foot in Heaven | Warner Bros. |
| 1941 (14th) | Sergeant York | Warner Bros. |
| 1941 (14th) | Suspicion | RKO Radio |
| 1942 (15th) |
| 1942 (15th) | Mrs. Miniver | Metro-Goldwyn-Mayer (Sidney Franklin, producer) |
| 1942 (15th) | 49th Parallel | Ortus |
| 1942 (15th) | Kings Row | Warner Bros. |
| 1942 (15th) | The Magnificent Ambersons | Mercury |
| 1942 (15th) | The Pied Piper | 20th Century-Fox |
| 1942 (15th) | The Pride of the Yankees | Samuel Goldwyn Productions (Samuel Goldwyn, producer) |
| 1942 (15th) | Random Harvest | Metro-Goldwyn-Mayer |
| 1942 (15th) | The Talk of the Town | Columbia |
| 1942 (15th) | Wake Island | Paramount |
| 1942 (15th) | Yankee Doodle Dandy | Warner Bros. |
| 1943 (16th) |
| 1943 (16th) | Casablanca | Warner Bros. (Hal B. Wallis, producer) |
| 1943 (16th) | For Whom the Bell Tolls | Paramount |
| 1943 (16th) | Heaven Can Wait | 20th Century-Fox |
| 1943 (16th) | The Human Comedy | Metro-Goldwyn-Mayer |
| 1943 (16th) | In Which We Serve | Two Cities Films |
| 1943 (16th) | Madame Curie | Metro-Goldwyn-Mayer |
| 1943 (16th) | The More the Merrier | Columbia |
| 1943 (16th) | The Ox-Bow Incident | 20th Century-Fox |
| 1943 (16th) | The Song of Bernadette | 20th Century-Fox |
| 1943 (16th) | Watch on the Rhine | Warner Bros. |
| 1944 (17th) |
| 1944 (17th) | Going My Way | Paramount (Leo McCarey, producer) |
| 1944 (17th) | Double Indemnity | Paramount |
| 1944 (17th) | Gaslight | Metro-Goldwyn-Mayer |
| 1944 (17th) | Since You Went Away | Selznick International Pictures (David O. Selznick, producer) |
| 1944 (17th) | Wilson | 20th Century-Fox |
| 1945 (18th) |
| 1945 (18th) | The Lost Weekend | Paramount (Charles Brackett, producer) |
| 1945 (18th) | Anchors Aweigh | Metro-Goldwyn-Mayer |
| 1945 (18th) | The Bells of St. Mary's | Rainbow Productions |
| 1945 (18th) | Mildred Pierce | Warner Bros. |
| 1945 (18th) | Spellbound | Selznick International Pictures (David O. Selznick, producer) |
| 1946 (19th) |
| 1946 (19th) | The Best Years of Our Lives | Samuel Goldwyn Productions (Samuel Goldwyn, producer) |
| 1946 (19th) | Henry V | Two Cities Films |
| 1946 (19th) | It's a Wonderful Life | Liberty Films |
| 1946 (19th) | The Razor's Edge | 20th Century-Fox |
| 1946 (19th) | The Yearling | Metro-Goldwyn-Mayer |
| 1947 (20th) |
| 1947 (20th) | Gentleman's Agreement | 20th Century-Fox (Darryl F. Zanuck, producer) |
| 1947 (20th) | The Bishop's Wife | Samuel Goldwyn Productions (Samuel Goldwyn, producer) |
| 1947 (20th) | Crossfire | RKO Radio |
| 1947 (20th) | Great Expectations | J. Arthur Rank-Cineguild |
| 1947 (20th) | Miracle on 34th Street | 20th Century-Fox |
| 1948 (21st) |
| 1948 (21st) | Hamlet | J. Arthur Rank-Two Cities Films (Laurence Olivier, producer) |
| 1948 (21st) | Johnny Belinda | Warner Bros. |
| 1948 (21st) | The Red Shoes | J. Arthur Rank-Archers |
| 1948 (21st) | The Snake Pit | 20th Century-Fox |
| 1948 (21st) | The Treasure of the Sierra Madre | Warner Bros. |
| 1949 (22nd) |
| 1949 (22nd) | All the King's Men | Columbia (Robert Rossen, producer) |
| 1949 (22nd) | Battleground | Metro-Goldwyn-Mayer |
| 1949 (22nd) | The Heiress | Paramount |
| 1949 (22nd) | A Letter to Three Wives | 20th Century-Fox |
| 1949 (22nd) | Twelve O'Clock High | 20th Century-Fox |

