Upon its completion, Orson Welles’ legendary The Other Side of the Wind has been lauded by critics worldwide with the movie appearing on more than three dozen Best Films of 2018 lists.

The movie, produced by Frank Marshall and Filip Jan Rymsza and edited by Bob Murawski, debuted at the Venice Film Festival on August 31. It was later featured at the Telluride and New York film festivals.

The Netflix-financed film, which stars John Huston, Oja Kodar and Peter Bogdanovich, had a very brief theatrical run in select cities before its global streaming debut on November 2.

Here is a sampling of excerpts from various Best Films of 2018 lists citing The Other Side of the Wind: 

• Sight & Sound survey of 164 critics and curators worldwide ― No. 14 on Top 20 list: “Welles’s legendary unfinished testament film about Hollywood finally made it to the screen after 48 years, thanks to the offices of an expert team working with admirable fidelity to his vision.”
• Film Comment ―  No. 8 on Top 10 list: “The encounter between aging talents who came up through the censorious studio era and the new tell-it-like-it-is permissiveness gave us some of the most extraordinary films of the 1970s — Alfred Hitchcock’s Frenzy, or Huston’s own Fat City (both 1972) — and The Other Side of the Wind is both a comment on and artistic expression of this same unbuttoning: Welles is letting his freak flag fly.”
• Los Angeles Times  ― No. 10 on Top 10 list:  “Orson Welles’ final project, The Other Side of the Wind, has been completed at long last by surviving friends and collaborators including producer Frank Marshall and filmmaker Peter Bogdanovich. With a dense, dizzying grammar, made up of faux documentary footage and a movie-in-the-movie, the film is at once of its moment of the 1970s and singularly outside-of-time, with a fearsome performance by John Huston as an aging, lionized filmmaker struggling to finish one last project. (Sound familiar?) If it took decades to finish, The Other Side of the Wind will take decades more to consider, rewatch, unravel and decipher, a gift from beyond.”
• The Hollywood Reporter ―  No. 10 on Top 10 list:  “Fatalistically awaited by Wellesians for nearly 50 years, this is not a film you can sincerely recommend to the uninitiated and it’s one encumbered by any number of legends and competing claims. But Orson Welles’ movie, available on Netflix, is now at least a work that can be seen and argued about, not just romanticized. It is both very much rooted in its time, the New Hollywood of the 1970s, and an echo of Citizen Kane as an impossible attempt to capture the truth about an elusive ‘great man.’”
• Vanity Fair ― No. 6 on Top 10 list: “John Huston as a titan in decline who, unknowingly nearing the end of his life, throws a party where he can screen clips from his disastrous upcoming project to investors, friends, and frenemies. It’s a Hollywood story, in other words, as well as a mockumentary that may just have invented the form, with a playfully jazzy, whip-pan conversational style that predates and handily outpaces most contemporary sitcoms. There’s a mock Pauline Kael winkingly stirring up rumors of the great director’s homosexuality, nagging father-son anxieties, and an excessively stylish movie-within-a-movie that’d make Michelangelo Antonioni blush.”
• The Wrap ― No. 6 on Top 10 list: “Great directors very rarely go out on a high note, but Orson Welles — crafting a semi-autobiographical tale of an aging director trying to stay relevant in post-Easy Rider Hollywood — showed he still had the fire in him with a film that seems to be simultaneously destroying the 1960s and creating the 1970s.”
• Slant ― No. 3 on Top 25 list:  “Orson Welles’s final film, shot on and off for much of the 1970s, with editing dragging into the ‘80s, was belatedly completed thanks to a bevy of filmmakers, notably Peter Bogdanovich (who stars alongside John Huston) and Frank Marshall. But The Other Side of the Wind, in its variegated indulgences, abstract angles, playful lens work, its film-within-a-film structure and aphoristic musings on art and trenchant, often salacious sense of humor, remains undoubtedly Welles’s film. A self-aware, sometimes self-loathing creation — F for Fake by way of Russ Meyer — the film is a concoction of excess and incision, a lascivious phantasmagoria, a mockumentary, a filmic essay on celebrityhood and affluence and influence and fandom.”
