“I’m Still Here” – 3 nominations 

“I’m Still Here,” directed by Walter Salles, is hauntingly beautiful. The film tells the true story of Rubens Paiva, a Brazilian Congressman tortured under a brutal dictatorship. However, this movie is the story of Ruben’s wife, Euince Paiva, portrayed by Fernanda Torres. It follows her as she guides her family through a time of hardship.

Even if you don’t watch many international films, “I’m Still Here” is definitely worth giving a try. Amazingly crafted, it tells a story about how community is the most powerful weapon we can wield. We are told not to erase or forget about the brutal events of the past, but hold them in our hands and keep moving forward. Every part of this movie contributes to these messages. Fernanda Torres especially is a force to be reckoned with. 

This is Salles’ first feature film since 2012, and I would gladly wait 12 years for another. Although I was confident in guessing that “I’m Still Here” would not take home Best Picture (though it did win Best International Feature), even a nomination was a step in the right direction. With the first international movie to win being “Parasite” in 2019, hopefully the next decade for the movie industry is filled with recognition for even more foreign movies. 

“Emilia Perez” – 13 nominations  

It says a lot when a movie, set in Mexico, is directed by a French man who openly admitted to not doing any prior research on the country or the language. Most casual movie-goers have by now heard of the controversy surrounding “Emilia Perez,” a musical directed by Jacques Audiard. However, before all of this started, early Oscar predictors were excited for this film, mostly because “Emilia Perez” won multiple awards at the prestigious Cannes Film Festival. Considering this, I sat down with an open mind to watch. It couldn’t be that bad, right? 

Unfortunately, I was wrong. I’m not really sure how to write about “Emilia Perez,” because I’m not sure what “Emilia Perez” was trying to say. Honestly, it often felt like the film was only a musical to give it a fighting chance during awards season. Much of the plotline either doesn’t make sense, or has weird messaging. And as someone who doesn’t know much about Mexican cartels, it’s glaringly obvious that Audiard didn’t really know about them either. 

The only highlights of this movie were the lighting, the cinematography and Zoe Saldana’s performance. Saldana did go on to win the Oscar for Best Supporting Actress, but if you ask me, being the only mediocre part of a horrible movie shouldn’t earn you anything. After watching “Emilia Perez,” I was left with only one question: Huh?    

“A Complete Unknown” – 8 nominations  

“A Complete Unknown” directed by James Mangold, details Bob Dylan’s early years. Based on the book “Dylan Goes Electric” by Elijah Wald, the movie spans from 1961, when Dylan was discovered, to when he went “electric” at the Newport Folk Festival in 1965. From its inception, the movie draws you into the world of ’60s NYC, and we rarely stray from this setting. The world of “A Complete Unknown” feels tangible. 

An aspect of the film that I appreciated was the ambiguity of Bob Dylan. Dylan isn’t presented as good or bad; he’s just a guy with a guitar. Although we do see Dylan as an American “hero” whose impact is drastic, we also glimpse into his personal life. Cheating, arrogance, and bailing on friends. Of course, this portrayal would not have been possible without Timothee Chalamet’s stellar performance. Between the live singing and prosthetic nose, this role was no easy task.

Should this movie have won? No. Did I love this movie? Absolutely! Often biopics are either “glorified wikipedia pages” or they twist the narrative entirely (Baz Lurhman’s 2022 Elvis). I would say that this movie leans towards the former. It just follows the history of Dylan’s early years. However, I would argue that its simplicity doesn’t take away from anything. It simply means that “A Complete Unknown” may not have been groundbreaking enough to earn its spot as the best of the season. 

“Conclave” – 8 nominations 

In my opinion, “Conclave,” directed by Edward Berger and based on the book by Robert Harris, was one of the best-acted movies of the year. If the Oscars had a best ensemble category, “Conclave” would have been the most deserving winner. Going into this movie, I have to admit I was not that excited. I prepared myself for a well-written but ultimately slow drama. But 20 minutes in, I was already hooked. While the movie might have benefited from trimming down its runtime by a couple minutes, the slow pacing during the beginning does not hinder the film. Once you reach the ending, you forget all else. And every shot in “Conclave” feels intentional, thanks to the work of cinematographer Stéphane Fontaine. 

Of course, we cannot talk about “Conclave” without mentioning Ralph Fiennes. Watching his performance as Cardinal Lawrence, we feel the weight of his position: a cardinal struggling with his faith, on the path to a position he does not want. 

Although not victorious, Conclave was at the top of my Oscars Best Picture List.

“Nickel Boys” – 2 nominations 

Based on the book by Colson Whitehead, and directed by RaMell Ross, “Nickel Boys” follows a young boy named Elwood Curtis. It’s the ’60s, and Elwood is convicted of a crime that lands him in Nickel Academy, a reform school in the Jim Crow South. “Nickel Boys” is unique. It is a movie that understands the importance of the source material, but takes it to new heights. 

Ross does this by attempting a feat few choose to take on: filming entirely in the first person. The movie begins in Elwood’s point of view, then later on transitions between his POV and his friend, Turner’s. Because of this, the scenes in “Nickel Boys” are incredibly immersive. We care about these characters not just because of their situation, but because we become part of them. The non-linear structure of the film gives it a sweet sense of nostalgia. It opens with warm childhood memories, then moves to an older Elwood later. 

Nickel Boys is a stunning movie and worth paying attention to. It has a message to convey and knows just how to convey it. Once you get into the unique style, it’s impossible to look away. Of all 10 movies nominated this year, “Nickel Boys” probably got the least Oscar buzz. However, in my opinion, it was one of the films that deserved it most. 

