Oscar Nominations 2025: Post 6 of 10

1. Sinners, One Battle after Another, Sentimental Value

2. Marty Supreme, Frankenstein, Hamnet
3. Bugonia, The Secret Agent, Train Dreams

4. F1, Blue Moon, It Was Just an Accident

5. Sirāt, Avatar: Fire and Ash, K-Pop Demon Hunters

This year's single-digit nominees are:

If I Had Legs I'd Kick You

1 nomination

• Actress: Rose Byrne (1st time nominee)

Director: Mary Bronstein

Cast: Byrne, Conan O'Brien, A$AP Rocky, Danielle Macdonald, Delaney Quinn, Bronstein, Ivy Wolk, Mark Stolzenberg, Manu Narayan, Christian Slater

This is the third Safdie movie of the year. (Actually though. Josh was a producer.) It's structured just like a Safdie Brothers film—things just get worse and worse. But this is really strong! It’s a kind of feminist version of The Plot Against Harry, and it is filled with insight and terror about motherhood and being a woman in general. I was very into it. If I Had Legs I’d Kick You could only be the title of a comedy of course, and this is funny; it’s just a deeply bleak humor that is simultaneously terrifying and actually a film about existential dread. As I say, I was into it. I hadn't heard of this movie before Rose Byrne started getting end-of-year awards for her performance, but she absolutely deserves them, and she's be my pick to take home the statue this year. I don't think she can win, though. It feels to me like Jessie Buckley's year. (Kind of a shame—Rose Byrne is awesome in this.)

Will win: N/A

Could win: Actress

My rating: #31 out of 94

Song Sung Blue

1 nomination

• Actress: Kate Hudson (Almost Famous)

Director: Craig Brewer

Cast: Hugh Jackman, Hudson, Michael Imperioli, Fisher Stevens, Jim Belushi, Ella Anderson, King Princess, Mustafa Shakir, Hudson Hilbert Hensley, Shyaporn Theerakulstit

Kate Hudson's most recent nomination was 25 years ago! That seems crazy. I avoided watching this movie, betting that Hudson would not wind up in this fifth Best Actress slot, but I knew it was a losing bet all along, and I dragged myself to the theatre for a matinee of this on the day that the Academy Award nominations came out. I left the theatre crying, and the movie really is emotionally affecting. Which isn’t to say that Song Sung Blue is a good movie. It isn’t. But the whole thing is so intensely and insanely earnest and so deeply invested in making its audience cry that it’s hard not to just go along with it and fucking cry with them. Did I mention this is a kind of jukebox musical of covers that tells the story of a Neil Diamond impersonator and a Patsy Cline impersonator? It's also a true story that is so wild it feels completely unbelievable, though, I mean, why would anyone lie? Everyone seems so honest and polite and, well, midwestern in this. In actuality, Song Sung Blue (my god, that's a bad title) is way too long, and every single song wears out its welcome, but I think maybe that’s just the nature of the people at the film’s center. They want to be the focus, and they want to take up space and have your attention, but they never quite earn it.

Will win: N/A

Could win: N/A

My rating: #74 out of 94

Weapons

1 nomination

• Supporting Actress: Amy Madigan (Twice in a Lifetime)

Director: Zach Cregger

Cast: Julia Garner, Josh Brolin, Alden Ehrenreich, Austin Abrams, Benedict Wong, Madigan, Cary Christopher, Toby Huss, Whitmer Thomas, Callie Schuttera, June Diane Raphael, Scarlett Sher

This was fun. It's deeply fucked up, and I'm really not used to watching things like this, but my niece Hannah insisted, so we watched this together and covered our faces and cringed. This is a kind of horror-response to school shootings that deals with the senselessness and helplessness of parenthood when many children have been lost to violence at once. In my "Summing Up 2025" post, I said that Weapons is about the queer child, the mysteriousness at the heart of the child who is doing things we don't and can't understand; indeed another movie about children that got an Oscar nomination this year—the animated film Arco—has an identical scene to the one in Weapons, in which three children run away from home and toward certain danger while their parents remain mystified or unaware. This is scary, but it's also funny at times, and for me it manages the balance of terror and humor well. (Also, please more Alden Ehrenreich. He's so amazing in everything.) I'm delighted that Amy Madigan got an Oscar nomination for this. Her last nomination was in 1986—a full forty years ago, and I've always hated her awful character in Twice in a Lifetime, so I'm glad she can be nominated for another but very different horrible, hateful character. 

Will win: N/A

Could win: N/A

My rating: #47 out of 94

The Voice of Hind Rajab (صوت هند رجب)

1 nomination

• International Feature: Tunisia (The Man Who Sold His Skin)

Director: Kaouther Ben Hania

Cast: Motaz Malhees, Saja Kilani, Amer Hlehel, Clara Khoury, Nesbat Serhan, Ramy Brahem

This is a chamber drama slash docu-fiction film that is built around a series of real phone calls and social media posts. The film pointedly tells us as it begins that the voice we will hear onscreen is the actual voice of Hind Rajab. The movie is about a six-year-old Palestinian girl who is in the backseat of a car at a gas station when the Israeli army fires at the car, killing everyone in it except the girl. She calls the Red Crescent, and speaks to rescue workers there who work to get a team out there in the middle of a militarized zone in order to save her life. The army is still out there with tanks, so the idea of an ambulance saving this girl in the middle of a warzone is nearly an impossible task, but the Red Crescent workers do their best to make it happen. This film is much, much better than I expected it to be. It’s a taut drama based on historical events that occasionally merges with the video and audio on which it is actually based. This makes for interesting filmmaking that—in this case—really works. The screenplay is great, and the film boasts an excellent cast with some truly moving scenes. The best thing about this is its real avoidance of cheap sentimentality. This is a hard hitting movie that doesn’t shy away from the story it needs to tell. I should say a few things, finally, about the International Feature nominees this year because it's an extraordinary group. I think I probably would have nominated South Korea's No Other Choice instead of this movie, but it's still an excellent group—as evidenced by the fact that The Voice of Hind Rajab is the only one of these films with only one nomination: all of the others have two or more. But do yourself a favor and check out some of the other films on the shortlist of this category. I recommend, especially, South Korea's No Other Choice, Chile's The Mysterious Gaze of the Flamingo, The Dominican Republic's Pepe, and North Macedonia's The Tale of Silyan, but there are another five or ten that will come out in 2026 that I plan to see. I'm especially excited for Palestine's Palestine 36, The Philippines' Magellan, Germany's Sound of Falling, and Poland's Franz. 