• Glenn Kenny | RogerEbert.com ― No. 3 on Top 10 list: “The Other Side of the Wind is a movie in which everyone is selling everyone out, or at least is susceptible to doing so. Its web of relationships is vertigo-inducing, and the breakneck cutting, constantly shifting film stock, and seesawing aspect ratios don’t construct the easiest through-line by which to track them. It’s not a friendly or easy film. But who said films need to be friendly or easy? Or that testaments had to be ‘relatable’ or ‘positive?’ Welles’ film is bracing testimony to the potential artistic powers of piss and vinegar.”
• The Gate― No. 18 on Top 50 list: It’s a miracle that this film even exists at all, but Orson Welles’ “final” posthumous film (which was completed by a variety of big name collaborators after the footage was rescued from legal limbo in a French vault) is another typically excellent dramatic and satirical effort from one of the best auteurs to ever live. Built around the fall of a Hollywood titan (played with gruff aplomb by John Huston) and his relationship to a younger, more successful filmmaker on the the rise (an equally great Peter Bogdanovich, clearly drawing heavily on his relationship to the man behind the camera), The Other Side of the Wind feels like a final exorcism of demons for Welles. It can be debated that The Other Side of the Wind would’ve looked and moved much differently had Welles been able to complete the picture before his death, but it can’t be debated that the work now stands as one of the most ambitious and fruitful cinematic rescue operations in history.
• San Francisco Weekly ― No. 10 on Top 10 list: “There’s no telling exactly what the film would have looked like had Welles been able to complete it prior to his 1985 death, but we know that he set out to create what we now call a found-footage film, and this construction feels no less authentic than the recent restorations of Chimes at Midnight or Mr. Arkadin. And as if getting a new Orson Welles movie featuring a heretofore unseen John Huston performance wasn’t enough, there’s even a George Jessel cameo! What more could you possibly want from a film released in 2018?”
• San Diego Reader ― No. 1 on Top 10 list: “Is there another director who left behind as many unfinished projects as Orson Welles? Filmed between 1970 and 1976, it took over 40 years for Welles’ vision to finally see the arclight (flatscreen?) of day. It was worth every second of the wait. John Huston stars as a director who, on the last day of his life, screens a rough cut of what turned out to be his crowning achievement. The film-within-a-film, a pungent lampoon of Antonioni’s Zabriskie Point, stars Welles’ offscreen leading lady and the film’s co-screenwriter, Oja Kodar. Watching her navigate through light, shadow, and a myriad of highly reflective surfaces is Welles’ way of turning this shanghaied lady’s screentime into a hall of mirrors continuance.”
• The (Toronto) Globe and Mail ― No. 7 on Top 10 list: “Orson Welles’s The Other Side of the Wind is a welcome punch in the gut to the current concept of cinema, as much a magnificent museum project as an actual film.”
• Jeffrey M. Anderson |  San Francisco Examiner ― No. 4 on Top 10 list.
• Little White Lies  ― No. 11 on Top 30 list:  “To say this was worth the wait is the understatement of the century. Orson Welles made this sinewy, pulverising provocation with the intention of renewing and reinvigorating the medium of cinema. To think what would’ve happened had this been completed in its day, we might not even be standing here. It feels like a gilded gateway to new creative pastures, existing only due to financial underwriting from Netflix and a magical salvage job.”