### 1950s

| Year of Film Release | Film | Film Studio/Producer(s) |
| 1950 (23rd) | All About Eve | 20th Century-Fox (Darryl F. Zanuck, producer) |
| 1950 (23rd) | Born Yesterday | Columbia |
| 1950 (23rd) | Father of the Bride | Metro-Goldwyn-Mayer |
| 1950 (23rd) | King Solomon's Mines | Metro-Goldwyn-Mayer |
| 1950 (23rd) | Sunset Boulevard | Paramount |
| 1951 (24th) |
| 1951 (24th) | An American in Paris | Arthur Freed |
| 1951 (24th) | Decision Before Dawn | Anatole Litvak and Frank McCarthy |
| 1951 (24th) | A Place in the Sun | George Stevens |
| 1951 (24th) | Quo Vadis | Sam Zimbalist |
| 1951 (24th) | A Streetcar Named Desire | Charles K. Feldman |
| 1952 (25th) |
| 1952 (25th) | The Greatest Show on Earth | Cecil B. DeMille |
| 1952 (25th) | High Noon | Stanley Kramer |
| 1952 (25th) | Ivanhoe | Pandro S. Berman |
| 1952 (25th) | Moulin Rouge | John and James Woolf |
| 1952 (25th) | The Quiet Man | John Ford and Merian C. Cooper |
| 1953 (26th) |
| 1953 (26th) | From Here to Eternity | Buddy Adler |
| 1953 (26th) | Julius Caesar | John Houseman |
| 1953 (26th) | The Robe | Frank Ross |
| 1953 (26th) | Roman Holiday | William Wyler |
| 1953 (26th) | Shane | George Stevens |
| 1954 (27th) |
| 1954 (27th) | On the Waterfront | Sam Spiegel |
| 1954 (27th) | The Caine Mutiny | Stanley Kramer |
| 1954 (27th) | The Country Girl | William Perlberg |
| 1954 (27th) | Seven Brides for Seven Brothers | Jack Cummings |
| 1954 (27th) | Three Coins in the Fountain | Sol C. Siegel |
| 1955 (28th) |
| 1955 (28th) | Marty | Harold Hecht |
| 1955 (28th) | Love Is a Many-Splendored Thing | Buddy Adler |
| 1955 (28th) | Mister Roberts | Leland Hayward |
| 1955 (28th) | Picnic | Fred Kohlmar |
| 1955 (28th) | The Rose Tattoo | Hal B. Wallis |
| 1956 (29th) |
| 1956 (29th) | Around the World in 80 Days | Michael Todd |
| 1956 (29th) | Friendly Persuasion | William Wyler |
| 1956 (29th) | Giant | George Stevens and Henry Ginsberg |
| 1956 (29th) | The King and I | Charles Brackett |
| 1956 (29th) | The Ten Commandments | Cecil B. DeMille |
| 1957 (30th) |
| 1957 (30th) | The Bridge on the River Kwai | Sam Spiegel |
| 1957 (30th) | 12 Angry Men | Henry Fonda and Reginald Rose |
| 1957 (30th) | Peyton Place | Jerry Wald |
| 1957 (30th) | Sayonara | William Goetz |
| 1957 (30th) | Witness for the Prosecution | Arthur Hornblow Jr. |
| 1958 (31st) |
| 1958 (31st) | Gigi | Arthur Freed |
| 1958 (31st) | Auntie Mame | Jack L. Warner |
| 1958 (31st) | Cat on a Hot Tin Roof | Lawrence Weingarten |
| 1958 (31st) | The Defiant Ones | Stanley Kramer |
| 1958 (31st) | Separate Tables | Harold Hecht |
| 1959 (32nd) |
| 1959 (32nd) | Ben-Hur | Sam Zimbalist |
| 1959 (32nd) | Anatomy of a Murder | Otto Preminger |
| 1959 (32nd) | The Diary of Anne Frank | George Stevens |
| 1959 (32nd) | The Nun's Story | Henry Blanke |
| 1959 (32nd) | Room at the Top | John Woolf and James Woolf |

### 1960s

| Year of Film Release | Film | Producer(s) |
| 1960 (33rd) | The Apartment | Billy Wilder |
| 1960 (33rd) | The Alamo | John Wayne |
| 1960 (33rd) | Elmer Gantry | Bernard Smith |
| 1960 (33rd) | Sons and Lovers | Jerry Wald |
| 1960 (33rd) | The Sundowners | Fred Zinnemann |
| 1961 (34th) |
| 1961 (34th) | West Side Story | Robert Wise |
| 1961 (34th) | Fanny | Joshua Logan |
| 1961 (34th) | The Guns of Navarone | Carl Foreman |
| 1961 (34th) | The Hustler | Robert Rossen |
| 1961 (34th) | Judgment at Nuremberg | Stanley Kramer |
| 1962 (35th) |
| 1962 (35th) | Lawrence of Arabia | Sam Spiegel |
| 1962 (35th) | The Longest Day | Darryl F. Zanuck |
| 1962 (35th) | The Music Man | Morton DaCosta |
| 1962 (35th) | Mutiny on the Bounty | Aaron Rosenberg |
| 1962 (35th) | To Kill a Mockingbird | Alan J. Pakula |
| 1963 (36th) |
| 1963 (36th) | Tom Jones | Tony Richardson |
| 1963 (36th) | America America | Elia Kazan |
| 1963 (36th) | Cleopatra | Walter Wanger |
| 1963 (36th) | How the West Was Won | Bernard Smith |
| 1963 (36th) | Lilies of the Field | Ralph Nelson |
| 1964 (37th) |
| 1964 (37th) | My Fair Lady | Jack L. Warner |
| 1964 (37th) | Becket | Hal B. Wallis |
| 1964 (37th) | Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb | Stanley Kubrick |
| 1964 (37th) | Mary Poppins | Walt Disney and Bill Walsh |
| 1964 (37th) | Zorba the Greek | Michael Cacoyannis |
| 1965 (38th) |
| 1965 (38th) | The Sound of Music | Robert Wise |
| 1965 (38th) | Darling | Joseph Janni |
| 1965 (38th) | Doctor Zhivago | Carlo Ponti |
| 1965 (38th) | Ship of Fools | Stanley Kramer |
| 1965 (38th) | A Thousand Clowns | Fred Coe |
| 1966 (39th) |
| 1966 (39th) | A Man for All Seasons | Fred Zinnemann |
| 1966 (39th) | Alfie | Lewis Gilbert |
| 1966 (39th) | The Russians Are Coming, the Russians Are Coming | Norman Jewison |
| 1966 (39th) | The Sand Pebbles | Robert Wise |
| 1966 (39th) | Who's Afraid of Virginia Woolf? | Ernest Lehman |
| 1967 (40th) |
| 1967 (40th) | In the Heat of the Night | Walter Mirisch |
| 1967 (40th) | Bonnie and Clyde | Warren Beatty |
| 1967 (40th) | Doctor Dolittle | Arthur P. Jacobs |
| 1967 (40th) | The Graduate | Lawrence Turman |
| 1967 (40th) | Guess Who's Coming to Dinner | Stanley Kramer |
| 1968 (41st) |
| 1968 (41st) | Oliver! | John Woolf |
| 1968 (41st) | Funny Girl | Ray Stark |
| 1968 (41st) | The Lion in Winter | Martin Poll |
| 1968 (41st) | Rachel, Rachel | Paul Newman |
| 1968 (41st) | Romeo and Juliet | Anthony Havelock-Allan and John Brabourne |
| 1969 (42nd) |
| 1969 (42nd) | Midnight Cowboy | Jerome Hellman |
| 1969 (42nd) | Anne of the Thousand Days | Hal B. Wallis |
| 1969 (42nd) | Butch Cassidy and the Sundance Kid | John Foreman |
| 1969 (42nd) | Hello, Dolly! | Ernest Lehman |
| 1969 (42nd) | Z | Jacques Perrin and Ahmed Rachedi |