Will win: N/A

Could win: N/A

My rating: #26 out of 94

More Oscar posts:

1. Sinners, One Battle after Another, Sentimental Value
2. Marty Supreme, Frankenstein, Hamnet

3. Bugonia, The Secret Agent, Train Dreams

4. F1, Blue Moon, It Was Just an Accident

5. Sirāt, Avatar: Fire and Ash, K-Pop Demon Hunters

7. Arco, Elio, Zootopia 2, Little Amélie or the Character of Rain

8. Animated Short Films

9. Jurassic World: Rebirth, The Lost Bus, Kokuho, The Smashing Machine

10. The Ugly Stepsister, Diane Warren: Relentless, Viva Verdi!

Oscar Nominations 2025: Post 5 of 10

1. Sinners, One Battle after Another, Sentimental Value

2. Marty Supreme, Frankenstein, Hamnet
3. Bugonia, The Secret Agent, Train Dreams

4. F1, Blue Moon, It Was Just an Accident

This year's nominees are:

Sirāt

2 nominations

• International Feature: Spain (Society of the Snow, Pain & Glory, The Sea Inside, All about My Mother, The Grandfather, Secrets of the Heart, The Age of Beauty, Women on the Verge of a Nervous Breakdown, Course Completed, Double Feature, Carmen, Begin the Beguine, The Nest, Mama Turns 100, That Obscure Object of Desire, My Dearest 'Señorita', Tristana, Bewitched Love, Los Tarantos, Placido, La Venganza)
• Sound

Director: Óliver Laxe

Cast: Sergi López, Bruno Núñez, Stefania Gadda, Joshua Liam Henderson, Richard Bellamy, Tonin Janvier, Jade Oukid, Ahmed Abbou, Abdellilah Madrari, Mohamed Madrari

I loved this movie. As soon as it ended I wanted to start it over and watch it again, which isn’t to say it’s a fun watch at all. In fact, it’s harrowing, like a kind of 21st century insane Wages of Fear. But Óliver Laxe’s film also has a different kind of pulse, like fasting or being on drugs or some other kind of spiritual high. This film is a kind of madness. Sirāt is also fundamentally about loss, about grief and mourning for a lost child and about holding others close as you teeter on the edge. In a way, it tries to make you feel physically and emotionally the kind of loss or grief—that vertigo and emptiness—that a film like Hamnet is only about. In this way Sirāt is better than almost every film this year, and it has a firm spot in my top ten. It's worth saying, while we're here that four of the five International Feature nominees are in my top ten, and this is a sign to me that the Academy is making good choices this year. There were many more sentimental options for the International Feature award—Belén from Argentina, All That's Left of You from Jordan, and Late Shift from Switzerland were all on the shortlist—but the Academy chose much better films with more powerful punches to the gut for its five slots. This movie is simply not to be missed. I'm a little sad that Kangding Ray's pulsing score didn't make it into the Original Score nominees, but we all know the music branch is the most conservative (by which I mean insular and nepotistic) branch in the Academy, so I was not really expecting him to get in, even though he was shortlisted. Anyway, go see this movie. And if you see it at home, turn the sound up and pour yourself a whiskey.

Will win: N/A

Could win: Sound

My rating: #6 out of 94

Avatar: Fire and Ash

2 nominations

• Costume Design: Deborah Lynn Scott (Titanic)
• Visual Effects

Director: James Cameron

Cast: Sam Worthington, Zoe Saldaña, Sigourney Weaver, Stephen Lang, Oona Chaplin, Jack Champion, Kate Winslet, Cliff Curtis, Joel David Moore, CCH Pounder, Edie Falco, Brendan Cowell, Jemaine Clement, Giovanni Ribisi, David Thewlis, Britain Dalton, Trinity Jo-Li Bliss

This needed more fire and more ash. Here's the deal: I already saw this movie once when it was called Avatar: the Way of Water, and I loved that movie! But this movie is the same movie. Fire and Ash has lots of cool visuals, to be sure. But it also retreads every single emotional beat from the second film. I think I’m chiefly disappointed that there was no real world-building around the Na'vi clans who played with fire. This was such a missed opportunity. The water clans introduced us to an entire new world and way of being with water. The fire-folk don’t seem to harness the energy of the fire or dwell with it or learn from it in any real way; they just light their arrows on fire and seem to like torching shit. Like, what if they had developed cool fire technologies, or spoke the language of fire, or understood something wild and new about lava or tempering metal or surviving extreme heat. What I love about the first two Avatar movies is the insanely imaginative production design and true world-building. This one is just an extension of Way of Water. Cameron still crafts a cool final battle. And I mostly liked act three, but I can’t say it follows any real in-world logic. This is a good movie, but compared to the first two, it was decidedly a disappointment.

Will win: Visual Effects

Could win: N/A

My rating: #51 out of 94

K-Pop Demon Hunters

2 nominations

• Animated Feature
• Original Song - "Golden": EJAE & Jeong Hoon-seo & Joong Gyu-kwak & Yu Han Lee & Nam Hee-dong & Teddy Park & Mark Sonnenblick (all 1st time nominees)

Director: Chris Appelhans, Maggie Kang

Cast: Arden Cho, May Hong, Ji-young Yoo, Ahn Hyo-seop, Yunjin Kim, Ken Jeong, Lee Byung-hun, Daniel Dae Kim, Joel Kim Booster, Liza Koshy, Alan Lee, Rumi Oak, SungWon Cho

This was so much fuckin fun. I can’t wait for the sequel. And the soundtrack? Forget about it. I literally rewound “Free” during the movie and watched it again. And “Soda Pop” is a Soda Bop. I listened to this soundtrack for weeks and weeks after the movie came out. And everyone was listening to it! Students were popping into my office singing along with this soundtrack. I don't even think "Golden" is my favorite of the film's songs, but it doesn't matter. It's great. I want it to win, and I think it will win. I also think this is the best animated film of the year, so I think it should win that too. There is one animated film I haven't yet been able to see—Sylvain Chomet's A Magnificent Life—so I can't totally judge, but this movie is a blast.