• The Film Stage ― No. 7 on Top 50 list: “Simultaneously self-aggrandizing and self-deprecating, Orson Welles’ long-awaited final film overflows with elements we too often take for granted when discussing the master. A prime example being Welles’ stinging sense of humor, on full display in The Other Side of the Wind, a film that many have rightly called one of the funniest of the year. As Welles weaves a kaleidoscopic vision of ‘70s Hollywood, the saddest place on earth as advertised, he also gives a well-deserved thrashing to everyone from Antonioni (a stunning and uproarious visual thread) to us film lovers, many of whom were not yet born when The Other Side of the Wind wrapped production in 1976. But we’re alive to see it today, and it’s glorious, and thanks to the double-headed viper that is Netflix, access to this long-lost gem couldn’t be more readily available.”
• Jonathan Romney | Screen Daily ― No. 2 on Top 5 list: “Orson Welles’ reconstructed swansong: an uproarious argument about what film can and should be, and an as-it-happens report on the death of old Hollywood and the corruption of the new.”
• St. Louis Riverfront Times ― No. 1 on Top 10 list: “The year’s best movie and the major cinematic event of 2018 was one that by some accounts shouldn’t even exist (just as many naysayers denied its existence for decades). Begun in 1970, Orson Welles’ The Other Side of the Wind finally emerged in complete form long after its creator and most of its cast had left the planet. (The story of his struggle can be found in several places, including Morgan Neville’s excellent documentary They’ll Love Me When I’m Dead.) Amazingly, the film that Welles shot almost in its entirety but was prevented from guiding through post-production and editing isn’t just a novelty or a fanciful reconstruction. It’s a passionate meditation on art, masculinity and aging, a masterpiece that fits comfortably between Welles’ other unconventional late works The Immortal Story and F for Fake.”
• CinemaBlend ― No. 5 on Top 10 list: “While Orson Welles never would have admitted it, the movie is essentially about himself and his return to filmmaking in America after the studio dismissal of Touch Of Evil, and it’s a bizarre and incredible meta ride that serves as a fascinating look into the one of the greatest cinematic minds of all time. It’s an inside baseball experience — chronicling the downward spiral of an eccentric director (John Huston), his comeback film is on the verge of collapse, as he celebrates his birthday with a huge party — and it’s also intentionally chaotic in its presentation and narrative. But how it coalesces is a truly a gift to cinephiles everywhere.”
• Joshua Brunsting | Criterion Cast ― No. 5 on Top 10 list: ” The ‘final’ film from director Orson Welles, The Other Side of The Wind is a film marked by an incredibly singular production history but what resulted is yet another masterpiece from one of cinema’s great artists. Starring Jack Huston as a disgruntled, aging filmmaker who sparks a relationship while finalizing what appears to be his final film. One of Welles’ most expressionistic and esoteric works, Wind is a far cry from even the director’s most avant-garde pictures, a film that is at once obtuse and yet utterly captivating thematically. Arguably a bit dry emotionally, the film feels like a definitive statement from a director who thrived when his back was against the wall. A thrilling deconstruction of toxic masculinity nearly half a century before that term was coined, Welles’ final work is a shapeless masterpiece about film, filmmaking and the artistic process. Feels like it’s from the future instead of the past. Fellini on mescaline. A truly remarkable work that feels timeless and of no time period. Singular doesn’t even begin to describe this film.
• La Internacional Cinéfila ― No. 4 on Top 5 list.  An annual survey of 150 programmers, critics, and filmmakers from around the world.”
• Jonathan Rosenbaum ― No. 1 on Top 5 list.  As submitted to the La Internacional Cinéfila poll by the noted Welles scholar and retired critic for The Chicago Reader. He has called the film “scary, elusive, easy to misunderstand, and radical.”