### 1970s

| Year of Film Release | Film | Producer(s) |
| 1970 (43rd) | Patton | Frank McCarthy |
| 1970 (43rd) | Airport | Ross Hunter |
| 1970 (43rd) | Five Easy Pieces | Bob Rafelson and Richard Wechsler |
| 1970 (43rd) | Love Story | Howard G. Minsky |
| 1970 (43rd) | M*A*S*H | Ingo Preminger |
| 1971 (44th) |
| 1971 (44th) | The French Connection | Philip D'Antoni |
| 1971 (44th) | A Clockwork Orange | Stanley Kubrick |
| 1971 (44th) | Fiddler on the Roof | Norman Jewison |
| 1971 (44th) | The Last Picture Show | Stephen J. Friedman |
| 1971 (44th) | Nicholas and Alexandra | Sam Spiegel |
| 1972 (45th) |
| 1972 (45th) | The Godfather | Albert S. Ruddy |
| 1972 (45th) | Cabaret | Cy Feuer |
| 1972 (45th) | Deliverance | John Boorman |
| 1972 (45th) | The Emigrants | Bengt Forslund |
| 1972 (45th) | Sounder | Robert B. Radnitz |
| 1973 (46th) |
| 1973 (46th) | The Sting | Tony Bill, Michael Phillips, and Julia Phillips |
| 1973 (46th) | American Graffiti | Francis Ford Coppola and Gary Kurtz |
| 1973 (46th) | Cries and Whispers | Ingmar Bergman |
| 1973 (46th) | The Exorcist | William Peter Blatty |
| 1973 (46th) | A Touch of Class | Melvin Frank |
| 1974 (47th) |
| 1974 (47th) | The Godfather Part II | Francis Ford Coppola, Gray Frederickson, and Fred Roos |
| 1974 (47th) | Chinatown | Robert Evans |
| 1974 (47th) | The Conversation | Francis Ford Coppola |
| 1974 (47th) | Lenny | Marvin Worth |
| 1974 (47th) | The Towering Inferno | Irwin Allen |
| 1975 (48th) |
| 1975 (48th) | One Flew Over the Cuckoo's Nest | Michael Douglas and Saul Zaentz |
| 1975 (48th) | Barry Lyndon | Stanley Kubrick |
| 1975 (48th) | Dog Day Afternoon | Martin Bregman and Martin Elfand |
| 1975 (48th) | Jaws | Richard D. Zanuck and David Brown |
| 1975 (48th) | Nashville | Robert Altman |
| 1976 (49th) |
| 1976 (49th) | Rocky | Irwin Winkler and Robert Chartoff |
| 1976 (49th) | All the President's Men | Walter Coblenz |
| 1976 (49th) | Bound for Glory | Robert F. Blumofe and Harold Leventhal |
| 1976 (49th) | Network | Howard Gottfried |
| 1976 (49th) | Taxi Driver | Michael Phillips and Julia Phillips |
| 1977 (50th) |
| 1977 (50th) | Annie Hall | Charles H. Joffe |
| 1977 (50th) | The Goodbye Girl | Ray Stark |
| 1977 (50th) | Julia | Richard Roth |
| 1977 (50th) | Star Wars | Gary Kurtz |
| 1977 (50th) | The Turning Point | Herbert Ross and Arthur Laurents |
| 1978 (51st) |
| 1978 (51st) | The Deer Hunter | Barry Spikings, Michael Deeley, Michael Cimino, and John Peverall |
| 1978 (51st) | Coming Home | Jerome Hellman |
| 1978 (51st) | Heaven Can Wait | Warren Beatty |
| 1978 (51st) | Midnight Express | Alan Marshall and David Puttnam |
| 1978 (51st) | An Unmarried Woman | Paul Mazursky and Anthony Ray |
| 1979 (52nd) |
| 1979 (52nd) | Kramer vs. Kramer | Stanley R. Jaffe |
| 1979 (52nd) | All That Jazz | Robert Alan Aurthur |
| 1979 (52nd) | Apocalypse Now | Francis Ford Coppola, Fred Roos, Gray Frederickson, and Tom Sternberg |
| 1979 (52nd) | Breaking Away | Peter Yates |
| 1979 (52nd) | Norma Rae | Tamara Asseyev and Alex Rose |