Will win: Animated Feature, Original Song

Could win: N/A

My rating: #11 out of 94

More Oscar posts:

1. Sinners, One Battle after Another, Sentimental Value
2. Marty Supreme, Frankenstein, Hamnet

3. Bugonia, The Secret Agent, Train Dreams

4. F1, Blue Moon, It Was Just an Accident

6. If I Had Legs I'd Kick You, Song Sung Blue, Weapons, The Voice of Hind Rajab

7. Arco, Elio, Zootopia 2, Little Amélie or the Character of Rain

8. Animated Short Films

9. Jurassic World: Rebirth, The Lost Bus, Kokuho, The Smashing Machine

10. The Ugly Stepsister, Diane Warren: Relentless, Viva Verdi!

Kiss of the Spiderwoman (2025)

I’m really not sure why they made this Kiss of the Spider Woman. There's already a novel and a film and a musical. Did we really need this movie musical?

Jennifer Lopez is fabulous and perfect for this part, so no shade at all to JLo's magnificence. I adore her. 

But why bother doing the musical version of Kiss of the Spider Woman if you’re going to cut most of the songs that have emotional impact? There is just no point to a Kiss of the Spider Woman movie without “Over the Wall”, “You Could Never Shame Me”, “Dear One” (which is included in a tiny way but not in a way where it can affect anyone), and especially “The Day after That”, one of the most emotionally impactful songs Kander and Ebb ever wrote. 

Even "She's a Woman" is ruined because it takes place in the movie within the movie instead of being a song that Molina sings. He sings it "in character". It makes no sense, and so it has no emotional impact.

This musical cuts itself off at the knees because it forces all the songs to be diegetic. They can only be there if they exist in the fantasy/musical world. The most recent Color Purple had a similar issue. It’s just so stupid. It pretends the real world doesn't have music. The real world is supposed to be "real", "gritty", "serious". But this doesn't work either because there is only a minimally marked contrast between the art direction for the real world sequences and the art direction for the movie-musical sequences. So it isn’t as if one feels real and the other is marked as artificial. The “real world” in this Spider Woman still looks like a musical. 

I loved Jennifer Lopez in “Where You Are”. It’s the only good number in this movie. The rest of this… I have no idea why they bothered if they weren’t going to do the songs. We already have a movie version of Kiss of the Spider Woman; it came out forty years ago, and it's much better than this.

Oscar Nominations 2025: Post 4 of 10

1. Sinners, One Battle after Another, Sentimental Value

2. Marty Supreme, Frankenstein, Hamnet
3. Bugonia, The Secret Agent, Train Dreams

This year's nominees are:

F1

4 nominations

• Picture
• Film Editing: Stephen Mirrione (The Revenant, Babel, Traffic)
• Sound
• Visual Effects

Director: John Kosinski

Cast: Brad Pitt, Damson Idris, Javier Bardem, Kerry Condon, Tobias Menzies, Kim Bodnia, Sarah Niles, Will Merrick, Joseph Balderrama, Abdul Salis, Callie Cooke, Samson Kayo, Simon Kunz, Liz Kingsman

This is great. It hits every beat it needs to. The sound is amazing. The script is perfect Hollywood nonsense, but it cleverly avoids most of the worst traps. And this movie has Brad Pitt and Javier Bardem and Kerry Condon. So the acting is just fuckin stellar. All three are absolutely pitch perfect. Damson Idris is great in the Miles Teller part. Sarah Niles is wonderful. The whole thing just sings. And, sure, it’s a retread of Maverick. I mean, yeah fine: it’s mostly about the same thing and it’s mostly a similar script, and the director’s the same, and it’s giving older-guy-bucks-the-system-and-blesses-the-young-people-with-his-wisdom. But I didn’t care one bit. I saw this on a gigantic screen and it felt like I was on a ride the whole time, and this rocked. Great score, great soundtrack, great editing. I was into it. Now, I have heard a great many complaints about the fact that this got a Best Picture nomination. I am baffled by these complaints. In the first place, F1 is very good. In the second place, F1 is appreciably better than Frankenstein. I defy anyone to tell me that Guillermo del Toro's movie is better than Kosinski's, and yet no one is complaining that Frankenstein made it into one of the Best Picture slots because it's a drama and not a genre picture like this one is. (In fact, to my mind F1 is better than Bugonia and Hamnet, too.) In the third place, the reason we have ten Best Picture nominees is exactly for movies like this. The ten slots were designed so that the Academy would make room for genre movies like this one. The Dark Knight was the reason for the change back in 2009 when it missed out on a nomination; then they switched to ten and action movies have consistently benefited and been included. To give just a few examples: District 9 (2009), Inception (2010), Hell or High Water (2016), and most significantly Black Panther (2018). In any case, I'm kind of baffled by anyone saying this movie doesn't deserve its slot. It absolutely does. It's one of the most fun movies of the year. To my mind, Kosinki scored again.

Will win: Film Editing, Sound

Could win: N/A

My rating: #18 out of 91

Blue Moon

2 nominations

• Actor: Ethan Hawke (Boyhood, Training Day)
• Original Screenplay: Robert Kaplow (1st time nominee)

Director: Richard Linklater

Cast: Hawke, Margaret Qualley, Bobby Cannavale, Andrew Scott, Jonah Lees, Simon Delaney, Patrick Kennedy, Giles Surridge, John Doran

I am going to tell you right now that when I saw the trailer I said "Oh no. Absolutely not. This looks horrible." But then my friend Greg told me I needed to watch it, so I went to the theatre and... this is utterly surprising. It’s very, very theatrical and it’s mostly just lots and lots of talk, but it works its way under your skin and it winds up being quite moving. This movie will be especially poignant for theatre people, of course—since it’s about the opening night of Oklahoma! from the perspective of Lorenz Hart, the lyricist and former writing partner of Richard Rodgers who didn’t work on the show. But there is honestly a great deal to enjoy here, and Ethan Hawke is pretty wonderful. I want also to note that some gay men I know have complained about the way the film, in their view, transforms the gay Lorenz Hart into someone who spends the entirety of this movie trying to get close to Margaret Qualley's character. I guess this might have bothered me if I believed in such a thing as sexuality, but, well, I don't. Blue Moon is based on real correspondence between Hart and that character, and in any case the film is quite clear that Hart is gay. I say go see this movie. It's a mannered, overly talkie theatre thing, and it's great.