• The (Lexington, North Carolina) Dispatch ― No. 1 on Top 10 list:  “A film seemingly given to us from beyond the grave, Orson Welles’ The Other Side of the Wind  began production 40 years ago, and became the legendary filmmaker’s final obsession, a project decades in the making that was never completed before his death. Finally assembled by Peter Bogdanovich, Welles’ final film can finally be recognized as the masterpiece that it is. Here, a man who started his career making avant-garde silent shorts and radio dramas creates one of the most brazenly modern films of his career, a work of experimental cinema that takes stock of the film industry as Welles saw it. This is cinema as voyeurism, for both the filmmaker and the audience. Is cinema a means to an end or simply an end? A journey or a destination? A penetrative act or a reflective act? Here, Welles dismantles the male gaze, the camera as a phallus, positioning cinema as an act of rape that destroys that which it seeks to exalt. It is a daring, reckless, uncompromising film that has risen like a phoenix from the ashes to take its place in the pantheon of great things – the final film of an American master who, 33 years after his death, has shown the world that he is just as vital and brilliant as ever.”
• The Washington Free Beacon ― No. 8 on Top 10 list: “A pitch-perfect parody of New Hollywood excess from a director who was simultaneously revered by the New Hollywood types and shut out from the studio system that hoped to emulate his auteur-driven work to reinvigorate their moribund business. The Other Side of the Wind is as fascinating for its backstory as it is for the work on the screen.”
• The (Menlo Park, Calif.) Almanac ― No. 1 on Top 10 list: “A long-coveted Holy Grail for cineastes, Orson Welles’ The Other Side of the Wind finally dropped in 2018, 33 years after its maker’s death. Wind in many ways serves as a sort of semi-autobiographical bookend to Citizen Kane in ruthlessly dissecting a deeply flawed but high-powered master of his domain — in this case, Hollywood. John Huston plays film director Jake Hannaford, a Hemingway-esque macho man whose bravado barely conceals secrets and insecurities. Welles obviously intended his unfinished film to be an intellectual and emotional whirlwind; Welles edited about 40 minutes before his death, and Oscar-winner Bob Murawski creditably finished the job, granting us a gift from the movie gods.”
• Hybable  ― No. 2 on Top 10 list: “Orson Welles’ final film The Other Side of the Wind began development almost 50 years ago in 1970. Unfortunately, legal and financial complications kept the film from being completed, let alone released. Thanks to the efforts of many, principally Peter Bogdanovich, the film was finally edited and completed this year. Somehow, even after all this time, the film is still remarkably innovative, powerfully told, and shockingly prescient.”
• Raidió Teilifís Éireann (Ireland) ―Unnumbered Top 10 list: ” Narratively self-reflective, two movies in essence, with a constantly shifting picture ratio and format. Orson Welles final work could well be his most pure, reminding us to the end exactly what he’d always called himself: the constant experimenter.”
• Mountain Express  ― No. 9 on Top 10 list: “Orson Welles’ final feature, which saw a long-overdue release this year, never would’ve worked in its own time. It proves with every weird, jittery jump-cut and branching narrative thread just how revolutionary this huge middle finger to Hollywood really was.”
• Texarkana Gazette ― No. 9 on Top 10 list: ” If anyone told me such a film would make my Top 10 of 2018 list before the year started I would have laughed, but such is the case with this long-hidden project that finally found a home on Netflix. A wild, meta-textual, mockumentary-style movie about a movie, The Other Side of the Wind chronicles the final meanderings undertaken by famous Hollywood director Jake Hannaford (John Huston), who brings his entourage to the desert to watch his latest movie. Other Side of the Wind is a mess, but an ever-lively, beautiful one.”
• Indie Hoy (Buenos Aires) ― No. 12 on Top 20 list: “The film serves as a farewell to one of the most emblematic directors in the history of cinema. Because it has been released so much later, it has its magic and at the same time a certain darkness.”
• Ashley Carter | Left Lion ― Best Films of 2018 list: “After almost 50 years in production, Orson Welles’ great unfinished film was finally released this year. Surely anything that you’ve been made to wait half a century for could only disappoint? Not only did The Other Side of the Wind meet expectations but, somehow, it exceeded them. We’ll never know if this was the film he intended it to be, but it simply feels every inch a Welles film, in all its frustrating, mischievous, enigmatic brilliance. John Huston is excellent as aging auteur Jake Hannaford, the part Welles, part Hemingway filmmaker we know is about to die, attempting to forge one last comeback with a film that is an incomprehensible Antonioni parody. Peter Bogdanovich, who deserves immense credit for his role in bringing the film to screen, is equally great as Brooks Otterlake, his young protégé. This film will be debated and reappraised for years to come, but for right now, it feels like a beautifully satisfying bookend to the remarkable career of Orson Welles.”