### 1980s

| Year of Film Release | Film | Producer(s) |
| 1980 (53rd) | Ordinary People | Ronald L. Schwary |
| 1980 (53rd) | Coal Miner's Daughter | Bernard Schwartz |
| 1980 (53rd) | The Elephant Man | Jonathan Sanger |
| 1980 (53rd) | Raging Bull | Irwin Winkler and Robert Chartoff |
| 1980 (53rd) | Tess | Claude Berri and Timothy Burrill |
| 1981 (54th) |
| 1981 (54th) | Chariots of Fire | David Puttnam |
| 1981 (54th) | Atlantic City | Denis Héroux |
| 1981 (54th) | On Golden Pond | Bruce Gilbert |
| 1981 (54th) | Raiders of the Lost Ark | Frank Marshall |
| 1981 (54th) | Reds | Warren Beatty |
| 1982 (55th) |
| 1982 (55th) | Gandhi | Richard Attenborough |
| 1982 (55th) | E.T. the Extra-Terrestrial | Steven Spielberg and Kathleen Kennedy |
| 1982 (55th) | Missing | Edward Lewis and Mildred Lewis |
| 1982 (55th) | Tootsie | Sydney Pollack and Dick Richards |
| 1982 (55th) | The Verdict | Richard D. Zanuck and David Brown |
| 1983 (56th) |
| 1983 (56th) | Terms of Endearment | James L. Brooks |
| 1983 (56th) | The Big Chill | Michael Shamberg |
| 1983 (56th) | The Dresser | Peter Yates |
| 1983 (56th) | The Right Stuff | Irwin Winkler and Robert Chartoff |
| 1983 (56th) | Tender Mercies | Philip S. Hobel |
| 1984 (57th) |
| 1984 (57th) | Amadeus | Saul Zaentz |
| 1984 (57th) | The Killing Fields | David Puttnam |
| 1984 (57th) | A Passage to India | John Brabourne and Richard B. Goodwin |
| 1984 (57th) | Places in the Heart | Arlene Donovan |
| 1984 (57th) | A Soldier's Story | Norman Jewison, Ronald L. Schwary, and Patrick Palmer |
| 1985 (58th) |
| 1985 (58th) | Out of Africa | Sydney Pollack |
| 1985 (58th) | The Color Purple | Steven Spielberg, Kathleen Kennedy, Frank Marshall, and Quincy Jones |
| 1985 (58th) | Kiss of the Spider Woman | David Weisman |
| 1985 (58th) | Prizzi's Honor | John Foreman |
| 1985 (58th) | Witness | Edward S. Feldman |
| 1986 (59th) |
| 1986 (59th) | Platoon | Arnold Kopelson |
| 1986 (59th) | Children of a Lesser God | Burt Sugarman and Patrick J. Palmer |
| 1986 (59th) | Hannah and Her Sisters | Robert Greenhut |
| 1986 (59th) | The Mission | Fernando Ghia and David Puttnam |
| 1986 (59th) | A Room with a View | Ismail Merchant |
| 1987 (60th) |
| 1987 (60th) | The Last Emperor | Jeremy Thomas |
| 1987 (60th) | Broadcast News | James L. Brooks |
| 1987 (60th) | Fatal Attraction | Stanley R. Jaffe and Sherry Lansing |
| 1987 (60th) | Hope and Glory | John Boorman |
| 1987 (60th) | Moonstruck | Patrick J. Palmer and Norman Jewison |
| 1988 (61st) |
| 1988 (61st) | Rain Man | Mark Johnson |
| 1988 (61st) | The Accidental Tourist | Lawrence Kasdan, Charles Okun, and Michael Grillo |
| 1988 (61st) | Dangerous Liaisons | Norma Heyman and Hank Moonjean |
| 1988 (61st) | Mississippi Burning | Frederick Zollo and Robert F. Colesberry |
| 1988 (61st) | Working Girl | Douglas Wick |
| 1989 (62nd) |
| 1989 (62nd) | Driving Miss Daisy | Richard D. Zanuck and Lili Fini Zanuck |
| 1989 (62nd) | Born on the Fourth of July | A. Kitman Ho and Oliver Stone |
| 1989 (62nd) | Dead Poets Society | Steven Haft, Paul Junger Witt, and Tony Thomas |
| 1989 (62nd) | Field of Dreams | Lawrence Gordon and Charles Gordon |
| 1989 (62nd) | My Left Foot | Noel Pearson |

### 1990s

| Year of Film Release | Film | Producer(s) |
| 1990 (63rd) | Dances with Wolves | Jim Wilson and Kevin Costner |
| 1990 (63rd) | Awakenings | Walter Parkes and Lawrence Lasker |
| 1990 (63rd) | Ghost | Lisa Weinstein |
| 1990 (63rd) | The Godfather Part III | Francis Ford Coppola |
| 1990 (63rd) | Goodfellas | Irwin Winkler |
| 1991 (64th) |
| 1991 (64th) | The Silence of the Lambs | Edward Saxon, Kenneth Utt, and Ron Bozman |
| 1991 (64th) | Beauty and the Beast | Don Hahn |
| 1991 (64th) | Bugsy | Mark Johnson, Barry Levinson and Warren Beatty |
| 1991 (64th) | JFK | A. Kitman Ho and Oliver Stone |
| 1991 (64th) | The Prince of Tides | Barbra Streisand and Andrew S. Karsch |
| 1992 (65th) |
| 1992 (65th) | Unforgiven | Clint Eastwood |
| 1992 (65th) | The Crying Game | Stephen Woolley |
| 1992 (65th) | A Few Good Men | David Brown, Rob Reiner, and Andrew Scheinman |
| 1992 (65th) | Howards End | Ismail Merchant |
| 1992 (65th) | Scent of a Woman | Martin Brest |
| 1993 (66th) |
| 1993 (66th) | Schindler's List | Steven Spielberg, Gerald R. Molen, and Branko Lustig |
| 1993 (66th) | The Fugitive | Arnold Kopelson |
| 1993 (66th) | In the Name of the Father | Jim Sheridan |
| 1993 (66th) | The Piano | Jan Chapman |
| 1993 (66th) | The Remains of the Day | Mike Nichols, John Calley, and Ismail Merchant |
| 1994 (67th) |
| 1994 (67th) | Forrest Gump | Wendy Finerman, Steve Tisch, and Steve Starkey |
| 1994 (67th) | Four Weddings and a Funeral | Duncan Kenworthy |
| 1994 (67th) | Pulp Fiction | Lawrence Bender |
| 1994 (67th) | Quiz Show | Michael Jacobs, Julian Krainin, Michael Nozik, and Robert Redford |
| 1994 (67th) | The Shawshank Redemption | Niki Marvin |
| 1995 (68th) |
| 1995 (68th) | Braveheart | Mel Gibson, Alan Ladd Jr., and Bruce Davey |
| 1995 (68th) | Apollo 13 | Brian Grazer |
| 1995 (68th) | Babe | Bill Miller, George Miller, and Doug Mitchell |
| 1995 (68th) | The Postman (Il Postino) | Mario Cecchi Gori, Vittorio Cecchi Gori, and Gaetano Daniele |
| 1995 (68th) | Sense and Sensibility | Lindsay Doran |
| 1996 (69th) |
| 1996 (69th) | The English Patient | Saul Zaentz |
| 1996 (69th) | Fargo | Ethan Coen |
| 1996 (69th) | Jerry Maguire | James L. Brooks, Laurence Mark, Richard Sakai, and Cameron Crowe |
| 1996 (69th) | Secrets & Lies | Simon Channing-Williams |
| 1996 (69th) | Shine | Jane Scott |
| 1997 (70th) |
| 1997 (70th) | Titanic | James Cameron and Jon Landau |
| 1997 (70th) | As Good as It Gets | James L. Brooks, Bridget Johnson, and Kristi Zea |
| 1997 (70th) | The Full Monty | Uberto Pasolini |
| 1997 (70th) | Good Will Hunting | Lawrence Bender |
| 1997 (70th) | L.A. Confidential | Curtis Hanson, Arnon Milchan, and Michael Nathanson |
| 1998 (71st) |
| 1998 (71st) | Shakespeare in Love | David Parfitt, Donna Gigliotti, Harvey Weinstein, Edward Zwick, and Marc Norman |
| 1998 (71st) | Elizabeth | Alison Owen, Eric Fellner and Tim Bevan |
| 1998 (71st) | Life Is Beautiful | Elda Ferri and Gianluigi Braschi |
| 1998 (71st) | Saving Private Ryan | Steven Spielberg, Ian Bryce, Mark Gordon, and Gary Levinsohn |
| 1998 (71st) | The Thin Red Line | Robert Michael Geisler, John Roberdeau, and Grant Hill |
| 1999 (72nd) |
| 1999 (72nd) | American Beauty | Bruce Cohen and Dan Jinks |
| 1999 (72nd) | The Cider House Rules | Richard N. Gladstein |
| 1999 (72nd) | The Green Mile | Frank Darabont and David Valdes |
| 1999 (72nd) | The Insider | Pieter Jan Brugge and Michael Mann |
| 1999 (72nd) | The Sixth Sense | Frank Marshall, Kathleen Kennedy, and Barry Mendel |