Will win: N/A

Could win: Actor

My rating: #27 out of 91

Un Simple Accident (یک تصادف ساده) 

It Was Just an Accident

2 nominations

• Original Screenplay: Mehdi Mahmoudian & Jafar Panahi & Shadmer Rastin & Nader Saïvar (all 1st time nominees)
• International Feature: France (Emilia Pérez, Les Misérables, Mustang, A Prophet, The Class, Joyeux Noël, Les Choristes, Amélie, The Taste of Others, East-West, Ridicule, Indochine, Cyrano de Bergerac, Camille Claudel, Au Revoir Les Enfants, Betty Blue, Three Men and a Cradle, Entre Nous, Clean Slate, The Last Metro, Une Histoire Simple, Get Out Your Handkerchiefs, Madame Rosa, Cousin Cousine, Lacombe Lucien, Day for Night, The Discreet Charm of the Bourgeoisie, Hoa-Binh, My Night at Maud's, Stolen Kisses, Live for Life, A Man and a Woman, The Umbrellas of Cherbourg, Sundays and Cybele, The Truth, Black Orpheus, Mon Oncle, Gates of Paris, Gervaise, Forbidden Games, The Walls of Malapaga, Monsieur Vincent)

Director: Panahi

Cast: Vahid Mobasseri, Mariam Afshari, Ebrahim Azizi, Hadis Pakbaten, Majid Panahi, Mohamad Ali Elyasmehr, George Hashemzadeh, Delmaz Najafi, Afsaneh Najm Abadi

This is my favorite film of the year. It's absurdly funny and deadly serious at the same time. The ending is incredible. Mostly, though, I think I was struck by the film’s portrait of people living with difficult memories, of surviving violence and learning to do the next day’s activities—falling in love with someone, buying pastries, listening to your mom complain about you, helping a neighbor. Panahi's beautiful film manages this without sentiment and always with an eye on what these people have gone through at the hands of an unrepentant state. Un Simple Accident, of course, won the Palme d'Or, so I guess it doesn't need a Best Picture Oscar, Directing Oscar, or even an International Feature Oscar or a Screenplay Oscar. But it sure would have been well deserved. This movie is so good. In fact, while we're here we should say that the International Feature nominees this year are all stellar, with four of the five getting more than one Oscar nomination. It's really a banner year for the Academy's attention to international movies.

Will win: N/A

Could win: N/A

My rating: #1 out of 91

More Oscar posts:

1. Sinners, One Battle after Another, Sentimental Value
2. Marty Supreme, Frankenstein, Hamnet

3. Bugonia, The Secret Agent, Train Dreams

5. Sirāt, Avatar: Fire and Ash, K-Pop Demon Hunters

6. If I Had Legs I'd Kick You, Song Sung Blue, Weapons, The Voice of Hind Rajab

7. Arco, Elio, Zootopia 2, Little Amélie or the Character of Rain

8. Animated Short Films

9. Jurassic World: Rebirth, The Lost Bus, Kokuho, The Smashing Machine

10. The Ugly Stepsister, Diane Warren: Relentless, Viva Verdi!

Oscar Nominations 2025: Post 3 of 10

1. Sinners, One Battle after Another, Sentimental Value
2. Marty Supreme, Frankenstein, Hamnet

This year's nominees are:

Bugonia

4 nominations

• Picture
• Actress: Emma Stone (Poor Things, The Favourite, La La Land, Birdman or (the Unexpected Virtue of Ignorance))
• Adapted Screenplay: Will Tracy (1st time nominee)
• Original Score: Jerskin Fendrix (Poor Things)

Director: Yorgos Lanthimos

Cast: Stone, Jesse Plemons, Aidan Delbis, Stavros Halkias, Alicia Silverstone

Oof. This film is decidedly in conversation with Ari Aster's Eddington and Paul Thomas Anderson's One Battle after Another, and while I think Bugonia is interested in ideas similar to those films, it's not nearly as interesting as those movies. In fact, I thought this was weirdly boring—I guess rather like having a conversation with a conspiracy theorist… or an apologist for fascism. It felt to me like being forced to listen to a racist or a conspiracy theorist's opinions for two hours (an activity I decidedly do not enjoy). Bugonia goes around in circles tracing loop after loop, and we hear the same things over and over, watch the same scene again and again. I think maybe there’s supposed to be dramatic tension at certain points, or suspense, maybe? I didn’t feel any of that. Actually, I have a feeling this was supposed to be funny, but I didn't do any laughing. This was not pleasurable to watch. A man a few rows in front of me was snoring loudly. As a rule I also dislike Emma Stone, and this might have had a good deal to do with my antipathy toward this. She just never seems like a real human person in her movies—which, I suppose is perfect for both Lanthimos in general and this film in particular. But I do wonder if I would have liked this movie better with a different actress than Emma Stone as the lead. It's possible, but I doubt it. I think the screenplay is just really boring. So much talking! No Oscars for Bugonia on the big night. Stone just won two years ago (for the second time), but more importantly both Jesse Plemons and Yorgos Lanthimos missed out on nominations, so that means that this movie—despite its nomination for Best Picture—clearly didn't connect with Academy voters as much as other films, even some of the other films with four nominations.

Will win: N/A

Could win: N/A

My rating: #83 out of 91

O Agente Secreto (The Secret Agent)

4 nominations

• Picture
• Actor: Wagner Moura (1st time nominee)
• International Feature: Brazil (I'm Still Here, Central Station, Four Days in September, O Qu4trilho, O Pagador de Promessas)
• Casting
  

Director: Kleber Mendonça Filho

Cast: Moura, Carlos Francisco, Tânia Maria, Robério Diógenes, Roney Villela, Gabriel Leone, Alice Carvalho, Hermila Guedes, Isabél Zuaa, Geane Albuquerque, Maria Fernanda Cândido, Thomás Aquino, Laura Lufési, Isadora Ruppert, Igor de Araújo, Ítalo Martins, Udo Kier

This is one of my favorite films of the year, and it almost was #1. It's a taut political thriller with a fantastic cast. Wagner Moura is wonderful. The best part of this, though, is Mendonça’s beautiful approach to memory and nostalgia. His shots are filled with ghosts (he has a great documentary called Pictures of Ghosts that functions as a companion piece to this), and his characters feel their histories pumping in their veins even if they can’t remember them or find their records. I love Mendonça's films, and I'm so glad that the Academy is finally recognizing his work. Go see this movie.