• CineAddiction ― No. 1 on Top 10 list. [Translated from Portuguese] “The Other Side of the Wind is not an easy-to-watch movie. But also, Orson Welles’ films have never been. And considering that this was his last offering before his death, it can be said that it is a work that, although not totally brilliant, has its magic impossible to resist.”
• The Twin Geeks podcast ― No. 1 on Top 10 list:  “A very challenging film that doesn’t always want you to love it.”
• Sacramento News ― Introduction to the best and worst of 2018:  “Any year a new Orson Welles movie debuts is a good year for cinema. No matter the ups and downs of the release schedule, at least the existence of the master director’s unfinished final film The Other Side of the Wind provides 2018 with an undeniable saving grace. Welles is still showing up the Hollywood hacks more than 30 years after his death.”
• Michael Sicinski | Cinema Scope, Cineaste contributor ― No. 30 on Top 30 Experimental Films of 2018 list.
• Andrew Wyatt | Cinema St. Louis ― No. 5 on Top 10 list: “Despite – or perhaps because of – Orson Welles’ canonization as one of the all-time masters of cinema, the posthumous completion of the director’s final feature seemed like the sort of questionable artistic endeavor that could have resulted in an epic boondoggle. Happily, such pessimism was not only unwarranted but completely misplaced: The final product testifies not only to the perseverance of filmmaker and historian Peter Bogdanovich and producer Frank Marshall but also to Welles’ unruly and enduring genius. Exhausting, impenetrable, and endlessly fascinating, The Other Side of the Wind is an eminently fitting swan song for the director, equal parts time capsule and timeless critique. A quasi-autobiographical fusillade directed squarely at Hollywood, the film arrives like a multi-camera, multi-textured whirlwind, declaring – in John Huston’s tobacco-juice growl – that it might have just rolled in from the 1970s, but it already has your number, you 21st-century c–ksuckers.”
• Joshua Ray | Cinema St. Louis ― No. 5 on Top 10 list: “As a poison-pen letter to Hollywood, The Other Side of the Wind is Orson Welles’ angriest work, and it’s certainly justified. After boy wonder Welles made “the greatest film of all time” with his debut, Citizen Kane, RKO massacred Welles’ second feature, The Magnificent Ambersons, a work that even in its truncated and altered form bests its predecessor in sheer cinematic elegance. The next 30 years in the wilderness seem to have done a number on Welles, and his finally completed final film condemns the nastiest sides of the Dream Factory and the privileged people who run it. A feat of meta-textual showmanship — a late-in-life director attempting to resurrect his career with a wild ride of a film is both Wind’s story and its backstory — the decades-gestating film is even more dazzling in its kaleidoscopic construction. Although principal photography ended in 1976, it’s the 2018 release that looks the most brazenly futuristic.”
• The 405 ― No. 3 on Top 18 list: “Orson Welles’s final film is one that should not be missed by any self-respecting cinephile… A very stream of consciousness study of a director trying to finish his final film, The Other Side of the Wind really reminded me of David Lynch’s Inland Empire or Billy Wilder’s Sunset Boulevard in just how meta it really is.”
• Reel Fanatics ― No. 7 on Top 10 list: “Orson Welles, with the aid of numerous collaborators, returns from the dead to release his final film! Wind is fascinating on multiple fronts. With its appropriately messy narrative built around the party of an aging, out-of-fashion Hollywood director, it’s a revealing window into the mind of Welles when he found himself stuck between classical filmmaking and the rising popularity of New Hollywood cinema. The semi-autobiographical nature of the film means it also serves as a kind of confessional where Welles reflects on his career and relationships. And then there is the saga of the film’s completion, which both informs the final cut and raises tough questions of authorship. The Other Side is the Wind is indelible as both a grand final work from a master and a meta-textually challenging cultural object.”
