In the midst of awards season, we are facing the annual furore in the British press over the Bafta and Academy Award nominations: the winners, the ceremonies, what the stars were wearing, who said what in their speech, who presented which award, what the ‘controversies’ of the night were, and which films we must now watch. The Berlin, Venice, Cannes and Sundance film festivals are considerably overlooked compared to their British and American counterparts. Critics and the filmic elite aside, we too often choose to see a film on the merit that it has “won several Oscars”. It is much less likely for a general audience to be swayed by Berlin Bear, Palme d’Or, or Golden Lion winners. A nomination or win at the Baftas and Oscars is a golden ticket for film makers. But has our attitude to film become too influenced by these Anglo-American awards?

Each year, a handful of films dominate the nominations, with this year’s selection including Lincoln, Les Miserables, Argo, Zero Dark Thirty, Silver Linings Playbook and Life of Pi. Yet, what of the exceptional films, actors, and directors forgotten or neglected in this year’s Bafta and Oscar nominations?

I have a particularly sizable bone to pick with the Bafta and Oscar judges for almost entirely neglecting what was one of the best films of 2012, Wes Anderson’s Moonrise Kingdom. Whilst being nominated for best original screenplay, this eccentric cinematic gem should easily have been nominated for best film, best set design and best original music. The typically meticulous attention to detail with which the scenery, costumes and props were assembled creates a feast for the eyes. The dark humour, eclectic characters and stylish mise-en-scene made Moonrise Kingdom truly stand out. Alexandre Desplat’s music perfectly accompanies the theatrical antics of the inhabitants of New Penzance.

Now to best director. I never thought I’d have to chide the judges for failing to recognise a typically Hollywood film, but last year’s Bond was a revelation. Sam Mendes deserved a best director nomination for Skyfall for the epic scale of the production, the unusually bleak nature of the narrative, and his knack of avoiding clichés. Skyfall should also have been nominated for best film, especially since the similarly grand ‘Life of Pi’ was chosen by both sets of judges. Javier Bardem’s ‘rat speech’, shot in one long take, was as spine-tingling as Pi trapped on a boat, trying to outwit a tiger. Another director who was unduly overlooked by both sets of judges was Paul Thomas Anderson for The Master, despite winning the Silver Lion at Venice. The crisp cinematography, enigmatic central performances and perfectly-paced narrative made this a mesmerising ensemble.

The Baftas nominated Marion Cotillard for best actress in ‘Rust and Bone’ and the Oscars should have followed suit. The nuanced emotion, rawness, and strength conveyed in her performance made this her best film since ‘La Vie en Rose’. ‘Rust and Bone’ also had subtle and sensual imagery which merited a ‘best cinematography’ nomination. For best actor, both judging panels unjustifiably overlooked Mads Mikkelsen's gripping performance in the ‘Hunt’ for which he won best actor at Cannes. His charismatic and tortured portrayal of a man shunned by his community displayed a talented performer. Additionally, Jean-Louis Trintignant’s performance in ‘Amour’ has been undeservedly overlooked for a nomination for best actor. His poignant performance was as worthy of merit as that of Emmanuelle Riva who received nominations for both awards.

For ‘best documentary’ neither sets of judges selected Ai Weiwei: Never Sorry, a fascinating documentary about the Chinese artist’s life, work and cats, or McCullin, the moving portrayal of war photographer Don McCullin. The Imposter was another documentary which did not receive a single Oscar nomination despite being one of the most captivating films of 2012.  A last mention goes to Hunger Games which should have been nominated for ‘best adapted screenplay’ for bringing to life an unconventional and riveting story.

While these various films and people may not have the Oscar or Bafta stamp of approval, they should not be underestimated. In short, don’t judge a film by its Oscars.