Will win: International Feature

Could win: N/A

My rating: #2 out of 91

Train Dreams

4 nominations

• Picture
• Adapted Screenplay: Clint Bentley (Sing Sing) & Greg Kwedar (Sing Sing)
• Cinematography: Adolph Veloso (1st time nominee)
• Original Song – "Train Dreams": Nick Cave & Bryce Dessner (both 1st time nominees)

Director: Bentley

Cast: Joel Edgerton, Felicity Jones, Nathaniel Arcand, Clifton Collins Jr., John Diehl, Paul Schneider, Kerry Condon, William H. Macy, Will Patton, Alfred Hsing, David Paul Olsen, John Patrick Lowrie

This is so beautiful and simple and smart. It has a kind of Terrence Malick feel to it without the Malickian screenplay habits. And it's filled with memorable, gorgeous performances. In fact, I think Joel Edgerton only just missed out on his first (and long overdue) best actor nomination. Edgerton is a wonderful actor, and these awards bodies need to pay more attention to his excellent work. Most importantly for the big night, though, is the cinematography. Adolph Veloso really captures something here, and I think everyone expects him to take home the trophy. It's worth saying, also, that films like Train Dreams and F1 (we'll get to that in a day or two) are the reason we have ten slots for Best Picture these days. The point of having a category with ten nominees is so that a small picture that won't win best picture (and a big budget action movie that won't win best picture) can get recognized as one of the best movies of the year. And Train Dreams really is that.

Will win: Cinematography

Could win: N/A

My rating: #14 out of 91

More Oscar posts:

1. Sinners, One Battle after Another, Sentimental Value
2. Marty Supreme, Frankenstein, Hamnet

4. F1, Blue Moon, It Was Just an Accident

5. Sirāt, Avatar: Fire and Ash, K-Pop Demon Hunters

6. If I Had Legs I'd Kick You, Song Sung Blue, Weapons, The Voice of Hind Rajab

7. Arco, Elio, Zootopia 2, Little Amélie or the Character of Rain

8. Animated Short Films

9. Jurassic World: Rebirth, The Lost Bus, Kokuho, The Smashing Machine

10. The Ugly Stepsister, Diane Warren: Relentless, Viva Verdi!

Oscar Nominations 2025: Post 2 of 10

1. Sinners, One Battle after Another, Sentimental Value

This year's nominees are:

Marty Supreme

9 nominations

• Picture
• Director: Josh Safdie (1st time nominee)
• Actor: Timothée Chalamet (A Complete Unknown, Call Me by Your Name)
• Original Screenplay: Ronald Bronstein & Safdie (both 1st time nominees)
• Film Editing: Bronstein & Safdie (both 1st time nominees)
• Cinematography: Darius Khondji (Bardo: False Chronicle of a Handful of Truths, Evita)
• Production Design: Jack Fisk (Killers of the Flower Moon, The Revenant, There Will Be Blood) & Adam Willis (Killers of the Flower Moon)
• Costume Design: Miyako Bellizzi (1st time nominee)
• Casting

Director: Safdie

Cast: Chalamet, Gwyneth Paltrow, Odessa A'Zion, Kevin O'Leary, Tyler the Creator, Emory Cohen, Fran Drescher, Géza Röhrig, Abel Ferrara, Penn Jilette, Sandra Bernhard

This is tons of fun. It's a non-stop ride of bad mistake after bad mistake (in the vein of the other Safdie Brothers movies). This one feels much more fun than Good Time, Uncut Gems, and The Smashing Machine, and I think a lot of that is the way that Chalamet is able to enjoy himself and project his own pleasure through the difficulties of the character. Marty is a fantastic character, and he's played beautifully here. Which is to say that I don't normally think we associate what Chalamet is doing in this movie with "acting" as such, but I think he's doing an incredible amount of work here that doesn't come across as "honesty" or "vulnerability" or whatever else we might associate with good acting. He's, well, a star. I hope he wins Best Actor. The film has stumbled in recent days with various negative campaigning aimed at it, so I think it is probably not winning any other Oscars, but I'd still like to see Timmy take this one. I also think it should win casting. This is a kind of genius casting job. I think putting Géza Röhrig in that orgy scene with the honey was flat out brilliant. Ok also... that honey scene. Can we talk about it?

Will win: Actor, Casting

Could win: Editing

My rating: #15 out of 89

Frankenstein

9 nominations

• Picture
• Adapted Screenplay: Guillermo Del Toro (The Shape of Water, Pan's Labyrinth)
• Supporting Actor: Jacob Elordi (1st time nominee)
• Cinematography: Dan Lausten (Nightmare Alley, The Shape of Water)
• Production Design: Tamara Deverell (Nightmare Alley) & Shane Vieau (Dune: Part Two, Nightmare Alley, The Shape of Water)
• Original Score: Alexandre Desplat (Little Women, Isle of Dogs, The Shape of Water, The Imitation Game, The Grand Budapest Hotel, Philomena, Argo, The King's Speech, Fantastic Mr. Fox, The Curious Case of Benjamin Button, The Queen)
• Costume Design: Kate Hawley (1st time nominee)
• Makeup & Hairstyling

Director: Del Toro

Cast: Oscar Isaac, Elordi, Christoph Waltz, Mia Goth, Felix Kammerer, Charles Dance, David Bradley

Beautiful production design—or as a friend recently said "most" production design—and lots and lots of sumptuous, jewel-toned light. The costumes are gorgeous, the music is pretty, but this movie is fairly boring. I thought Oscar Isaac did good work in this, and David Bradley is great as the Creature’s friend, but the film itself just doesn’t have anything to add to the Frankenstein narratives we already have. Elordi is, of course, cheating by campaigning in the supporting actor category, but the Academy didn't seem to mind it here the way they minded Paul Mescal's category fraud (see below). Elordi is a rising star and everyone seems to love him. He's made a bunch of movies that have done well recently, and he's working hard, so I guess that pushed him over the edge here. I am a little baffled by this, but, then, I'm also baffled that anyone liked this movie. For something so shiny, it manages to be quite dull.