• Museum of Moving Image ― Included in Curator’s Choice, one of the Best  Films of 2018.
• Razor Fine  ― No. 4 on Top 10 list:  “Originally shot decades ago, the final movie from legendary filmmaker Orson Welles finally found its way to audiences. The complicated story of a film within a film hits close to home for Welles who cast close friend John Huston  as an aging director on the outs with Hollywood and struggling to get his latest film finished. The film within a film, also titled The Other Side of the Wind, is shown in pieces throughout the larger mockumentary involving a party at the director’s home and the troubles and tribulations that boil to the surface. As relevant today as it was when he shot the film, Welles offers a commentary on changing Hollywood and the struggles of filmmaking. For those interested, I’d recommend watching the documentary They’ll Love Me When I’m Dead prior to the film in order to put it into proper historical context.”
• Zeke Film ― No. 5 on Top 10 list: ‘The final film by Orson Welles is also a 2018 film.  Shot unconventionally over the course of many years, and just as unconventional internally, it’s one onion-peeler of a movie.  The footage has sat in limbo for decades, and despite several efforts over the years to complete the film per Welles’ notes, it took Netflix swooping in with their truckloads of money to finally get this one done and out there.  On one hand, this is a long way to go for a criticism of Zabriskie Point and the like, but on the other hand, the observations remain strangely current.  (Though made by a man in early 1970s, it hardly works as a #MeToo forerunner).  Not everyone gets The Other Side of the Wind, or likes it, but it’s an undeniably important film ― and THE cinema event of 2018.”
• Rotten Tomatoes ― No. 134 on the Best of 2018 list of 162 “Certified Fresh” films: “A satisfying must-watch for diehard cineastes, The Other Side of the Wind offers the opportunity to witness a long-lost chapter in a brilliant filmmaker’s career.”
• Thrillist  ― No. 3 on Top 10 list best Netflix films:  “Don’t go into Orson Welles’ final film expecting it to be an easy watch. The Other Side of the Wind, which follows fictional veteran Hollywood director Jake Hannaford (tooootally not modeled after Welles himself) and his protegé (also tooootally not a surrogate for Welles’ own friend and mentee Peter Bogdanovich, who also plays the character) as they attend a party in celebration of Hannaford’s latest film and are beset on all sides by Hannaford’s friends, enemies, and everyone in between. The film, which Welles hoped would be his big comeback to Hollywood, was left famously unfinished for decades after his death in 1985. Thanks to Bogdanovich and producer Frank Marshall, it was finally completed in 2018, and the result is a vibrant and bizarre throwback to Welles’ own experimental 1970s style, made even more resonant if you know how intertwined the movie is with its own backstory. If you want to dive even deeper, Netflix also released a documentary about the restoration and completion of the film, They’ll Love Me When I’m Dead, which delves into Welles’ own complicated and tragic relationship with Hollywood and the craft of moviemaking.”
• The Film Stage ― Best cinematography of 2018 list: “While critics have lavished much of their praise for The Other Side of the Wind on the late master Orson Welles and his star/co-writer Oda Kodar, the creative contribution of cinematographer Gary Graver is undeniable when looking at the finished film. Working under difficult conditions, a limited budget, a start-and-stop shooting schedule, and a complex found-footage visual aesthetic, Graver and Welles captured a vivid and manic portrait of 1970s Hollywood by shooting on multiple film stocks, including 35mm, 16mm, and Super 8, in both color and black and white. Doing so, Graver and Welles endowed the film with a powerful sense of immediacy, not unlike raw news footage of a live event.”
