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“The Hate U Give” screenwriter Audrey Wells took on an especially challenging task, adapting a bestselling young adult novel for the screen and addressing subjects like police brutality, crime and poverty in ways that would be accessible to teen viewers as well as an adult audience. Sadly, Wells didn’t live to see the film reach its audience. She died of cancer on October 4, 2018. The film opened the following day. Will she be commemorated with an Oscar nomination for Best Adapted Screenplay? She would be the 10th writer to be nominated posthumously.

A nomination for Wells wouldn’t just be a sentimental choice. The film earned rave reviews with a MetaCritic score of 82 and a Rotten Tomatoes freshness rating of 97%. She has already won prizes from critics in Indiana and Philadelphia, as well as online critics in Los Angeles. And she has been nominated by the Alliance of Women Film Journalists and critics from Utah.

Over his remarkable career in film, Orson Welles was the recipient of a trio of Oscar nominations, all for “Citizen Kane” (1941). That marked his feature film debut and is widely considered one of the greatest motion pictures ever produced. He, alongside Herman J. Mankiewicz, triumphed in Best Original Screenplay on the big night and, nearly three decades later, Welles earned an Honorary Oscar for his contributions to cinema.

Though Welles died in 1985, the filmmaker once again finds himself the talk of Oscar season, this time posthumously, with his final picture, “The Other Side of the Wind.”

The film, which made its world premiere at this year’s Venice Film Festival, stars two-time Oscar winner John Huston (who died in 1987) as Jake Hannaford, a washed-up, hard-drinking Hollywood director who vies to revive his career with an experimental film, full of sex and violence. Shot over several years in the 1970s, “The Other Side of the Wind...

Writing for Criterion, Colin MacCabe sketches the evolution of Jean-Luc Godard's thinking and art from 1968 to 1980, the year Every Man for Himself was released. Girish Shambu remembers the late film historian, scholar and critic, Gilberto Perez. Peter Davis, whose mother, Tess Slesinger, was nominated for an Oscar for her screenplay for Elia Kazan's A Tree Grows in Brooklyn, argues that Hollywood didn't used to be so male. Also in the Nation, Stuart Klawans reviews Clint Eastwood's American Sniper and John Boorman's Queen and Country. Plus Mark Cousins's 50-week film course and much more in today's roundup of news and views. » - David Hudson...

Writing for Criterion, Colin MacCabe sketches the evolution of Jean-Luc Godard's thinking and art from 1968 to 1980, the year Every Man for Himself was released. Girish Shambu remembers the late film historian, scholar and critic, Gilberto Perez. Peter Davis, whose mother, Tess Slesinger, was nominated for an Oscar for her screenplay for Elia Kazan's A Tree Grows in Brooklyn, argues that Hollywood didn't used to be so male. Also in the Nation, Stuart Klawans reviews Clint Eastwood's American Sniper and John Boorman's Queen and Country. Plus Mark Cousins's 50-week film course and much more in today's roundup of news and views. » - David Hudson...