### 2000s

| Year of Film Release | Film | Producer(s) |
| 2000 (73rd) | Gladiator | Douglas Wick, David Franzoni, and Branko Lustig |
| 2000 (73rd) | Chocolat | David Brown, Kit Golden, and Leslie Holleran |
| 2000 (73rd) | Crouching Tiger, Hidden Dragon | William Kong, Hsu Li-kong, and Ang Lee |
| 2000 (73rd) | Erin Brockovich | Danny DeVito, Michael Shamberg, and Stacey Sher |
| 2000 (73rd) | Traffic | Edward Zwick, Marshall Herskovitz, and Laura Bickford |
| 2001 (74th) |
| 2001 (74th) | A Beautiful Mind | Brian Grazer and Ron Howard |
| 2001 (74th) | Gosford Park | Robert Altman, Bob Balaban, and David Levy |
| 2001 (74th) | In the Bedroom | Graham Leader, Ross Katz, and Todd Field |
| 2001 (74th) | The Lord of the Rings: The Fellowship of the Ring | Peter Jackson, Fran Walsh, and Barrie M. Osborne |
| 2001 (74th) | Moulin Rouge! | Martin Brown, Baz Luhrmann, and Fred Baron |
| 2002 (75th) |
| 2002 (75th) | Chicago | Martin Richards |
| 2002 (75th) | Gangs of New York | Alberto Grimaldi and Harvey Weinstein |
| 2002 (75th) | The Hours | Scott Rudin and Robert Fox |
| 2002 (75th) | The Lord of the Rings: The Two Towers | Barrie M. Osborne, Fran Walsh, and Peter Jackson |
| 2002 (75th) | The Pianist | Roman Polanski, Robert Benmussa, and Alain Sarde |
| 2003 (76th) |
| 2003 (76th) | The Lord of the Rings: The Return of the King | Barrie M. Osborne, Peter Jackson, and Fran Walsh |
| 2003 (76th) | Lost in Translation | Ross Katz and Sofia Coppola |
| 2003 (76th) | Master and Commander: The Far Side of the World | Samuel Goldwyn Jr., Peter Weir, and Duncan Henderson |
| 2003 (76th) | Mystic River | Robert Lorenz, Judie G. Hoyt, and Clint Eastwood |
| 2003 (76th) | Seabiscuit | Kathleen Kennedy, Frank Marshall, and Gary Ross |
| 2004 (77th) |
| 2004 (77th) | Million Dollar Baby | Clint Eastwood, Albert S. Ruddy, and Tom Rosenberg |
| 2004 (77th) | The Aviator | Michael Mann and Graham King |
| 2004 (77th) | Finding Neverland | Richard N. Gladstein and Nellie Bellflower |
| 2004 (77th) | Ray | Taylor Hackford, Stuart Benjamin, and Howard Baldwin |
| 2004 (77th) | Sideways | Michael London |
| 2005 (78th) |
| 2005 (78th) | Crash | Paul Haggis and Cathy Schulman |
| 2005 (78th) | Brokeback Mountain | Diana Ossana and James Schamus |
| 2005 (78th) | Capote | Caroline Baron, William Vince, and Michael Ohoven |
| 2005 (78th) | Good Night, and Good Luck | Grant Heslov |
| 2005 (78th) | Munich | Steven Spielberg, Kathleen Kennedy, and Barry Mendel |
| 2006 (79th) |
| 2006 (79th) | The Departed | Graham King |
| 2006 (79th) | Babel | Alejandro González Iñárritu, Steve Golin, and Jon Kilik |
| 2006 (79th) | Letters from Iwo Jima | Clint Eastwood, Steven Spielberg, and Robert Lorenz |
| 2006 (79th) | Little Miss Sunshine | David T. Friendly, Peter Saraf, and Marc Turtletaub |
| 2006 (79th) | The Queen | Andy Harries, Christine Langan, and Tracey Seaward |
| 2007 (80th) |
| 2007 (80th) | No Country for Old Men | Scott Rudin, Joel Coen, and Ethan Coen |
| 2007 (80th) | Atonement | Tim Bevan, Eric Fellner, and Paul Webster |
| 2007 (80th) | Juno | Lianne Halfon, Mason Novick, and Russell Smith |
| 2007 (80th) | Michael Clayton | Jennifer Fox, Kerry Orent, and Sydney Pollack |
| 2007 (80th) | There Will Be Blood | Paul Thomas Anderson, Daniel Lupi, and JoAnne Sellar |
| 2008 (81st) |
| 2008 (81st) | Slumdog Millionaire | Christian Colson |
| 2008 (81st) | The Curious Case of Benjamin Button | Kathleen Kennedy, Frank Marshall, and Ceán Chaffin |
| 2008 (81st) | Frost/Nixon | Ron Howard, Brian Grazer, and Eric Fellner |
| 2008 (81st) | Milk | Bruce Cohen and Dan Jinks |
| 2008 (81st) | The Reader | Anthony Minghella, Sydney Pollack, Donna Gigliotti, and Redmond Morris |
| 2009 (82nd) |
| 2009 (82nd) | The Hurt Locker | Kathryn Bigelow, Mark Boal, Nicolas Chartier, and Greg Shapiro |
| 2009 (82nd) | Avatar | James Cameron and Jon Landau |
| 2009 (82nd) | The Blind Side | Gil Netter, Andrew A. Kosove, and Broderick Johnson |
| 2009 (82nd) | District 9 | Peter Jackson and Carolynne Cunningham |
| 2009 (82nd) | An Education | Finola Dwyer and Amanda Posey |
| 2009 (82nd) | Inglourious Basterds | Lawrence Bender |
| 2009 (82nd) | Precious: Based on the Novel "Push" by Sapphire | Lee Daniels, Sarah Siegel-Magness, and Gary Magness |
| 2009 (82nd) | A Serious Man | Joel Coen and Ethan Coen |
| 2009 (82nd) | Up | Jonas Rivera |
| 2009 (82nd) | Up in the Air | Daniel Dubiecki, Ivan Reitman, and Jason Reitman |