• The AV Club ― No. 7 of Top 25 film scenes: “A nameless young man (Robert Random) follows a mystery woman (Oja Kodar, Welles’ partner and muse) across Los Angeles. The high point is their sex scene, which unfolds during a rainstorm in the front seat of a moving Ford Mustang: a mesmerizing experimental montage (actually shot over several years in different locations) of close-ups, raw colors, sweat, wet auto glass, thrusts, danger, and traffic that stands as one of the greatest formal achievements of the later part of Welles’ career and a milestone of getting one’s rocks off on film.”
• Vulture ― No. 1 of the 200 or so best original Netflix films: “It’s a new movie from Orson Welles. Like, an entire feature-length movie. Directed by Orson Welles. And it’s new. Is this real life? At any rate, maybe this will be the thing to at long last banish his reputation as the boy genius who never re-attained his early success, a patent falsehood to anyone who’s seen his later work. There’s so much unchecked genius overflowing from Welles’ unfinished (until now!) swan song that it borders on arrogance, as an unimpeachable master chases his every artistic whim, no matter how far-out. He invests a whole lot of himself in Jake Hannaford, the freewheeling auteur portrayed by John Huston in a dual celebration and mockery of the so-called New Hollywood that put Welles’ contemporaries out to pasture. Hannaford spends his final day on Earth coasting through a fog of booze, lust, and other assorted off-the-wall excesses suffused with the hedonism and underlying sadness of the ‘70s. It’s a historical artifact with a restless avant-garde streak permanently placing it in the present.”
• Paste magazine ― Omitted from Top 50 and here’s why:  “We can’t begin our countdown of the 50 best movies of 2018 without first mentioning that Orson Welles’ The Other Side of the Wind is not on this list. It’s a masterpiece, and easily arguable as a 2018 movie, and would have ranked without much fuss near the head of this assemblage. Which is also why we didn’t include it: Leaving it off not only gives one more space to a great 2018 film, and a great 2018 filmmaker, but it admits that there’s only so much qualifying we can do when it comes to a subjective year-end piece like this. Welles’ film sprawls out so much further than just the bounds of 2018. We’re happy to give it that room.”

The completed The Other Side of the Wind has also received several honors and nominations from critics groups.

The honors bestowed upon the movie include:

• National Society of Film Critics ― Film Heritage Award
• National Board of Review ― William K. Everson Award for Film History bestowed upon The Other Side of the Wind and They’ll Love Me When I’m Dead.
• National Association of Film Critics ― Best editing award for Bob Murawski and Orson Welles
• San Francisco Film Critics Circle ― Best editing award for Bob Murawski and Orson Welles
• Los Angeles Film Critics Association  ― Special citation
• Union des Compositeurs de Musiques de Films (France) ― Best score, Michel Legrand
• Boston Society of Film Critics ― Runner-up for best editing, Bob Murawski and Orson Welles
• Chicago Film Critics Association ― Nomination for best editing, Bob Murawski and Orson Welles
• International Cinephile Society ― Nomination for best picture; and runner-up for best editing, Bob Murawski and Orson Welles
• Vancouver Film Critics Circle ― Nomination for best supporting actor, Peter Bogdanovich
• Lima, Peru Film Critics Circle ― Nominations for best actor, John Huston; and best screenplay, Orson Welles and Oja Kodar

In related news, Yahoo placed Morgan Neville’s companion documentary, They’ll Love Me When I’m Dead, and The Other Side of the Wind on its list of Best Netflix Original Movies of 2018.

They’ll Love Me When I’m Dead earned spots on Mandatory’s Top 10 Streaming Documentaries of 2018, Hindustan Times’ 10 Best Online Streaming Movies and Vulture, Film Exodus and KCRW’s Top 10 list of best documentaries. It also made the Top 10 lists of The 405 and The Big Easy.

Another Welles-related documentary, Mark Cousins’ The Eyes of Orson Welles, made Peter Bradshaw’s list of  best documentaries of the year for The Guardian.

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