“The Substance” – 5 nominations 

It’s always nice to see the Academy giving a nod to the horror genre in major categories, although we can probably always be sure they will never win big. Being the cultural phenomenon that it was, “The Substance,” directed by Coralie Fargeat, earned its spot in the top 10. 

I don’t like horror in general, so this was a tough watch for me. But I can say “The Substance” was generally a fine movie. There are plot holes, however, and the logic behind the movie becomes shakier the further we go. 

“The Substance” is also very on-the-nose with its messaging. It’s a story about the pushing aside of aging women in Hollywood, and it makes sure you know that. This is not a bad thing, but I feel like there is a double standard here. For a movie so loud with its message, it seems to rely heavily on the appeal of both Margaret Qualley and Demi Moore. And would this movie have been as big as a hit if it did not cast these women? Of course, you can argue that it’s part of the satire, but I would disagree.

The Substance was good, just not Oscars good. But if you love body horror, this is the one for you.

“Wicked” –10 nominations

Musicals are back! “Wicked,” directed by John M. Chu, was a triumph. Deservedly, it took home Best Costume Design and Best Production Design at the Oscars. 

Where the film falls flat is when we look past the grand sets and talented faces. There isn’t much dynamic movement, apart from choreography, especially in the first act. As I became distracted by Cynthia Erivo’s voice during her solos, I didn’t realize on first watch that there isn’t much else to look at. The advantage in adapting “Wicked” is that you’re no longer confined to a stage, and Chu should’ve utilized this freedom more. 

Also: the lighting issues. Shots included unnecessary glare from the sun. Scenes set during the day were often visually underwhelming. But this problem may not have been so noticeable had “Wicked” been more colorful. Now, the colors of “Wicked” are not as desolate as those of “Dune,” but there was room to have gone further. Especially considering the original “Wizard of Oz” was one of the first technicolor productions. 

Although much of the success of “Wicked” lay on the backs of the actors, it was very far from being bad. There were some problems, sure. But once we get to the big payoff that is “Defying Gravity,” the impact is so strong that everything else no longer matters. While not my pick, nor the winner of Best Picture, “Wicked” is an unforgettable cinematic experience. 

“Anora” – 6 nominations – WINNER 

Now onto the winner of the 2025 Oscar for Best Picture: “Anora.” While not the top of my list, I don’t have any problem with this victory. For one, it’s a huge win for small budget and independent films. Two, the dedication of the whole cast and crew was evident in every aspect of this movie. And three, it’s what a Best Picture should be: an innovative story with strong themes and a strong creative team backing it. 

Props are due where props are due, and Mikey Madison brought Anora to life. Her passion is evident on screen. I don’t know how well this movie could’ve worked without her. When Madison portrays Ani, it’s as if someone else is on screen. Ani seems real. She seems like someone who exists somewhere out there in New York. 

If the initial idea of “Anora” makes you uncomfortable, I would say you need to make it through the first 30 minutes until the movie starts to evolve into something special. Anora is filled to the brim with so much. It’s both a comedy and a tragedy. It takes itself seriously, but also doesn’t? There are moments of immense happiness, and also sadness.

There are not many formal backstories for the characters in “Anora,” yet they all still feel so human. We care about them. And the ending feels like heartbreak. In this way, I feel that “Anora” did deserve its win. 

“The Brutalist” – 10 nominations  

Usually, I would nitpick the insane runtime of a movie like “The Brutalist,” but this film does implement an intermission, so I guess that’s okay. Directed by Brady Corbet, “The Brutalist” is a story primarily about ambition. It can also be considered an American Dream story. The film follows a Hungarian architect coming to the U.S in the hope of rebuilding his life. 

“The Brutalist” is expansive, and it covers many topics through the eyes of Holocaust survivor Lȧszlᥣó Tóth, played by expertly by Adrien Brody. This movie provokes thoughts about themes like ambition, passion, immigration, war, and death. It’s a tough watch, but, yes, it is worth it.

“Dune Part Two” – 5 nominations 

I may be one of the few people who has a problem with “Dune Part Two.” Don’t get me wrong. It was amazing. Really amazing. It’s very refreshing to see a blockbuster that isn’t afraid to be weird on a large scale. 

Also, the movie is very visually appealing. It’s clear that director Denis Villeneuve has a deep understanding of his vision. It’s no easy feat to make clear on screen what was once just words on paper. I also noticed that this movie played around much more with design than the previous installment. While Dune stays confined to the planet of Arrakis, Part Two expands its scope. The scenes with the Harkonnens on their planet were particularly impressive, and the best of the entire movie. 

That being said, as with all book adaptations, I’d like to give it two grades. As a movie, an ‘A+’. As an adaptation, it’s probably a ‘B+’. There’s a reason that the original 1965 novel has stood the test of time: its themes and world building. Villeneuve certainly captures the scale and political intrigue of Dune, but ends up having to simplify ideas for the sake of pacing and accessibility. This left me feeling as though elements seem rushed and underdeveloped. I don’t mind changes in plots when it comes to adaptations, unless those changes impact the central elements of the source. Unfortunately, the condensation of the timeline in “Dune Part Two” does exactly that. 

Final Ranking For What I Think Deserved the Win:

1. Conclave
2. Nickel Boys
3. Anora
4. The Brutalist
5. I’m Still Here
6. Dune Part 2
7. Wicked 
8. A Complete Unknown
9. The Substance
10. Emilia Perez