### 2010s

| Year of Film Release | Film | Producer(s) |
| 2010 (83rd) | The King's Speech | Iain Canning, Emile Sherman, and Gareth Unwin |
| 2010 (83rd) | Black Swan | Scott Franklin, Mike Medavoy, and Brian Oliver |
| 2010 (83rd) | The Fighter | David Hoberman, Todd Lieberman, and Mark Wahlberg |
| 2010 (83rd) | Inception | Christopher Nolan and Emma Thomas |
| 2010 (83rd) | The Kids Are All Right | Gary Gilbert, Jeffrey Levy-Hinte, and Celine Rattray |
| 2010 (83rd) | 127 Hours | Danny Boyle, John Smithson, and Christian Colson |
| 2010 (83rd) | The Social Network | Dana Brunetti, Ceán Chaffin, Michael De Luca, and Scott Rudin |
| 2010 (83rd) | Toy Story 3 | Darla K. Anderson |
| 2010 (83rd) | True Grit | Joel Coen, Ethan Coen, and Scott Rudin |
| 2010 (83rd) | Winter's Bone | Alix Madigan and Anne Rosellini |
| 2011 (84th) |
| 2011 (84th) | The Artist | Thomas Langmann |
| 2011 (84th) | The Descendants | Jim Burke, Alexander Payne, and Jim Taylor |
| 2011 (84th) | Extremely Loud & Incredibly Close | Scott Rudin |
| 2011 (84th) | The Help | Brunson Green, Chris Columbus, and Michael Barnathan |
| 2011 (84th) | Hugo | Graham King and Martin Scorsese |
| 2011 (84th) | Midnight in Paris | Letty Aronson and Stephen Tenenbaum |
| 2011 (84th) | Moneyball | Michael De Luca, Rachael Horovitz, and Brad Pitt |
| 2011 (84th) | The Tree of Life | Sarah Green, Bill Pohlad, Dede Gardner, and Grant Hill |
| 2011 (84th) | War Horse | Steven Spielberg and Kathleen Kennedy |
| 2012 (85th) |
| 2012 (85th) | Argo | Grant Heslov, Ben Affleck, and George Clooney |
| 2012 (85th) | Amour | Margaret Menegoz, Stefan Arndt, Veit Heiduschka, and Michael Katz |
| 2012 (85th) | Beasts of the Southern Wild | Dan Janvey, Josh Penn, and Michael Gottwald |
| 2012 (85th) | Django Unchained | Stacey Sher, Reginald Hudlin, and Pilar Savone |
| 2012 (85th) | Life of Pi | Gil Netter, Ang Lee, and David Womark |
| 2012 (85th) | Lincoln | Steven Spielberg and Kathleen Kennedy |
| 2012 (85th) | Les Misérables | Tim Bevan, Eric Fellner, Debra Hayward, and Cameron Mackintosh |
| 2012 (85th) | Silver Linings Playbook | Donna Gigliotti, Bruce Cohen, and Jonathan Gordon |
| 2012 (85th) | Zero Dark Thirty | Mark Boal, Kathryn Bigelow, and Megan Ellison |
| 2013 (86th) |
| 2013 (86th) | 12 Years a Slave | Brad Pitt, Dede Gardner, Jeremy Kleiner, Steve McQueen, and Anthony Katagas |
| 2013 (86th) | American Hustle | Charles Roven, Richard Suckle, Megan Ellison, and Jonathan Gordon |
| 2013 (86th) | Captain Phillips | Scott Rudin, Dana Brunetti, and Michael De Luca |
| 2013 (86th) | Dallas Buyers Club | Robbie Brenner and Rachel Winter |
| 2013 (86th) | Gravity | Alfonso Cuarón and David Heyman |
| 2013 (86th) | Her | Megan Ellison, Spike Jonze, and Vincent Landay |
| 2013 (86th) | Nebraska | Albert Berger and Ron Yerxa |
| 2013 (86th) | Philomena | Gabrielle Tana, Steve Coogan, and Tracey Seaward |
| 2013 (86th) | The Wolf of Wall Street | Martin Scorsese, Leonardo DiCaprio, Joey McFarland, and Emma Tillinger Koskoff |
| 2014 (87th) |
| 2014 (87th) | Birdman or (The Unexpected Virtue of Ignorance) | Alejandro G. Iñárritu, John Lesher, and James W. Skotchdopole |
| 2014 (87th) | American Sniper | Clint Eastwood, Andrew Lazar, Robert Lorenz, Bradley Cooper, and Peter Morgan |
| 2014 (87th) | Boyhood | Richard Linklater and Cathleen Sutherland |
| 2014 (87th) | The Grand Budapest Hotel | Wes Anderson, Scott Rudin, Steven Rales, and Jeremy Dawson |
| 2014 (87th) | The Imitation Game | Nora Grossman, Ido Ostrowsky, and Teddy Schwarzman |
| 2014 (87th) | Selma | Christian Colson, Oprah Winfrey, Dede Gardner, and Jeremy Kleiner |
| 2014 (87th) | The Theory of Everything | Tim Bevan, Eric Fellner, Lisa Bruce, and Anthony McCarten |