Will win: Production Design, Makeup & Hairsyling

Could win: Cinematography, Costume

My rating: #61 out of 89

Hamnet

8 nominations

• Picture
• Director: Chloé Zhao (Nomadland)
• Actress: Jessie Buckley (The Lost Daughter)
• Adapted Screenplay: Maggie O'Farrell (1st time nominee) & Zhao (Nomadland)
• Production Design: Fiona Crombie (The Favourite) & Alice Felton (The Favourite)
• Original Score: Max Richter (1st time nominee)
• Costume Design: Malgosia Turzanska (1st time nominee)
• Casting

Director: Zhao

Cast: Buckley, Paul Mescal, Joe Alwyn, Emily Watson, Jacobi Jupe, Noah Jupe, Bodhi Rae Breathnach, Olivia Lynes, David Wilmot, Justine Mitchell

My friends Kody and Dayne have been dragging me for weeks for liking this movie as much as I did. But I found this to be a beautiful meditation on grief. I liked all of the early stuff with the Agnes and Will falling in love, too. I think the real issue for me is that I just love Hamlet, so I loved all the little touches of it throughout the script – goodbye, goodbye, goodbye and other small places where it appeared. The problem with Hamnet is that it is too committed to grief and mourning; it plays this same note way too long. And you might say, yes, well, that's how grief works, but Sirāt is a film that has a similar meditation on the losing of a child, and it works much better. And when I think about it more, Hamnet is doing something as silly as giving us an origin story for an intellectual property we all love—like this is Becoming Jane Austen or something like that. Will Shakespeare reciting "To be or not to be" was way overboard. (I say this as someone who still really liked the film!) And another thing. The film really stumbles at the end. Whoever decided to use “On the Nature of Daylight”, that same Max Richter song from Arrival and Shutter Island, is a fool. In fact, I'm surprised it didn't disqualify Richter from getting his first Oscar nomination. Using old music like that is a big no-no for the Academy. Having that song at the end of the movie immediately pulled me out of the film—it belongs to a wholly different world—and of course I already know it, so rather than the ending of Hamnet feeling unexpected and new, the film moves into familiar territory. Not smart. There’s so much good stuff in this movie, though, and once I bought into the fiction of it (this does not accord with theatre history at all), I enjoyed myself. I guess I should say one more thing about Paul Mescal standing just off the medal stand over there. He's pretty great in this movie—I think he's pretty great in everything, honestly—but he attempted true category fraud. He (or his management) thought the supporting actor race was less crowded than the best actor race, and he was right about that, but it's a hard sell to say that he wasn't the lead actor in this film no matter how good he is in it.

Will win: Actress

Could win: Adapted Screenplay, Production Design, Casting

My rating: #30 out of 89

More Oscar posts:

1. Sinners, One Battle after Another, Sentimental Value

3. Bugonia, The Secret Agent, Train Dreams

4. F1, Blue Moon, It Was Just an Accident

5. Sirāt, Avatar: Fire and Ash, K-Pop Demon Hunters

6. If I Had Legs I'd Kick You, Song Sung Blue, Weapons, The Voice of Hind Rajab

7. Arco, Elio, Zootopia 2, Little Amélie or the Character of Rain

8. Animated Short Films

9. Jurassic World: Rebirth, The Lost Bus, Kokuho, The Smashing Machine

10. The Ugly Stepsister, Diane Warren: Relentless, Viva Verdi!

Oscar Nominations 2025: Post 1 of 10

Every year I post about each of the films nominated for Oscars—this year there are 35 features plus 15 short films (exactly the same as last year). Usually, I see all of them except for the documentaries (I am just not that interested in documentary film; I'm not sure why), but I'm also going to do myself a favor and skip the live-action short films. As a group they tend to be terrible every single year, and then for some reason the worst one usually manages to win.

This year with the enormous amount of political turmoil in our country and the ascendance of fascism in the U.S., it feels so stupid to be posting about movies. And for that I apologize. The state is murdering its own citizens in the streets, and I'm here to talk about Diane Warren... it's frivolous; I admit. But I write about politics in other places—I write about state violence, prison, racism, homophobia, and torture—and we all need an occasional break from thinking about the end of US American democracy. (Fucking gerrymandering, by the way, is anti-democratic; the fact that we just accept it as a political exigency is totally absurd. People should be represented in the government. The United States purports to be a government by the people and for the people. I live in a district that has been so viciously and cynically gerrymandered that I have no representation in Congress. It's a helpless state of affairs that serves the self interest of a political ruling class instead of the people.) 

In any case, I'm gonna post about the Oscars as usual. It makes me feel less alone, and crossing these movies off my list makes me feel like I can accomplish something in a state where I am nearly powerless because of the corruption of my government.

This is a good year. I will have more to say about this as we go through the nominees, but the Academy did really well this year, I think. My top ten for 2025 looks much closer to the Academy's than last year, and part of the reason for that is that the Academy's nominees look much more international than usual. This is due to the much more international Academy—an excellent state of affairs. My own list is always going to veer more international than the Academy's, and it's always going to be a good deal gayer, too, but that's a whole other story.

One thing I fundamentally believe, however, is that the Oscars are a jumping-off point for discussion rather than the final word on anything... So let's discuss!

I will go film by film discussing each movie individually rather than by category—beginning with the movies most beloved by the Academy this year. If the nominee has been nominated for Oscars previously, their previous nominations will be listed next to their name in parentheses. This year's nominees are:

Sinners

16 nominations

• Picture
• Director: Ryan Coogler (1st time nominee)
• Actor: Michael B. Jordan  (1st time nominee)
• Original Screenplay: Coogler (1st time nominee)
• Supporting Actor: Delroy Lindo (1st time nominee)
• Supporting Actress: Wunmi Mosaku (1st time nominee)
• Film Editing: Michael P. Shawver (1st time nominee)
• Cinematography: Autumn Durald Arkapaw (1st time nominee)
• Production Design: Hannah Beachler (Black Panther) & Monique Champagne (1st time nominee)
• Original Score: Ludwig Göransson (Oppenheimer, Black Panther)
• Costume Design: Ruth E. Carter (Black Panther: Wakanda Forever, Black Panther, Amistad, Malcolm X)
• Casting
• Sound
• Visual Effects
• Makeup & Hairstyling
• Original Song – "I Lied to You": Göransson (Black Panther: Wakanda Forever) & Raphael Saadiq (Mudbound)
  

Director: Coogler

Cast: Jordan, Miles Caton, Hailee Steinfeld, Jack O'Connell, Mosaku, Jayme Lawson, Omar Benson Miller, Lindo, Li Jun Li, Yao, Lola Kirke, Peter Dreimanis

This is a record-breaking number of nominations, as I'm sure you've heard by now. Part of the reason for this is the new Oscar category for casting, but more important is that Sinners garnered nominations in all the below the line categories as well as its three acting nominations. This is is an unusual state of affairs. More typically, a film that everyone loves will do great below the line (think Avatar or The Fellowship of the Ring) without having any real support from the acting branch. In fact, this is what most everyone expected of Sinners but then here we are, and it crushed the competition on the morning of the nominations. I loved this movie, and I think it deserves all of its accolades. It's a bit of an unusual fit for Oscar, but I think what Ryan Coogler has proved so beautifully is how rich a genre picture can be. This is a full-out vampire revenge adventure–suspense thing. It's a delight from start to finish, and yet it feels like a prestige picture, even though its main goal is entertainment. This is is Coogler's incredible strength as a filmmaker, and I'm here for it. Most of the film's nominees are first-timers—including Delroy Lindo, Michael B. Jordan, and Coogler himself. The old-timers here are Ruth Carter and Ludwig Göransson, both winning previously for another Coogler film. I can't say enough good things about this movie. It's not the Academy's normal fare, but I'm so glad it's here. For this reason, and because of this enormous, record-breaking shakeup, I think this movie is going to pull ahead and win Best Picture.