| 2014 (87th) | Whiplash | Jason Blum, Helen Estabrook, and David Lancaster |
| 2015 (88th) |
| 2015 (88th) | Spotlight | Blye Pagon Faust, Steve Golin, Nicole Rocklin, and Michael Sugar |
| 2015 (88th) | The Big Short | Dede Gardner, Jeremy Kleiner, and Brad Pitt |
| 2015 (88th) | Bridge of Spies | Steven Spielberg, Marc Platt, and Kristie Macosko Krieger |
| 2015 (88th) | Brooklyn | Finola Dwyer and Amanda Posey |
| 2015 (88th) | Mad Max: Fury Road | Doug Mitchell and George Miller |
| 2015 (88th) | The Martian | Simon Kinberg, Ridley Scott, Michael Schaefer, and Mark Huffam |
| 2015 (88th) | The Revenant | Arnon Milchan, Steve Golin, Alejandro G. Iñárritu, Mary Parent, and Keith Redmon |
| 2015 (88th) | Room | Ed Guiney |
| 2016 (89th) |
| 2016 (89th) | Moonlight | Adele Romanski, Dede Gardner, and Jeremy Kleiner |
| 2016 (89th) | Arrival | Shawn Levy, Dan Levine, Aaron Ryder, and David Linde |
| 2016 (89th) | Fences | Scott Rudin, Denzel Washington, and Todd Black |
| 2016 (89th) | Hacksaw Ridge | Bill Mechanic and David Permut |
| 2016 (89th) | Hell or High Water | Carla Hacken and Julie Yorn |
| 2016 (89th) | Hidden Figures | Donna Gigliotti, Peter Chernin, Jenno Topping, Pharrell Williams, and Theodore Melfi |
| 2016 (89th) | La La Land | Fred Berger, Jordan Horowitz, and Marc Platt |
| 2016 (89th) | Lion | Emile Sherman, Iain Canning, and Angie Fielder |
| 2016 (89th) | Manchester by the Sea | Matt Damon, Kimberly Steward, Chris Moore, Lauren Beck, and Kevin J. Walsh |
| 2017 (90th) |
| 2017 (90th) | The Shape of Water | Guillermo del Toro and J. Miles Dale |
| 2017 (90th) | Call Me by Your Name | Peter Spears, Luca Guadagnino, Emilie Georges, and Marco Morabito |
| 2017 (90th) | Darkest Hour | Tim Bevan, Eric Fellner, Lisa Bruce, Anthony McCarten, and Douglas Urbanski |
| 2017 (90th) | Dunkirk | Emma Thomas and Christopher Nolan |
| 2017 (90th) | Get Out | Sean McKittrick, Jason Blum, Edward H. Hamm Jr., and Jordan Peele |
| 2017 (90th) | Lady Bird | Scott Rudin, Eli Bush, and Evelyn O'Neill |
| 2017 (90th) | Phantom Thread | JoAnne Sellar, Paul Thomas Anderson, Megan Ellison, and Daniel Lupi |
| 2017 (90th) | The Post | Amy Pascal, Steven Spielberg, and Kristie Macosko Krieger |
| 2017 (90th) | Three Billboards Outside Ebbing, Missouri | Graham Broadbent, Pete Czernin, and Martin McDonagh |
| 2018 (91st) |
| 2018 (91st) | Green Book | Jim Burke, Charles B. Wessler, Brian Currie, Peter Farrelly, and Nick Vallelonga |
| 2018 (91st) | Black Panther | Kevin Feige |
| 2018 (91st) | BlacKkKlansman | Sean McKittrick, Jason Blum, Raymond Mansfield, Jordan Peele, and Spike Lee |
| 2018 (91st) | Bohemian Rhapsody | Graham King |
| 2018 (91st) | The Favourite | Ceci Dempsey, Ed Guiney, Lee Magiday, and Yorgos Lanthimos |
| 2018 (91st) | Roma | Gabriela Rodríguez and Alfonso Cuarón |
| 2018 (91st) | A Star Is Born | Bill Gerber, Bradley Cooper, and Lynette Howell Taylor |
| 2018 (91st) | Vice | Dede Gardner, Jeremy Kleiner, Adam McKay, and Kevin Messick |
| 2019 (92nd) | Parasite | Kwak Sin-ae and Bong Joon-ho |
| 2019 (92nd) | Ford v Ferrari | Peter Chernin, Jenno Topping, and James Mangold |
| 2019 (92nd) | The Irishman | Martin Scorsese, Robert De Niro, Jane Rosenthal, and Emma Tillinger Koskoff |
| 2019 (92nd) | Jojo Rabbit | Carthew Neal, Taika Waititi, and Chelsea Winstanley |
| 2019 (92nd) | Joker | Todd Phillips, Bradley Cooper, and Emma Tillinger Koskoff |
| 2019 (92nd) | Little Women | Amy Pascal |
| 2019 (92nd) | Marriage Story | Noah Baumbach and David Heyman |
| 2019 (92nd) | 1917 | Sam Mendes, Pippa Harris, Jayne-Ann Tenggren, and Callum McDougall |
| 2019 (92nd) | Once Upon a Time in Hollywood | David Heyman, Shannon McIntosh, and Quentin Tarantino |