Will win: Picture, Original Screenplay, Score, Costume Design

Could win: Director, Actor, Editing, Casting

My rating: #5 out of 88

One Battle after Another

13 nominations

• Picture
• Director: Paul Thomas Anderson (Licorice Pizza, Phantom Thread, There Will Be Blood)
• Actor: Leonardo DiCaprio (Once upon a Time... in Hollywood, The Revenant, The Wolf of Wall Street, Blood Diamond, The Aviator, What's Eating Gilbert Grape)
• Adapted Screenplay: Anderson (Licorice Pizza, Inherent Vice, There Will Be Blood, Magnolia, Boogie Nights)
• Supporting Actor: Sean Penn (Milk, Mystic River, I Am Sam, Sweet and Lowdown, Dead Man Walking)
• Supporting Actor: Benicio del Toro (21 Grams, Traffic)
• Supporting Actress: Teyana Taylor (1st time nominee)
• Film Editing: Andy Jurgensen (1st time nominee)
• Cinematography: Michael Bauman (1st time nominee)
• Production Design: Anthony Carlino (Babylon) & Florencia Martin (Babylon)
• Original Score: Jonny Greenwood (The Power of the Dog, Phantom Thread)
• Casting
• Sound

Director: Anderson

Cast: DiCaprio, Chase Infiniti, Penn, Del Toro, Taylor, Regina Hall, Wood Harris, Tony Goldwyn, D.W. Moffett

This has been the frontrunner for many months, and it probably still is the frontrunner—the love it received from the acting branch is evidence of that. It's also just flat out great, though this film, like Sinners, is also basically a genre picture. This is a shoot out, action–comedy thing that feels very unlike, in the first place, a film that the Academy would normally like and, in the second place, unlike a typical Paul Thomas Anderson film. (The truth is, though, that Anderson surprises us constantly, switching without any seeming effort between comedies and very serious art-house fare.) This is one of my favorite movies of the year, and I think its timeliness (the fascist cops on the street rounding up protestors and trying to find immigrants) makes this movie feel like it just understood the year 2025 in a way that doesn't usual seem possible in the cinema. My main gripe about this film is that the white supremacists in it are too silly. It is true that white supremacists are absurd, of course, but they're also deadly, and because Anderson's film is a comedy with a very silly group of white supremacists as its chief antagonists, it feels like it doesn't quite take this fascist agenda quite as seriously as it ought to. I expect this to do very well on Oscar night. I don't think it will win Best Picture anymore, but I think Anderson will and should win Best Director. It's his fourth nomination, and he's earned it.

Will win: Director, Adapted Screenplay, Supporting Actress 

Could win: Picture, Actor, Film Editing, Score, Casting

My rating: #3 out of 88

Affeksjonsverdi (Sentimental Value)

9 nominations

• Picture
• Director: Joachim Trier (1st time nominee)
• Actress: Renate Reinsve (1st time nominee)
• Original Screenplay: Trier (The Worst Person in the World) & Eskil Vogt (The Worst Person in the World)
• Supporting Actor: Stellan Skarsgård (1st time nominee)
• Supporting Actress: Elle Fanning (1st time nominee)
• Supporting Actress: Inga Ibsdotter Illeaas (1st time nominee)
• Film Editing: Olivier Bugge Coutté (1st time nominee)
• International Picture: Norway (The Worst Person in the World, Kon-Tiki, Elling, The Other Side of Sunday, Pathfinder, Nine Lives: the Story of Jan Baalsrud)
  

Director: Joachim Trier

Cast: Reinsve, Skarsgård, Illeaas, Fanning, Andreas Stoltenberg Granerud, Øyvind Hesjedal Loven, Anders Danielsen Lie, Cory Michael Smith, Catherine Cohen

This movie is so good. It’s about family in a way that is decidedly unsentimental, despite its title, and it gets at ties between family members that don’t really make sense but repeat or resurface. It’s about trying to tell a story or find the words for feelings or intuitions that don’t have words for them. In many ways, it's also a movie about a house, or at least it tells its story from the perspective of the house. It's a brilliant stroke of writing. I am sorry that Joachim Trier standby Anders Danielsen Lie's part was too small to sneak him a Best Supporting Actor nomination (and Stellan Skarsgård is decidedly committing category fraud running as a supporting actor). The fact that this did so well with the Academy is wonderful Trier has been making excellent (maybe even perfect) movies for a long time, and it's great that people are catching up to that! I don't think this can win anything on the big night except Supporting Actor (although it may also get International Feature). But almost everyone here is a first-time nominee, and they're all gonna just be happy to be there. 

Will win: Supporting Actor

Could win: Original Screenplay, Editing, International Feature

My rating: #10 out of 88

More posts coming soon:

2. Marty Supreme, Frankenstein, Hamlet

3. Bugonia, The Secret Agent, Train Dreams

4. F1, Blue Moon, It Was Just an Accident

5. Sirāt, Avatar: Fire and Ash, K-Pop Demon Hunters

6. If I Had Legs I'd Kick You, Song Sung Blue, Weapons, The Voice of Hind Rajab

7. Arco, Elio, Zootopia 2, Little Amélie or the Character of Rain

8. Animated Short Films

9. Jurassic World: Rebirth, The Lost Bus, Kokuho, The Smashing Machine

10. The Ugly Stepsister, Diane Warren: Relentless, Viva Verdi!

Elio (2025)

Elio was so damn cute. I was grinning from ear to ear for most of this. It's imaginative and fun and playful, with absolutely delightful characters. 