### 2020s

| Year of Film Release | Film | Producer(s) |
| 2020 (93rd) | Nomadland | Frances McDormand, Peter Spears, Mollye Asher, Dan Janvey, and Chloé Zhao |
| 2020 (93rd) | The Father | David Parfitt, Jean-Louis Livi, and Philippe Carcassonne |
| 2020 (93rd) | Judas and the Black Messiah | Shaka King, Charles D. King, and Ryan Coogler |
| 2020 (93rd) | Mank | Ceán Chaffin, Eric Roth, and Douglas Urbanski |
| 2020 (93rd) | Minari | Christina Oh |
| 2020 (93rd) | Promising Young Woman | Ben Browning, Ashley Fox, Emerald Fennell, and Josey McNamara |
| 2020 (93rd) | Sound of Metal | Bert Hamelinck and Sacha Ben Harroche |
| 2020 (93rd) | The Trial of the Chicago 7 | Marc Platt and Stuart M. Besser |
| 2021 (94th) | CODA | Philippe Rousselet, Fabrice Gianfermi, and Patrick Wachsberger |
| 2021 (94th) | Belfast | Laura Berwick, Kenneth Branagh, Becca Kovacik, and Tamar Thomas |
| 2021 (94th) | Don't Look Up | Adam McKay and Kevin Messick |
| 2021 (94th) | Drive My Car | Teruhisa Yamamoto |
| 2021 (94th) | Dune | Mary Parent, Denis Villeneuve, and Cale Boyter |
| 2021 (94th) | King Richard | Tim White, Trevor White, and Will Smith |
| 2021 (94th) | Licorice Pizza | Sara Murphy, Adam Somner, and Paul Thomas Anderson |
| 2021 (94th) | Nightmare Alley | Guillermo del Toro, J. Miles Dale, and Bradley Cooper |
| 2021 (94th) | The Power of the Dog | Jane Campion, Tanya Seghatchian, Emile Sherman, Iain Canning, and Roger Frappier |
| 2021 (94th) | West Side Story | Steven Spielberg and Kristie Macosko Krieger |
| 2022 (95th) | Everything Everywhere All at Once | Daniel Kwan, Daniel Scheinert, and Jonathan Wang |
| 2022 (95th) | All Quiet on the Western Front | Malte Grunert |
| 2022 (95th) | Avatar: The Way of Water | James Cameron and Jon Landau |
| 2022 (95th) | The Banshees of Inisherin | Graham Broadbent, Pete Czernin, and Martin McDonagh |
| 2022 (95th) | Elvis | Baz Luhrmann, Catherine Martin, Gail Berman, Patrick McCormick, and Schuyler Weiss |
| 2022 (95th) | The Fabelmans | Kristie Macosko Krieger, Steven Spielberg, and Tony Kushner |
| 2022 (95th) | Tár | Todd Field, Alexandra Milchan, and Scott Lambert |
| 2022 (95th) | Top Gun: Maverick | Tom Cruise, Christopher McQuarrie, David Ellison, and Jerry Bruckheimer |
| 2022 (95th) | Triangle of Sadness | Erik Hemmendorff and Philippe Bober |
| 2022 (95th) | Women Talking | Dede Gardner, Jeremy Kleiner, and Frances McDormand |
| 2023 (96th) | Oppenheimer | Emma Thomas, Charles Roven, and Christopher Nolan |
| 2023 (96th) | American Fiction | Ben LeClair, Nikos Karamigios, Cord Jefferson, and Jermaine Johnson |
| 2023 (96th) | Anatomy of a Fall | Marie-Ange Luciani and David Thion |
| 2023 (96th) | Barbie | David Heyman, Margot Robbie, Tom Ackerley, and Robbie Brenner |
| 2023 (96th) | The Holdovers | Mark Johnson |
| 2023 (96th) | Killers of the Flower Moon | Dan Friedkin, Bradley Thomas, Martin Scorsese, and Daniel Lupi |
| 2023 (96th) | Maestro | Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning, and Kristie Macosko Krieger |
| 2023 (96th) | Past Lives | David Hinojosa, Christine Vachon, and Pamela Koffler |
| 2023 (96th) | Poor Things | Ed Guiney, Andrew Lowe, Yorgos Lanthimos, and Emma Stone |
| 2023 (96th) | The Zone of Interest | James Wilson |
| 2024 (97th) | Anora | Alex Coco, Samantha Quan, and Sean Baker |
| 2024 (97th) | The Brutalist | Nick Gordon, Brian Young, Andrew Morrison, D.J. Gugenheim, and Brady Corbet |
| 2024 (97th) | A Complete Unknown | Fred Berger, James Mangold, and Alex Heineman |
| 2024 (97th) | Conclave | Tessa Ross, Juliette Howell, and Michael A. Jackman |
| 2024 (97th) | Dune: Part Two | Mary Parent, Cale Boyter, Tanya Lapointe, and Denis Villeneuve |
| 2024 (97th) | Emilia Pérez | Pascal Caucheteux and Jacques Audiard |
| 2024 (97th) | I'm Still Here | Maria Carlota Bruno and Rodrigo Teixeira |
| 2024 (97th) | Nickel Boys | Dede Gardner, Jeremy Kleiner, and Joslyn Barnes |
| 2024 (97th) | The Substance | Coralie Fargeat, Tim Bevan, and Eric Fellner |
| 2024 (97th) | Wicked | Marc Platt |

## Production companies and distributors with multiple nominations and wins

Columbia Pictures and United Artists have the most wins with 12, while 20th Century Studios has the most nominations with 64.
| Production company/distributor | Nominations | Wins |
| Columbia Pictures | 56 | 12 |
| United Artists | 48 | 12 |
| Paramount Pictures | 22 | 11 |
| Universal Pictures | 37 | 10 |
| Metro-Goldwyn-Mayer | 40 | 9 |
| Warner Bros. Pictures | 28 | 9 |
| 20th Century Studios | 64 | 8 |
| Searchlight Pictures | 23 | 5 |
| Miramax Films | 21 | 4 |
| DreamWorks | 15 | 4 |
| Orion Pictures | 9 | 4 |
| Plan B Entertainment | 9 | 3 |
| Regency Enterprises | 8 | 2 |
| A24 | 8 | 2 |
| The Weinstein Company | 6 | 2 |
| Selznick International Pictures | 5 | 2 |
| Neon | 4 | 2 |
| RKO Pictures | 11 | 1 |
| Samuel Goldwyn Productions | 8 | 1 |
| Lionsgate Films | 5 | 1 |
| Apple TV+ | 3 | 1 |
| J. Arthur Rank-Two Cities Films | 3 | 1 |
| New Line Cinema | 3 | 1 |
| Hear/Say Productions | 2 | 1 |
| Summit Entertainment | 2 | 1 |
| Focus Features | 19 | 0 |
| Netflix | 10 | 0 |
| Sony Pictures Classics | 9 | 0 |
| Touchstone Pictures | 6 | 0 |
| Annapurna Pictures | 5 | 0 |
| Walt Disney Pictures | 4 | 0 |
| Cosmopolitan Productions | 3 | 0 |
| Amazon MGM Studios | 3 | 0 |
| Pixar Animation Studios | 2 | 0 |
| Hollywood Pictures | 2 | 0 |
| The Caddo Company | 2 | 0 |
| Walter Wanger Productions | 2 | 0 |
| Mercury | 2 | 0 |