I suspect some are tiring of hearing about this, but I argued in my book Love Is Love Is Love and I say all the time that Pixar movies (and most animated movies in general) are about the queer child and about parenting, and... Elio is no exception. The two queer children at the film's center are misunderstood by their parents, who have trouble connecting with them and can't figure out what to do with their very strange kids. This is usual for a Pixar movie—cf. Inside Out and its sequel, Turning Red, Luca, Soul, Elemental, etc.—but what is different about Elio is that although parenting is in focus here, the experience of the child is much more important to the narrative. The parents are still the heroes in this, but what I love about Elio is that it articulates the way the child wants to do more, to be more, indeed to be an adult or not be treated like a child. 

Perhaps disappointingly, Elio is also deeply invested in the biological family rather than (as I also discussed in Love Is Love Is Love) the chosen family politics that permeate films in the 1990s. But this is not too big of a deal, and the film tries to strike a balance between friendship and family that I appreciated. 

In any case, this is really really fun and super charming. And I adored little Elio and little Glordon. 

P.S. The name Elio puts me in mind of the young Elián González, whom the U.S. treated as an alien. More importantly, perhaps, the film riffs on "aliens" and US Latinos in a clever but not overtly political way. This is a film in which the US Americans in the film are Latinos and the "aliens" are somewhere else.

Best Actor 2025

Here is my top five in alphabetical order. These are the five I would nominate if I were an Academy of one.

TIMOTHÉE CHALAMET, Marty Supreme

MICHAEL B. JORDAN, Sinners

DYLAN O'BRIEN, Twinless

VAHID MOBASSERI, Un Simple Accident (یک تصادف ساده) (It Was Just an Accident)

WAGNER MOURA, O Agente Secreto (The Secret Agent)

Also loved:

Will Arnett, Is This Thing On?

Daniel Day-Lewis, Anemone

Joel Edgerton, Train Dreams

Everett Blunck, Griffin in Summer

Ethan Hawke, Blue Moon

Motaz Malhees, The Voice of Hind Rajab (صوت هند رجب)

Paul Mescal, Hamnet

Brad Pitt, F1

Stellan Skarsgård, Affeksjonsverdi (Sentimental Value)

Channing Tatum, Roofman

Apologies to:

Mahmood Bakri (To a Land Unknown), Gael Garcia Bernal (Magellan), Frank Dillane (Urchin), Colin Farrell (Ballad of a Small Player), Harry Melling (Pillion), Shia LaBeouf (Henry Johnson), Lee Kang-sheng (Blue Sun Palace), Billy Magnussen (Violent Ends), João Pedro Mariano (Baby), Josh O'Connor (Rebuilding), Albrecht Schuch (Peacock), Toni Servillo (La Grazia), Denzel Washington (Highest 2 Lowest), Ben Whishaw (Peter Hujar's Day), Yoshii Ryōsuke (Cloud), and Yoshizawa Ryō (Kokuho), whose films I haven't seen yet.

Related:

My Best Actor Picks from previous years (2004-2024)

My Best Actress Picks for 2025

My Best Supporting Actress Picks for 2025

My Best Supporting Actor Picks for 2025

Best Actress 2025

 Here is my top five in alphabetical order. These are the five I would nominate if I were an Academy of one.

ROSE BYRNE, If I Had Legs I'd Kick You

KATHLEEN CHALFANT, Familiar Touch

JENNIFER LAWRENCE, Die My Love

RENATE REINSVE, Affeksjonsverdi (Sentimental Value) 

JULIA ROBERTS, After the Hunt

Also loved:

Leonie Brenesch, Hilden (Late Shift)

Jessie Buckley, Hamnet

Britt Lower, Darkest Miriam

Eva Victor, Sorry, Baby

Apologies to:

Deragh Campbell (Matt and Mara), Emma Corrin (100 Nights of Hero), Jodie Foster (A Private Life), Gelmine Glemzaite (Drowning Dry), Andrea Bræin Hovig (Love), Dakota Johnson (Materialists), Diane Lane (Anniversary), Carey Mulligan (The Ballad of Wallis Island), Elizabeth Olsen (Eternity), Tessa Thompson (Hedda), Tessa Van den Broeck (Julie Keeps Quiet), and Alexi Wasser (Messy), whose movies I have not yet seen.

Related:

My Best Actress Picks from previous years (2004-2024)

My Best Actor Picks for 2025

My Best Supporting Actress Picks for 2025

My Best Supporting Actor Picks for 2025

Kiss of the Spider Woman redux

I’m really not sure why Bill Condon and company made this. Jennifer Lopez is fabulous and perfect for this part, but why bother doing the musical version of Kiss of the Spider Woman if you’re going to cut most of the songs that have emotional impact? There is just no point to a Kiss of the Spider Woman movie without “Over the Wall”, “You Could Never Shame Me”, “Dear One” (which is included in a tiny way), and especially “The Day after That”, one of the most emotionally impactful songs Kander and Ebb ever wrote. 

This movie musical cuts itself off at the knees because it forces all the songs to be diegetic. In other words, the songs can only be there if they exist in the fantasy/musical world. The most recent Color Purple had a similar issue. It’s just so stupid. This conceit even ruins "She's a Woman" (obviously my favorite song in the musical), because in this film, it's not song by Molina himself but is sung by his avatar in the fake-ass movie he's describing. (Never mind that this song would make no actual sense in that movie.)

What’s worse is that there is only a minimally marked contrast between the art direction for the real world sequences and the art direction for the movie-musical sequences. So it isn’t as if one feels real and the other is marked as artificial. The “real world” in this Spider Woman still looks like a musical. Which means that this little rule about songs needing to be diegetic à la Chicago doesn't even matter.

I loved Jennifer Lopez in “Where You Are”. She comes out in full Chita Rivera drag, with the white tuxedo jacket, and she just looks incredible. It’s the only good number in this movie. 

The rest of this movie… I just am not sure why they bothered if they weren’t going to do the songs.

Best Supporting Actor 2025

Here is my top five in alphabetical order. These are the five I would nominate if I were an Academy of one.

TAWFEEK BARHOM, Les Fantômes (Ghost Trail)

DELROY LINDO, Sinners

 TOM MERCIER, Darkest Miriam

JOSH O'CONNOR, The History of Sound

MICHAEL STUHLBARG, After the Hunt

Also loved:

Javier Bardem, F1

Bradley Cooper, Is This Thing On?

Benicio Del Toro, One Battle after Another

David Jonsson, The Long Walk

Dacre Montgomery, Dead Man's Wire

Related:

My Best Supporting Actor Picks from previous years (2004-2024)

My Best Actress Picks for 2025

My Best Actor Picks for 2025

My Best Supporting Actress Picks for 2025